#episode 52 part 10

[zoe-oneesama]

Fake News!

Episode 52 Part 10 First < Previous > Next Season 1, Season 2, Season 3, Season 4, Season 5 Ep 41, Ep 42, Ep 43, Ep 44 Ep 45, Ep 46, Ep 47, Ep 48, Intermission, Ep 49, Ep 50, Ep 51

Ko-fi | Patreon

[akanemnon]

TWIN RUNES MASTERPOST

Because of the limited amount of links you can put into a post, you can find the links to each page in these sub-posts:

To be continued...

FAQ under the cut!

TWIN RUNES MINI COMICS

Glasses - Frisk Dance - But nobody came - An acquired taste -Smalltalk - All You Can Eat - Page 75 EXTRA - Page 84 EXTRA

AFTER RUNES:

Not-To-Do-List - Beach Episode - Salute the Frick - Morning Routine - The Universe is a Hologram - Trick as a Treat - Taste the Painbow - Dungeon Doofus - Tour de Nope - Explosive Start - Conveniently shaped... - Sibling Bonding - Home for Iinfite Avoidance

PRE-RUNES:

Fallen down - First steps - Press [C] - Eye opening - Whatstheirface - Acid reflux - Connection issues - Normal Human Behavior

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TWIN RUNES - FAQ

What exactly is this AU about? Twin Runes is essentially a comedic crossover AU between the universes of Deltarune and Undertale. No fancy nicnacs. Just the characters being their chaotic selves. But there might be some darkness lurking up ahead... ____________________

When is the next comic? The comic updates most Sundays at 6:30 PM Central European Time. ____________________

Why is this AU called Twin Runes? The name is more or less a play on the typical naming format of most AU's by featuring the "Runes" part. There are no literal Twin Runes. The whole name is more of a stand in for Undertale and Deltarune as parallel worlds. Hence the "Twin" part. ____________________

When does Twin Runes take place? This AU takes place between a hypothetical Chapter 3 and Chapter 4 of Deltarune. On the Undertale side of things, it takes place post neutral route just as Frisk was about to deliver Undyne's letter to Alphys.

How many pages are there going to be? The script for this comic estimates that the comic is going to be 137 pages long (if I don't make any major changes). ____________________

Is the Player a thing in this AU? The Player(s) lost control over both human children as soon as Frisk entered the world of Deltarune. Essentially, the reader takes on the role of the Player. You have no influence on the outcome of the story anymore. All you can do is watch. Both Kris and Frisk refer to the Player as "It" and "the THING". ____________________

Is there going to be a Weird Route? Due to the lack of Player, all choices made by Kris are now their own. How to engage in battle all depends on Kris, and not the Player. Because of that, there are NO DIFFERENT ROUTES. There is only one route and that one is based on Kris' choices. Because of the lack of save points, there is no "what-if" scenario. ____________________

When Chapter 3 and 4 are released, will it affect the story? Any chapters after Chapter 3 won't affect the story in the grand scheme of things. Twin Runes created a new timeline so to speak. ____________________

How old are the characters in this story? Frisk appears to be around 9 years old. Kris thinks they're 14. (Both Frisk and Kris don't know their actual age.) Chara died when they were around 10-11. Susie is around 15-16 (she was held back once) Ralsei appears to be the same age as Kris. ____________________

What's up with Kris' and Frisk's hair? The red bits of their hair is more or less a representation of their souls. That in turn is also why Chara doesn't have that feature. They are soulless. It's a stylistic choice. ____________________

What's that thing on Kris' chest? It's a scar they got from tearing out their soul.

And why do they have weird lines all over their body? Both Kris and Frisk's anatomy resemble that of ball-jointed dolls. They appear just as markings across their bodies. Think of them as elaborate birthmarks. Kris and Frisk are still made of flesh and blood, but are in fact hypermobile. The reason as to why they do is still a little secret :) People here like to refer to these markings as "puppet limbs". You can get a better look at them and the scar in this artwork

Why does Kris have braces? This is why:

Are old art, comics and asks from your blog part of Twin Runes? Unless stated otherwise, all art that was made prior to the start of the comic are not canon to Twin Runes. That mainly includes the old asks. __________________

Why is Dark World Frisk green? Frisk changes their main sweater colors with Kris when they enter the Dark World.

Could other ghosts see Chara? (pre Darkner transformation) No, only Frisk and Kris were able to see Chara. ____________________

IS KRIS NOW FRISK'S COUNTERPART OR CHARA'S???? :) ____________________

Where are Jevil and Spamton? Are they in Castle Town? The Fun Gang have already fought these two in the previous chapters and added them into their inventory. Outside of that little dream sequence, neither will be making an appearance. ____________________

Is anyone from Undertale Yellow gonna make an apperance? Outside of a tiny cameo from Clover (that has no greater bearing on the story) no one from Undertale Yellow is going to make an appearance. ____________________

Is (insert character here) gonna go to the Dark World/underground? With the way the story is going to play out, only the main group will be heading to this new Dark World. The rest of the story will be taking place there. I want to keep the story focused and not involve too many characters. ____________________

How did you come up with the idea of Twin Runes? Twin Runes is an offshoot of a separate script I started in 2023. The concept of this script is similar to Twin Runes, but turned on its head. The funny moments in that script made me continue what now is the start of Twin Runes. I pretty much just wanted to see if I am actually capable of drawing a comic to begin with. So... in a way Twin Runes is my first attempt at a comic ever. If I ever finish Twin Runes, then I know I can tackle turning that mammoth project of a script into a comic too. In the grand scheme of things these two projects are sister series. They have A LOT in common and even share similar plot elements. When Twin Runes is over you will automatically also know certain mysteries of The Other Script. ____________________

What is The Other Script? As of this moment I call The Other Script: "Lost in the In-Between". At its core it's an inverse of Twin Runes. I.e. Kris falling into the underground and being aided by Frisk on their quest to return home. The story is considerably more grounded than Twin Runes and so are the characters. Though they do have their silly moments from time to time. The overall mood of that script is a lot darker in nature and it's a 200+ page passion project of mine. ____________________

Is there x ship in Twin Runes? The focus of this story is not on shipping. If it's in the game it will very likely be mentioned or brought up, but that's about it. ____________________

What pronouns do the human children use in this story? THEY/THEM FOR ALL OF THEM WITHOUT ANY EXCEPTIONS. That is what they are in this story. This is not open to interpretation. Please respect that. If this is a dealbreaker for you, then unfortunately this story is not for you.

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ABOUT FAN CONTENT

Am I allowed to make fanart? ABSOLUTELY! You are very welcome to make fanart if you feel like it. Please let me know if you do by tagging me, so I can share it with everyone to see so that you get the appreciation you deserve! ____________________ Can I use the funny faces you draw for memes or for stuff like memes or for profile pictures? That's what they're here for! ____________________

Am I allowed to translate the comic and post the translation to a different site? For transformative work like this, please ask me beforehand. If I have given you my permission, please link the original work with the proper credit given. ------------------------

Am I allowed to dub your comic? Just like the point above, please ask for my permission first. That is just common courtesy. -----------------------

If I have gotten your permission to create content off your comic (dubbing, translations, etc...), am I allowed to monetize it? NO. I don't make any money off this comic either, as it is purely fan content.

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ABOUT ASKS

Asks will open after a new comic has been released. I will queue the questions from Monday until Friday. Once the queue is full, asks will close. Your questions will then be answered over the course of the week.

Try not to submit multiple asks. If necessary, just keep everything in one post.

Keep in mind that I receive AL LOT of asks. There is no guarantee that every question will be answered.

Questions containing spoilers will not be answered on principle. Wouldn't be as fun if the surprise was ruined, right?

Before leaving an ask (mostly for everyone who's new), please make sure to read the FAQ section above. A lot of times your question might have been answered already.

I love memes and dumb jokes as much as the next guy, but try not to spam

It probably goes without saying, but please stay civil. I want to give everyone the respect they deserve, and naturally like to be treated the same way.

Please be mindful about drawing requests. It is understandable if you're eager to see a certain character drawn in my style, but I do not like to be bombarded by requests. The more it happens, the less likely I am to do it. Be kind and ask nicely.

I don't take unsolicited comic ideas.

Don't use other people's posts that I reblogged to ask me questions! It has happened before and I do not wish to see this!

This isn't an ask blog. The comic has a script that will not deviate. Reader interaction with the characters won't be possible due to the overall "no Player" subplot.

Please do not ask me to put your characters into the story. Like I said, the script is already finished and I'm quite happy with it. Your characters are in better hands with yourself and your own stories. Please have respect for mine.

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ABOUT SUBMISSIONS

The submission box is for FANART ONLY!

It is meant for those who do not want to submit their fanart to their own blogs, in case they feel scared or intimidated to do so.

ASKS AND REQUESTS THAT ARE SUBMITTED THIS WAY WILL NOT BE ANSWERED.

Please wait until the ask box opens. You can read more on how asks work in the section above.

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REFERENCE SHEETS

The following are ref sheets of characters that don't have established Dark World forms yet (as of writing this comic). The list will be updated as soon as a new character enters the Dark World. Here you will also find references of characters that might appear as surprise cameos, or maybe even completely new faces...

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FULL ART

[yourfavoritehouseplant]

I watched James Somerton's final video, and all I got was this 6 page document

As soon as I learned his final unreleased video was on Revolutionary Girl Utena, I knew I had to hate watch it. I didn't know that I'd spend the following 4 hours making a comprehensive doc on everything I hated about it. But here we are.

The TLDR (is this too long to be a TLDR?)

The intro section, as well as Part 2, are directly plagiarized from wikipedia. The rest is unclear.

He makes a “haha this show is so weird right guys” joke 10 different times

He reads Anthy as so emotionally stunted she literally has to be taught how to think for herself, and believes that being the rose bride makes her feel good

He says that his reading is ‘vastly different” from the rest of the community, before boldly stating that this is because he sees it as a “deeply allegorical and symbolic story”

He sees the sexual abuse as “not to be taken literally”

Insists that the show be separated into parts that are strictly literal and strictly allegorical for the entirety of parts 3 and 4, before making the contradictory move of analyzing characters as allegories during part 5

The only characters that get dedicated sections are Akio and Dios, who he doesn’t believe are the same person. 

He says Dios gets his powers by “deflowering women”

He calls Akio, known child predator, a chaotic bisexual

Uses 14 year old SA survivor Anthy’s passive personality to make a joke about her being a bottom

His final point is that Utena was the real prince all along

There are no citations

Anyway, full version for people who hate themselves under the cut. With time codes, because I cite my sources.

Part 1: Intro

This entire section is almost exclusively quoted from the Wikipedia article for Revolutionary Girl Utena. Words have been changed, but the order at which certain topics come up is not. Highlights include:

0:56 In his introduction of Be-Papas, lists the founding members in literally the exact same order as Wikipedia.

1:40-2:00 His list of Be-Papas previous works is lifted entirely from wikipedia, only with the words changed. This leads to a strange moment at 1:52 where he claims Be-papas ‘lent their talents to’ Neon Genesis Evangelion, a show which started production at least a year before Be-papas was founded. On the wikipedia article for Utena, this is instead referring to the previous work of Shinya Hasegawa and Yōji Enokido

4:23 he uses a quote by Yūichirō Oguro describing the production as a “tug of war”. He seems to have lifted this in its entirety from Wikipedia, as he does not cite the actual source it is from (the box set companion book, btw)

As for James Somerton originals, at 0:44 he claims that out of all magical girl series,”none to my knowledge have been more discussed and dissected than the 1997 series Revolutionary Girl Utena” He will go back on this at 5:05, where he states that “Sailor Moon takes the lion’s share of discussion” in regard to influential magical girl anime

Part 2: Part 1

(At least I know I’m not funny, unlike James Somerton)

Speaking of which. Here is every single time he makes a “wow this show is sooooo weird you guys” joke: 6:00, 8:50, 10:40, 10:58, 13:46, 17:07, 24:16, 30:34, 41:19, 48:01

Here’s every time the punchline to the joke is the existence of Nanami, a character who he otherwise completely disregards: 10:56, 12:05, 16:22, 42:40

6:16 Claims that the “Apocalypse saga” and “Akio Ohtori saga’ are two names for the same several episodes, depending on the release. This is untrue. Instead, different releases either only have the Apocalypse saga, or split the episodes into an Akio Ohtori saga and then the Apocalypse saga. 

7:58 Claims Utena intervening on Anthy’s behalf begins the first duel. While this happens in the movie, Touga intervenes in the scene he uses clips from (like literally right after the shot he uses in the video). Utena only gets drawn into the duels when Wakaba’s love note to Saionji is posted. Youtuber Noralities’ Utena video also gets this wrong, which makes me wonder if this was copied.

9:09 Claims Akio’s “End of the World” moniker is actually more closely translated to “Apocalypse”. In reality, the translation moves away from a more apocalyptic reading, with 世界の果て (Sekai no hate) apparently translating closer to “the furthest reach of a known world” or “edge of the world”. (Love the implications of this translation, but I digress)

9:10 As can be assumed from the previous point, this means I can’t find any sources that point to them not using the title “apocalypse” for religious reasons

10:10 Uses Anthy’s extreme passivity under her Rose bride persona to make a top/bottom joke. I’m gonna repeat this in case you’re just skimming. He uses a trait that likely stems from years of abuse, (possibly exaggerated by the persona Anthy uses to manipulate people), and uses it to call her a bottom. 

He also just doesn’t seem to understand how the whole point of Utena constantly telling Anthy that she's just a normal girl who should make more friends is framed as Utena imposing her will on Anthy, just as much as the previous Engaged have done. 

11:54 Apologies in advance for my most “um, actually!” point yet, but technically his statement that Anthy stops being host to the Sword of Dios is wrong. Akio literally pulls a sword out of her chest in the final duel. It's a more evil-looking sword of Dios, granted.

13:02 !!! CANTARELLA SCENE ALERT !!! He interprets it as them fighting over Akio?? Which like. I will allow people to have their own interpretations of vague and symbolic scenes. I will. I swear. This is not technically incorrect. It just makes me want to eat my own intestines.

14:44 Bad Anthy take #1: He states Anthy “is emotionally stunted to the point where she needs people to make decisions for her because she does not know how to think for herself” This ignores several moments of Anthy clearly making her own choices throughout the show, including the suicide attempt Somerton mentions about a minute prior. This also strips Anthy of what little agency she has throughout the story, usually exerted through messing with Utena or Nanami. (The fact that she repeatedly makes choices that contribute to her own abuse is, in my opinion, one of the most interesting parts of her character, and it's a shame that Summerton’s ‘reading’ of the story completely disregards that)

Additionally, he once again reads Utena ‘urging Anthy to think for herself” in the first arc as an unambiguously good move, and not as something critiqued in the show.

14:52 Summerton reads the Swords of hatred as symbolizing men’s hatred specifically. Again, I’m trying not to completely disregard differing interpretations to a show like Utena, but this feels very simplistic, especially considering the harm we see aimed towards Anthy by other women

16:42 Here he claims that his reading of the story seems to be “vastly different” from the bulk of Utena discourse. What is this reading? That the show shouldn’t be read literally. Or, in his words, “[we can interpret] Revolutionary Girl Utena as a deeply allegorical and symbolic story about the struggles of coming of age amidst widespread institutional corruption in a high school and which describes a passive culture of inaction in regard to brazen instances of domestic exploitation in which there is not only a question about the caporeality of the events transpiring but also which events can be taken for granted and which events are meant to signify abstract sociological institutions.” The idea that he believes this is in any way a new reading of the material honestly baffles me.

Part 3: Part 2

17:48 through 18:50 differently quotes the Wikipedia article for postmodernism. He even makes a joke at 17:55 about Wikipedia. Please kill me. 

The first three themes he lists at 19:11 are just the three main themes listed on the Revolutionary Girl Utena Wikipedia page. What was that about a “vastly different” reading, James?

You’re gonna have to take my word for it, but this section is so short because it's just him talking about the various ways the story can’t be taken literally. He does, ironically, call this a hot take.

Part 4: Part 3

Here’s where the reading falls apart folks

At 23:15, he states that some things in Utena are allegorically coded, while others are to be taken literally. This is true. However, he seems to take this to mean that some parts of the show are Strictly Literal, while others are Strictly Allegorical for things going on in the Literal World. 

This is apparently why he prefers the Anime to the Movie, where there basically is no separation between the Literal and Allegorical

This take is bizarre to me for several reasons, but here is my favorite. At several points, he mentions how Revolutionary Girl Utena is a work of Magical Realism. Magical Realism is literally defined by its blending of the “literal” and “allegorical”, the mix of fantastical elements in a mundane, realistic setting. This idea of the impossibility of a blurred line, that Utena must either have lore where the magic is all real and means nothing, or dedicated allegory segments quarantined from the rest of the story, is contrary to the very idea of Magical Realism.

I can’t help but wonder if Somerton took his mentions of Magical realism from a previous work, due to how little it is consistent with his final argument. Either way, this section suggests a great lack of creativity in his analysis, a shame for such a creative work.

24:36: Shiori slander, for those who care

After this he gets really worked up about people assuming symbolism in everything, even when the author ‘doesn’t make it clear something is symbolic’. He shuts down a reading of a shot in the Lord of the Rings. Miley Cyrus is there? Very The Curtains Were Blue of him. 

28:22 Claims that Wakaba is the key to telling where the Strictly Literal segments end and the Strictly Allegorical segments begin. He states that, under this lens, deeply personal moments of character suffering such as all of the sexual abuse and Anthy’s suicide attempt (which he literally cites) should be read as symbolic and be “approached with uncertainty rather than confusion”. (28:24-29:13)

This also somewhat falls apart when you consider Wakaba is the jeep in the movie's car chase

And then he rants about people not liking his Attack on Titan video for a bit. Since its potential symbolism also doesn't follow hard enough rules to be symbolism. Once again, the separation of “fact vs allegory” I haven’t watched AOT, so that's all I’ll say.

Part 5: Part 4

Thank god this part is short. Much like Dios’ on-screen presence.

32:55 Makes the extremely bold claim that Dios is not Akio. As in, never even became Akio. because Dios is Strictly Allegorical.

Just to be a pedant, this is pretty explicitly disproven in the show

Confusingly, both earlier and later he will address these two as the same character. 

33:04 he also explains the root of Akio’s name in a tone that suggests this is supplemental information and not like. Literally something he explains out loud in the show?

Part 6: Part 5

This section is nearly entirely about Akio Ohtori. I would like to note that him and Dios are the only characters with dedicated segments.

38:30 The part where he states that Dios gets his powers from deflowering women.

38:46 Claims, once again, that Akio’s abuse of Anthy “may not be literal”. 

38:59 “the instance of exploitation here is used because assault has deep roots as indicating that akio's gender is the source of his imbalance”  THE ASSAULT IS ABOUT AKIO NOW???

39:45 Bad Anthy take #2: “Anthy’s conformity to the Rose bride is based around the fact that she feels good being subservient because this is the only thing in her life that has ever brought her any kind of positive reward”. This is a direct quote. Anyway, I can’t think of any instances in the show where Anthy’s subservience gives her a positive reward, except maybe when she’s intentionally using it to manipulate others. As for her feeling good being the rose bride. She tries to commit suicide. Dude.

Side tangent, but isn’t this exactly what Akio says during the final 2 episodes? That Anthy enjoys being a witch? Is the main villain, who consistently says things during that very episode that are blatantly false, our source of information for this take? I guess so, since this is the dedicated Akio section.

At 40:20 he decides to introduce the concept of Anthy, Akio, and Utena as stand-ins for wider concepts, which is antithetical to his approach in analysis beforehand

Part 7: Part 6

42:40 he finally acknowledges that he’s been spending too much time talking about Akio, and literally no time on characters like Nanami

46:10 states that Utena’s exclusive motivation “is to protect Anthy from the predatorial intentions of the other dualists”, which disregards the fact, which she states herself, that she was largely participating in the duels and protecting Anthy to feel like a prince

48:04 The part where he says that Akio has ‘chaotic Bi vibes’ in regards to him sleeping with Touga, who is 17 and implied to be a long-term victim

Part 8: Part 7

54:01: His concluding point is that Utena was the real prince all along. 

In true Somerton fashion, the video then ends over a scrolling wall of patrons, with not a single citation in sight.

[shadamyheadcanons]

i love that you don’t put sonic as a jerk in your headcannons but rather supportive! this is so cool, because sonic really wants all of his friends to be happy and with amy wouldn’t be different, specially since they’ve known each other since they were children and sonic himself said that she is a special/dear person to him so i agree he would be happy if amy and shadow got together. as much as i love sonamy, i also love shadamy (sorry for the long ask it’s just that is not that common seeing sonic being portrayed like this in some ffs)

Thanks for the compliment! This one means a lot because I think I’m actually harsher toward Sonic sometimes than a lot of modern shadamy writers are. I say “modern” because new “Amy goes for Shadow because Sonic is a jerk” stories are actually few and far between. It’s easy to think they’re all over the place because there absolutely are a lot of them, but the ones I run into are usually from, like...2012. If you sort by Date Updated on AO3, it tells a different story, pun intended. I believe there are three main reasons for this:

1. Since half of shadamy fans started shipping them in SA2 two and a half decades ago, a ton of us are in our 30s now, writing more mature stories with more fine-tuned characterization. This is one of the advantages of having an ancient ship.

2. It’s a tired trope. We’ve all read a million of them. Most people don’t like how Sonic acts in them for his sake, but my biggest gripe is that they undersell what Shadow has to offer. He’s not just good for Amy because he’s Not Sonic, he’s good for her because of who he is.

3. Sonic treats Amy much better than he used to. The reason “Sonic is a jerk” fics were so common 10-20 years ago is because he was a jerk, almost exclusively to Amy.

These fics exist because no other character works better than Shadow as an arbiter of justice for something that bothered a lot of Amy fans at the time.

More on this under the cut. Lots more. I got kind of carried away.

It’s easy to forget how bad Sonic was when we have games like Frontiers and comics like IDW and Mega Drive now:

Between new fans who aren’t as familiar with older games, longtime fans who haven’t looked at their history in a while, and fans who love Sonic and just don’t want to see him in a bad light, tons of people sweep his old behavior under the rug without even realizing it.

I don’t think any of that is fair to Amy.

A brief reminder of their dynamic in the past:

1. Constant abandonment. He ran from her in Sonic Adventure...

...Sonic Heroes...

And four times in SA2 alone! More on that later.

2. Standing her up on dates. This mostly happened in Sonix X...

[Episode 42, episode 45]

...but there was also Sonic and the Black Knight, where he didn’t show up, didn’t apologize, never made it up to her, and made no attempt to reschedule.

3. Uh...literally hurting her, for some reason...?

At the end of Sonic Riders, when he didn’t feel like properly handling a hostage situation:

Oh, welcome back, episode 42! Didn’t expect to see you again:

The new version of Sonic Generations altered this cutscene, thank god, but back in 2011, players saw this:

4. And the worst part of this, to me, is that he lets her get her hopes up. It’s not just the almost-dates he skips. Knuckles teases Sonic in Heroes, saying, “Are you playing with that girl’s heart again, Sonic?” It’s intended as a joke, but then he does things like this:

Sonic X, episode 52. You know what roses are, Sonic, you know how she’ll interpret this, and you know you won’t follow through.

I know I’m picking on Sonic X a lot, but it was pretty popular at the time, even among fans who didn’t touch the games or comics. This was how they saw these characters growing up, and it made its way into countless fics.

But even after all these years, no matter which continuity you work with...he still won’t give her a solid “no.”

Not liking someone back is fine. Not being interested in a relationship is fine. But letting her believe she’ll win you over if she chases you long enough isn’t, and that’s what he’s doing to this day.

Fans throw around the same tired old “justifications” over and over for why he is/was like this to Amy, but they don’t hold water. People say he’s mean because he doesn’t know what to do with his feelings for her, but he liked Elise, too, and he was nothing but kind to her.

(Putting this here because although fans don’t like to admit it, Elise was indeed intended to be a love interest. She and Amy are presented on par here, so if you think he likes Amy, then he liked Elise, too. You get exactly the same result regardless of who you choose for this trial.)

The other frequent “justification” is that he ran and lashed out because he was afraid of her, often accompanied by awful Amy hate (“stalker,” “psycho,” etc.). This also doesn’t work because Sonic was always harsh to Amy no matter how gentle she was. Classic Amy is the sweetest, most adorable little munchkin in the world...

...and he still ran away.

^ These are from the same exact comic, by the way: IDW Sonic’s 30th anniversary. Five pages apart. How in the world could anyone not want her around?

Amy had more spunk in Adventure and Adventure 2, but she was just as sweet, and he still treated her like a pest to be swatted. The ending of her story in SA1 is this:

But...why should she have to? He treats everyone else with the same baseline of respect, at least until they give him a reason not to. Why is it just Amy? He wasn’t just mean to her, he was uniquely mean to her. She didn’t act out until Heroes in 2003, when she’d already been ignored for years. Standing on the sidelines wasn’t working, so she tried being more “proactive.” Was it the right way to do things? No...but I honestly can’t hold it against her. It makes sense in context. She was a kid, and kids act out when they’re neglected.

And this is where Sonic Adventure 2 comes in.

SA2 was pivotal for Amy. Nearly everyone tossed her aside; Sonic left her behind four separate times in this game alone. First was right after she broke him out of jail on Prison Island. He ran off the second her back was turned:

Second, he and Tails both walked away from her after Eggman blew up the moon. She easily could’ve gotten arrested here.

Third, Sonic and Tails made a plan to stop Eggman right in front of her, blatantly leaving her out of it as if she wasn’t even there:

...which, if you’ll recall, led to Eggman holding her at gunpoint:

...and when Sonic set out to rescue her, this was his recap:

This does not work as a joke given how they treat her. He pretends she doesn’t exist to her face, then says this behind her back.

And immediately after that, when it was time for them to save the world, they left her alone again.

I can’t speak for anyone else, but I was furious by that point.

But then...something interesting happened.

A photoset or gifset can’t do this scene justice, but I think most shadamy fans have already seen it plenty of times. For the few who haven’t, you can watch it here.

The contrast between Shadow and Sonic is impossible to ignore. By building up this moment the way they did, the writers primed us to notice it.

Sonic runs from Amy’s hugs, while Shadow would like more of them, please and thank you.

Sonic pretends she doesn’t exist, while Shadow’s moved to tears and changes the course of his life because he values what she has to say.

Anytime they’ve interacted since then, he’s been uniquely respectful and gentle with her. It’s what she deserves, and for a long time, this was all we had. He was all we had.

The other half of the equation is that it is very, very easy to picture Shadow taking Sonic and the others to task for their mistreatment of her. As a blunt person who’s not afraid to confront Sonic, Shadow is the most believable candidate to this day. The only person to fully respect her from the start also happens to clash with the person who hurts her most often? Of course those fics exist. It’s a perfect storm.

And it’s no wonder that this attitude persists somewhat even now, because Sonic is still doing this, even if he’s “nicer” about it. That prison escape from SA2? The one he never thanked her for? He still gives all the credit to Tails for that, even up through Frontiers:

Amy. Amy broke you out of prison. Tails broke in, and then she snuck through a maximum-security prison, somehow stole a card key, and saved your life. We’re in the 2020s, but he’s still disrespecting her. And don’t get me started on the TailsTube Secret Santa episode.

It feels like Sega wants us to forget all of this ever happened, and it has some very confusing results. From that same Sonic 30th anniversary comic from above, the one where he and the others abandoned her:

Like...this? This is lying. He’s just lying to her. I can’t tell if they think we all collectively have amnesia or if it’s some weird, mean-spirited joke at her expense. I genuinely don’t know what they’re trying to say.

It’s not enough to pretend it never happened and move on, not to me. Sonic should be held responsible for what he canonically did. Him supposedly being bad with feelings didn’t make it hurt her any less, and he’s older than Amy, so he should’ve been the mature one.

The longer the writers keep this up, the worse Sonic looks, and I don’t think that’s what they’re aiming for. Ignoring the problem is not a solution. Amy might forgive, but I’ll never forget.

I just want to see a canon apology so I can reason out why she put up with it for so long. I want to at least be able to buy her having a crush on him. I can do that when he’s being selfless and heroic. I can’t do that when he treats her like the plague, and pretending he never did doesn’t match the Sonic I legitimately like. I bet a lot of s0namy fans would like to see a resolution like that, too.

Sorry to turn your thoughtful compliment into a rant. I really do appreciate it, and I’m glad you enjoy the stories!

[pluviophile6104]

If anyone is interested, I found the songs played in Episode 1: Part 1/4 * The Magnetic Buzz- Slow Touch (Opening Scene) * Tzabutan - El Cognito (0:43) * Charlie Ryan - Garage Band Revolt (3:14) * Zorro- Devil to My Right (4:41) * IamDaylight- Alaska Jam (5:33) * Jesse Lawrence - Step It up Baby (feat. LaKesha Nugent) (6:45) * Victor Lundberg- Keep the Door Open (8:47) * Tom Meira Armony- Holy Moly (15:05) * OTE - I'm Indestructible (feat. Divty & Tigerblood Jewel) [Tigerblood Jewel Remix] (16:27) Part 2/4 * Luc Allieres- Struttin' (0:22) * Mansij- Reverie (0:57) * Aves - Smile (2:32) * Conditional- 200 Dont's (3:00) * The Foundling- Colours of the Rainbow (6:09) * Nuvo- สุดสุดไปเลย (12:42) * Staffan Carlén - Just a Little Sunshine (15:13) Part 3/4 * The Magnetic Buzz - Keep Your Head Down (0:45) * Pastis - Castle to Ruin (0:55) * Medité- What Once Was Left Behind (2:04) * Taniya Jannat- Break It Up (2:57) * Vividry - Every Second of My Life (5:12) * Richard Farrell- Soul Swingin' (8:06) * Assaf Ayalon - Willie (feat. Roy Young) (9:26) * Raw - Ghost Witch (10:34) * Stonekeepers- A One Way Ticket (feat. Ed Mills) (11:44) * Ardie Son - Roadway (14:00) * Ikoliks- Devil in the Bottle (16:22) Part 4/4 * Aves- Summer Breakup Song (3:29) * Charles Holme- Change by Reversal (5:35) * SLPSTRM- Stampede (6:05) * RocknStock- Dirty Business (6:25) * RocknStock- Rumble (8:45) * OTE- Black and White (9:52) * Raw- Enter the Ring (10:31) * Out of Flux- Chaos at the Spaceship (12:05)

[weaselandfriends]

The Making Of: When I Win the World Ends

(For my previous Making Of post, see The Making Of: Cleveland Quixotic.)

I. 1999

It was the year of the cubicle movie. It was the year of Fight Club, of Office Space, of Being John Malkovich, of Three Kings, of The Matrix, and of American Beauty. It was the year of suburban malaise, of eternal sunshine, of ceaseless normality. A year of United States hegemony; a year whose chief terror was that THIS WAS IT.

Before the millennium turned and the towers fell, there was an initial challenge to this order, a completely inconsequential one made consequential by a newly minted 24/7 news media machine running out of noise to fill dead air now that people were sick to bursting of the Clinton impeachment. This challenge came not through war, revolution, or violence, but through entertainment. Children's entertainment.

And I was a child. Unaware of any cultural context, I knew only one thing: I loved Pokémon. I really, really loved Pokémon.

I owned Red Version, Blue Version, Yellow Version, Pokémon Pinball, Pokémon Stadium, Pokémon Snap, Hey You Pikachu, a Pokémon Tetris sort of puzzle game, even the Pokémon TCG game for Gameboy. I had ten to fifteen strategy guides for the games, an encyclopedia of the 151 Pokémon, a choose your own adventure book, an I Spy-style book. I had Pokémon figurines, Pokémon plushies, toy Poké Balls, toy Pokédexes. I had Pokémon stamps and Pokémon stickers and a deck of Pokémon cards. Not trading cards, just a standard 52-card deck with Pokémon pictures on it. Of course I also had the trading cards. A complete set of the first three runs, plus a special Mew card you could get from I dunno Toys R Us or something as part of some promotion. I had a guide for the card game that explained which cards were good or bad even though I didn't even play the card game. I had a Pokémon Tamagotchi and Pokémon pencils and Pokémon erasers and Ash Ketchum's hat and I dressed up as Ash Ketchum for Halloween. Of course I watched every episode of the anime, and in notebooks I drew doodles of existing Pokémon and came up with names for new Pokémon. My father had died that year.

My father was a sports fanatic. Traditional sports. He, too, collected. Sports memorabilia, baseball cards, figures of famous stars. When I was an infant, he drove me on a cross country road trip to Lambeau Field in Green Bay, Wisconsin, where I became a part owner of the Green Bay Packers. He had always wanted me to grow up and pursue professional sports. When I was born, the doctor apparently said to start looking for football colleges, a quote he saved in a scrapbook of baby photos. He had played sports himself, in college; he was a baseball catcher, until a hitter accidentally struck him in the head with a full force swing.

Almost everything I personally remember about him involves him dying. He was sick for a long time, and I remember hospitals and hospital beds and strange smells and gauze. And then one day my mother told me he died.

He was a charismatic man, very social and very popular. He had many friends and a lot of family, all of whom had constantly been around our house. Once he was gone, they stopped coming around. Then it was just me and my mother, who was not a fanatic for anything, except maybe her job as an elementary school teacher, which consumed her time as she assiduously prepared lesson plans and graded tests until late at night. When my father died, she got into some argument with his side of the family, the details of which I still don't fully understand, and afterward they no longer spoke. Her own family lived far away, out-of-state, seen only at Christmas. The house became quiet.

And I… played… Pokémon.

II. The Electric Tale of Pikachu

Toshihiro Ono was a mangaka primarily known for shotacon and futanari hentai. His credits such as Innyou Megami and Anal Justice made him a no-brainer pick for the officially licensed Pokémon manga, Electric Tale of Pikachu, as it too would feature a 10-year-old boy as the protagonist.

This manga would be the foundation for my conception of what Pokémon was, narratively. Though I also had the Pokémon Adventures manga that ran concurrently and which has by now long outlasted it, Electric Tale left a significantly deeper imprint on my memory.

In summary, Electric Tale is a retelling of the first two seasons of the anime. Ash Ketchum is the main character, he's accompanied by Misty and later Brock, his rival is Gary, and Team Rocket harangues him.

What sets Electric Tale apart is its tone, which is far more adult than Adventures and the anime. Obviously, part of this comes from the author's primary area of expertise being hentai. Even in the censored English version, there is a sense of sexual playfulness in how every single female character is an older woman who likes to tease Ash about his romantic interests.

But there are other elements that creep in unrelated to sex, due to the perspective of someone only used to speaking to adults who suddenly has to speak to children. Ono doesn't really get the childish fantasy of leaving at 10 being normal in society, so he introduces an element where Ash can only get a one year deferment from school and will have to return unless he hits it big. Team Rocket are former competitive hopefuls who flamed out and then, with no education or work experience to speak of, had no choice but to turn to crime. The Pokémon are depicted more realistically, often eschewing the toyetic mascot elements of their designs.

And the landscapes are often wistful, even apocalyptic in their presentation:

This more sedate, mature, realistic depiction of Pokémon became what I wanted Pokémon to be, what I projected onto an original Red and Blue version that left everything open to interpretation, and what would increasingly frustrate me with the series as it deviated more toward bombastic villain groups with goofy destroy-the-world plots. (Which was what put me off Pokémon Adventures.)

Amid all this, one panel stuck with me in particular. One panel I would think about ever since I first saw it as a child, that would turn around in my head and keep coming back. That panel would eventually—over two decades later—become the basis for When I Win the World Ends, the seed from which an entire story grew:

III. The Unkillable Demon King

But in the interim, the seed remained dormant. 1999 fell away. I grew up. I played later Pokémon games and increasingly lost interest by around Gen 4 and 5. Then I went to college.

That's when I started playing League of Legends.

I was something of a psychopath in college. I operated on a strict schedule and did not deviate. Wake up, read 50 pages of classic literature, write 2,000 words, go to classes, study, and then by about four in the afternoon all my obligations were done and it was League of Legends until midnight.

I wasn't actually interested in the League of Legends esports scene in its infancy. In 2012, I was actually invited to attend its World Championship in Los Angeles and refused. (When I received this invitation, I had just finished reading Homestuck for the first time, and was caught in a month-long haze in which I could do little but bask within what I considered the greatest artistic achievement I'd seen in my life. It was this month that inspired Modern Cannibals.) I only liked playing the game and watching Dunkey videos.

It wasn't until the next year, when a girl I was interested in recommended I watch, that I tuned in to my first professional League of Legends game, at the 2013 World Championship. It was there that I got to watch this new, hyped, upcoming Korean player who had apparently taken the pro scene by storm that season. That player was Faker.

It has seemingly become essential to the narrative of any sport that there is "the man who always wins." American football has Tom Brady, and the moment Brady retired, he was replaced by Patrick Mahomes. Basketball has LeBron James, picking up the mantle from Michael Jordan. It's as if someone being "the best" validates the skill-based promise of the sport, the fundamental top-down fairness of its premise, the idea that the person who wins is the best and deserved it. Faker would become the backbone of League of Legends esports and his ascendance correlated to that of the sport itself, from its humble roots at small-scale tournaments in places like Jönköping, Sweden, to max capacity arenas in the biggest cities in the world.

It's surprising, though, how the legend of Faker had already begun even before he won his first World Championship. League of Legends was designed as a clone of Defense of the Ancients (DotA), a popular mod for Warcraft III that emphasized competitive play. In its infancy, the competitive scene was mostly dominated by players who had migrated from DotA to League. They were older, winning thanks to a fundamental conceptual understanding of the game that was superior to everyone else, and frankly not very good in the aggregate. As League of Legends esports exploded in popularity from 2013 to 2015, these old pros would get filtered out swiftly, with even the biggest and most popular names retiring after only a couple of years in the scene.

Even once the new generation of League-grown talent ascended, though, careers were nasty, brutish, and short. The best players only remained on top for a season, as game patches dramatically changed viable strategies. Internationally the sport was dominated by Koreans, with the Korean regional league sometimes being seen as more difficult to win than the World Championship, where Koreans often breezed through uncompetitive Chinese, European, and North American squads.

This possibly affected the demographics of the professional scene. South Korea has mandatory military service, and leaving the pro scene to join the military was basically the end of a Korean player's career. This meant that it was rare to see a Korean player older than 25. Retiring in your early 20s was and remains common. Korean organizations, which had an infrastructural leg up on other regions due to the popularity of StarCraft 2 esports in the country, became adept at scouting promising players at 15 or 16, building them into top level competitive pros, wringing them dry for a few seasons with brutal training regimens, and spitting them out.

Faker was the exception. Though he had been discovered young by SK Telecom, a major Korean telecommunications company that did esports on the side, and gone through the training regimen, he refused to be spit out. He simply didn't stop. He won in 2013, then with a completely new four-man squad around him won again in 2015 and 2016 before narrowly losing the 2017 finals in a nail biter. Given League of Legends esports had only existed since 2011, he basically accounted for half of the championships up until that point. Nobody else, except for his teammates, had won more than once. And it was like it was known he would be this juggernaut the instant he manifested ex nihilo. Like it was known, even in 2013, that he would always win.

Then, Faker stopped winning.

By 2017, League of Legends esports was a titan. Venture capital firms, seeing the millions of eyeballs, thought that this was the next NBA in its infancy, and decided to get in on the ground floor. Multiple millions of dollars were pumped into the scene as even mediocre players in weak regions like North America pulled seven-digit salaries. In China, where League of Legends had become the national pastime, the nation's richest oligarchs ran teams for fun and vanity, outbidding Korean organizations for top Korean players in pursuit of a trophy that had gone to Korea every year since 2013. Riot, the studio developing the game, pumped tons of money into creating a professional sports product, with skilled announcers, dedicated arenas for regional leagues, live performances by musicians like Imagine Dragons and Lil Nas X, and all the other bells and whistles one might expect from a program watched on ESPN.

In this milieu, it seemed like Faker had finally reached his limit. He was still good, but not the best. Even as an individual, while everyone still considered him the "greatest of all time," he was considered outmatched by newer pros like Chovy and ShowMaker. 2018, 2019, 2020, and 2021 passed with no championships. In 2022, on a team of mostly rookies, he reached the world finals, but was ultimately beaten. Korea's stranglehold over the sport had been shaken by China, which had finally strung together some championships. People wondered if Faker would retire, although he had managed to avoid mandatory military service by representing Korea in the Olympics-esque Asian Games. He'd dealt with wrist injuries and his level of play dropped year over year. He just didn't seem to be that good anymore, potentially holding back his team of talented young players rather than leading them to victory.

Then, in 2023—

And in 2024—

In the end, never count out Touchdown Tom. 11 years of professional play, 5 world championships.

From this longwinded explanation, you might have realized that after watching that game in 2013, I became a League of Legends esports fanatic, fulfilling the prophecy set before me by my father though perhaps in not the way he would have expected.

And the things I become a fanatic about, I want to write a story about.

IV. Modern Cannibals

There's a deleted scene in Modern Cannibals, as Maximillion is driving Z. and her friends through the Utah desert. He starts to talk about Pokémon.

"I bring it up because my university thesis was about Pokemon in particular how Pokemon has basically trained an entire generation of children to think in a completely different way than preceding generations my generation for instance our fad was Teenage Mutant Ninja Turtles now I don't know how much you know about Teenage Mutant Ninja Turtles but from an educational standpoint we're talking absolute bankrupt complete and utter goose egg but Pokemon now Pokemon you see it's more like there's some substance to it you know that refrain Gotta Catch Em All right?" "..." "Well to most parents it looks like a marketing gimmick you make one hundred fifty-one characters and structure a game around collecting them the merchandising potential is astronomical kids buy one hundred fifty-one trading cards stickers coloring books figurines uh collectable lunchable toys I'm sure you've got some yourself."

He continues:

"But really you look at the game itself before the big toy explosion the game itself the focus is placed less on the collection and more on the catalogue you're given a blank encyclopedia to fill and you fill it by capturing one hundred fifty-one Pokemon but the goal is to create a complete database of each and every one and this is what I argue is the educational core of the Pokemon series." His hands left the wheel to conceive of his idea in the cool air of the car, which remained steady on its ever-forward path. "Our modern era is no longer one of singular isolated knowledge it is one of the catalogue the database which is most clearly personified in the advent of the internet because now all knowledge can be at the fingertips of any one human being all that is needed is someone to go and put the catalogue together and presto whiz bang it's there think about it Z. when you catch a bunch of Pokemon where do you store them?" Z. didn't need to think long to remember the game's mechanics. "In the PC." "Exactly now isn't that odd consider it in real life terms you have real life creatures made assumedly of flesh and bone and yet you store them in a computer how does that make sense you'd expect a farm or a holding pen but no it's the computer and that too prepares the budding portion of the millennial generation to become cognizant of the linkage between the computer the encyclopedia and the database structure of knowledge in a new era." "So," said Z. "So you're saying Pokemon taught kids how to think in the digital age?"

There's also a deleted character in Modern Cannibals. Well, mostly deleted—he still shows up, unnamed, in a couple of pages. He is Cole Coulter, Z.'s older brother, a popular League of Legends streamer. Before I deleted him, his role was to accompany Mrs. Roddlevan and Frederick in an attempt to bring Z. back home. He had POV scenes that gave insight into the weirdness of his cotravelers, but ultimately, I decided he didn't add anything to the story and removed him almost entirely.

Even then, though, I was already considering the future of Cole Coulter as the protagonist of a story about League of Legends esports. Playing under the ID MadKing, he would be a North American professional top laner, once known for his aggressive duelist style but recently forced into playing boring tanks as the esports metagame became more sophisticated and tactics-based.

The story would be simple, something I envisioned as a "sports story" only about esports instead of regular sports. It would start with Cole's team being relegated from the league, only for Cole to get a last chance signing to a new team with two promising Korean imports. One import, the mid laner, would be a charismatic and eccentric player in the mold of Doinb/Ganked By Mom/Huhi, while the other, an AD carry, would be introverted and pissy and elitist, in the mold of Piglet. The team would initially struggle, cultures would clash, then a mid-season replacement to sign a psychopathic Tyler1/Tarzaned style streamer as jungler would revitalize the team, put them on a major run, and get them to the World Championship. Though they would eventually fall after a miracle run, Cole would get a moment to truly shine on the biggest stage when he won a pivotal game by aggressive split pushing rather than tank play.

Thematically, the story would be about two things. First, a counterpoint to the idea of American exceptionalism, featuring a league where Americans are particularly bad compared to Korean or Chinese players. Second, an exploration of what it means to be exceptional at all. Cole would be an all-around mediocre person. Middling at school, at (real) sports, at the various popularity contests of being a teenager. League of Legends, this niche sub-sport, is the one thing he truly excelled at, the one place where he was good, better than 99.9 percent of all players, and yet even within that statistical greatness he wound up, ultimately, in a professional scene where he was once again mediocre, relegated to "tank duty," to facilitating other players to carry.

What does it mean to be the best? How can someone be so, so good, only to reach a level where they were still nothing special? Is there any way to win if you're not "the man who always wins"?

I remembered that panel from Electric Tale of Pikachu. The last people filtered before the final champion. It's certainly no walk in the zoo!

This idea was pretty detailed for a story I never wound up writing, something I mostly blame on the years 2018 and 2019, when a lot of bad things happened to me and in retrospect I consider it a minor miracle I managed to finish Chicago at all. As a human being, I would be decimated for the next three years, and so a lot of stories I might have written in that time never came to fruition.

Meanwhile, League of Legends esports reached a peak, then the venture capital bubble burst as investors realized there was no monetization scheme in place for any interested party except Riot Games. Money hemorrhaged out, Riot shifted resources to Valorant, and a sport that had been overinflated based on projected exponential growth in perpetuity fell back down to earth.

Also, Players came out.

Players was a 2022 mockumentary about a fictional League of Legends team competing in the North American league. Conceptually, it was doing a lot of what I had planned for my story: following a single team on a rags-to-riches run, focusing on the interpersonal drama of the team members, asking questions about greatness and its pursuit. It's a pretty good show if you're familiar with League of Legends esports at all, with a lot of on-the-ground fidelity that gives it an authentic feel, which is exactly what I had been hoping to use my esports fanaticism to accomplish. It completely took the wind out of my sails; it was like my idea had already been done.

So by 2022, the idea of a League of Legends esports story was dead. But there was still a drive to create something with that spirit, that would delve into those themes.

What remained after all these years of sifting the sieve, letting sand slip through, was that one panel from the manga. The number of people pursuing greatness slowly filtering until only one remained. And if I wasn't going to pursue that idea through League of Legends, maybe I could pursue it through another vehicle. Maybe the vehicle through which the idea had originally been exposed to me. Pokémon. It all came back to Pokémon.

V. Everything Evolving Into Crabs

I knew immediately that if I were to write a Pokémon fic, it would be a tournament arc. This was the natural evolution of my esports story idea. Also, if I were to write Pokémon, I wanted it to be a story about utopia, immersed within Pokémon's near-future ideal world, where everything is clean and healthy, where society is neat and ordered.

This idea caused me to remember the novel Eyeless in Gaza by Aldous Huxley, which I had read a few years back. A mostly autobiographical bildungsroman written on the precipice of World War II, the novel ends with the young protagonist on a journey to Central America, where he meets an idealistic doctor who believes sport to be a proper substitution for war. He tells the story of two tribes locked in internecine conflict through generations, able to replace that violence with soccer matches.

And wasn't that what the world of Pokémon was, a utopia revolving around neutralizing weapons of war by using them for competitive sport?

This tournament, I envisioned, would not simply be about deciding who was best, but an ideological battle for the future of the Pokémon world. To that end, I imagined a war between an entrenched trainer class, who competed as philosopher-warriors, intense individuals with deep connections to their Pokémon, and an upstart commercialization that sought to replace the ideological underpinnings that made their society so safe and prosperous with economic accumulation. It was from this kernel that the character who would become Aracely Sosa arose: charismatic, appealing, human-empathic, and propped up by a support staff who did all the hard work of teambuilding for her.

I imagined the story having an ensemble cast, focusing on nearly every competitor equally, with the Aracely character not having any especial focus until her improbable rise to the top. I imagined a final round where she faced off against "the man who always wins," and though she would lose to him, she would seem to have won the ideological battle, altering the course of society as major corporations scrambled to employ her formula for success at a much grander scale. The story would end with this realization of the earth-shattering importance behind her run, only for Aracely to sink in disappointment. Because in the end, all she really wanted was to win.

The more I thought about it, though, the less I liked the idea of an ensemble cast. The ensemble cast element of Chicago hadn't gone over very well (though I like it), and I figured it would wind up inflating the length of the story considerably. I was coming to the end of Cleveland Quixotic, after all, and once more wanted to write something smaller, tighter, and denser.

So I oriented my thinking to instead have the story revolve around Aracely and one major rival, to give an interpersonal mirror to the ideological war being waged. Thus, Toril came about as an antithesis to everything I had imagined Aracely to be: gruff, antisocial, independent. Their rivalry would culminate in a semifinals battle, before Aracely went on to fight "the man who always wins" in the finals.

I forget exactly when the gender theme came into the equation, but it evolved as an outgrowth of (once again) my competitive League of Legends expertise, where women are essentially nonexistent despite there seemingly being no biological blocks against them. This dovetailed nicely with Pokémon, a world where women seemingly could be powerful competitors, but where—in the anime at least—none ever are. For instance, look at this chart of every major tournament in the anime:

Every known winner is male. Every known finalist and semifinalist is male. Only a handful of female characters have reached the quarterfinals. What possible in-universe justification could there be for that?

This question was actually far more prominent in early planning and drafting than it wound up being in the final work. Initially, I had Aracely's personal motivation revolve around a drive to be the first female trainer to win; this would increase the ideological conflict between her and Toril, who attempted to ignore that she was female altogether. Over time, this theme would see diminished importance in face of the last piece of the thematic puzzle: cults.

It came from reading Underground by Haruki Murakami, a nonfiction journalistic account of the 1995 Tokyo sarin gas attacks carried out by the cult Aum Shinrikyo under the direction of its leader Shoko Asahara. Japan in the 90s was experiencing its own End of History, one taken literally by those disaffected with modern society's grand narrative. The prophecies of Nostradamus became fashionable among the young, who believed that 1999 would be the final year before the world was destroyed. Murakami interviewed both survivors of the gas attack and members of Aum Shinrikyo, collecting worldviews of people who simply thought they were "different" and who were willing to give everything in their lives to the one place that seemed to accept that difference.

The 1995 attacks were a watershed moment in Japanese culture. In their wake would come pivotal works of Japanese pop media, like the titan of otaku culture, Neon Genesis Evangelion:

(What's scary about Nostradamus' prophecy is that it might not come true. A year whose chief terror was that THIS WAS IT.)

Pokémon, whose first games released in Japan in 1996, also emerged within this post-Aum world where fixation on the minutiae of pop media was becoming a primary pillar of meaning for the youth, and it's hard not to see echoes of cultism in the evil teams that dot the series' landscape. Even Team Rocket, originally more modeled on organized crime than occultism, veers that direction in Gold and Silver, and afterward the organizations and their world-ending plots become increasingly absurd, to the point where it starts to become unclear why anyone would ever follow, say, Lysandre.

As I mentioned earlier, my personal interest in Pokémon was at odds with these clownish, Saturday morning cartoon villain organizations, but Murakami's account of the Aum attacks recontextualized them for me, made them make sense even within the framework of a "realistic" utopian world. The last elements snapped into place, and I knew my main character would be the member of one of these cults. A cult dedicated to, what else? Evolution. A core element of the Pokémon series, a perfect metaphor for the frustrating lack of movement of the End of History 90s. I imagined a cult leader as a surrogate mother figure for Aracely, who would have a strained relationship with both of her own parents, and deciding on that, the idea of making Pokémon's canon evil mother Lusamine the villain was a no-brainer. I imagined a post-SuMo Lusamine, unable to move on from her experience merged with Nihilego, languishing in Kanto after being sent there to consult with Bill, who had his own experience being merged with a Pokémon... It didn't take long to figure out how all these pieces connected.

The full form of the story had taken shape.

VI. Showdown

I knew immediately I would be following Showdown rules for the battles. No alternative even crossed my mind. I had dabbled in Showdown a few times over the years, first in Gen 3 OUs, then later in Gen 7 OUs, and I knew from experience that Pokémon is a monumentally more interesting competitive game when operating at a high level compared to either its depiction in the anime (shounen logic, mid-fight evolutions) or the general playing experience (spam your best move on your overleveled starter). I knew I would use competitive rulesets before I even considered the thematic or worldbuilding aspect I would eventually take in the story itself (i.e., that the specific rulesets prevent battles from becoming bloodsport and enforce order on the world). I simply thought doing battles this way would be far more entertaining.

To prepare, I started playing Gen 9 OUs under the guidance of a few friends who were into the competitive scene. I grinded the ladder for months, eventually getting a good enough grasp on the metagame to reach 1500 Elo on the Showdown ladder, which is not very good but generally higher than someone can reach with dumb luck.

Crafting the tournament format and rulesets used in the story wasn't difficult. I modeled the tournament format on the League of Legends World Championship, with region-based seeds (having been selected due to performance in regional tournaments) competing in four groups before the highest performers advanced to a single elimination bracket. Initially, I envisioned a 32-competitor bracket instead of the 16-competitor bracket that would appear in the final draft, but otherwise the format came quickly and easily.

In terms of the rulesets and available Pokémon, my considerations were made primarily in terms of what would be most entertaining to read. I decided to include Mega Evolutions and not include Z Moves, Dynamax, or Terastallization, because Mega Evolutions are cool and those other gimmicks are not. The bring-9-pick-6 format, while unusual in Showdown rulesets, is similar to the rules in Pokémon Stadium and VGC tournaments, and also adds a level of intrigue to which Pokémon each competitor uses. (It also enabled Red's Zapdos at the climax of the story, which was something I knew I would bring out from very early on.)

With the help of one of my friends who knew competitive Pokémon, I scripted out each battle assiduously before I wrote them. Every battle was tested using Showdown itself, with only a few turns mocked up to account for luck. For instance, in Aracely versus Jinjiao, Slowking is meant to stay asleep for three turns. Rather than rely on luck to ensure Slowking actually slept that long during the test, I could give Slowking a useless move and have him use that instead to simulate being asleep.

The only thing that couldn't be tested in Showdown was the 7 PP Kingambit trick Red uses at the end of the story, because it's impossible to set a Pokémon to have fewer than max PP in Showdown. This led to one of the bigger mistakes of the story, as it turns out that Encore would simply wear off if Kingambit ran out of PP, rather than forcing him to use Struggle like I assumed. Luckily, even if this were the case, it wouldn't change the outcome of the battle, so it's not an error I lose too much sleep over.

Character teams were chosen to thread the needle between a few considerations. The team needed to be competitively viable, reflect the character's personality in some way, and be distinct from other teams for the sake of variety. (Variety is somewhat unrealistic in real top-level competitive Pokémon, where you'll often see many almost identical teams in the top ranks. But that would be boring.) Some lack of optimization was allowed under the conceit that actually training these Pokémon to peak form would take a lot of time in the real world, compared to Showdown were optimization can be determined quickly due to the ability to immediately adjust stats and builds.

I also tried to give some preference for Pokémon that would be more familiar to layman fans, though this was difficult because Gen 8 and 9 have outrageous power creep and many popular early generation Pokémon have been completely phased out. (Using Megas helped with this issue.) It was this consideration that led to Azumarill being Aracely's ace. There was also an innate challenge to imagining what the competitive scene would look like without legendary Pokémon. Zapdos and Landorus-Therian have been inexorable staples of the competitive scene for generations. What happens in a world where they aren't used at all?

In the original 32-person bracket, I imagined Aracely competing against Jinjiao in the first round, then minor characters Adrian da Cunha and Jacq Ray Johnson in the next two rounds, before facing Toril in semifinals. I imagined Adrian da Cunha as a "hometown hero" whose team wasn't great but he was plucky with a lot of grit, and Jacq Ray Johnson as a self-aware heel who liked to use cheesy strategies and gimmicky Pokémon like Smeargle and Ditto. Condensing from 32 to 16 occurred around the same time I had settled on Lusamine as my villain/cult leader, which led to replacing those two with Gladion. I developed full brackets for both the 32-man and 16-man iterations, with character names and regions, just in case I ever needed to mention them.

All that was left to do was write the story.

VII. Unbroken Line of History

I began writing in September 2023 under the tentative title Unbroken Line of History, which I would later change to simply Lines. In the original drafts, I opened the story with a modified version of the panel from Electric Tale of Pikachu detailing how people are filtered over time in their pursuit of being the best, this time starting with all 8 billion people in the world until only one remains. The story then cut to Aracely's perspective in the restroom as she mentally prepared for her final group stage match.

At this point I was more set on Aracely being the clear protagonist of the story, so she had a few facets of her personality designed around that. First, as I mentioned before, there was a feminist angle where she was motivated specifically to be the first female trainer to win the championship. Secondly, I threw in some more generic nervousness/fear of failure. The other major difference is that I did not lead with the cult prophecy of the world ending. I originally envisioned the cult reveal to be a mid-story twist, and only obliquely hinted at it.

The scene still played out with Toril appearing and the two getting off to a bad start. Then, Cely's father tried to talk strategy with her while she ignored him, before the battle transpired in much the same form as it does in the final draft.

I showed this early draft to my friends and most disliked it. My girlfriend at the time told me Cely sounded like an edgy 13-year-old boy, while my neuroscientist friend whose aspirational idol is Bondrewd from Made in Abyss wanted to know more about the oblique hints of a cult, finding everything else boring. Another friend said it was stupid that there were 30 seconds between turns during the battle and that the Pokémon should just go at each other; nobody would actually want to watch a battle that was paced so slowly. (I vehemently disagreed with that take. Basically every popular sport balances between slow-paced moments of strategy and fast-paced moments of action and execution.) Some people I showed it to did enjoy it, though. Gazemaize, the author of Chili and the Chocolate Factory, was especially enamored by the Brittany/Gardevoir reveal and the Bud Light Analyst Desk, and implored me to keep both of those elements at all costs. 7th, one of my friends who helped me with the Showdown stuff, was so into it she drew fan art of all the characters (which I've posted before) and also wrote eight pornographic short stories about them.

I rewrote the same opening scene several times across October and November, though these were minor iterations without significant adjustments. Frustrated with the lack of progress, I decided to take a break from writing to simply think about the story for a few months.

During this time, to fix Aracely's edgy 13-year-old voice, I decided to lean into her being from Pokémon Los Angeles (with her native region, Visia, being a play on "visual" as a reference to Hollywood) and gave her a Valley Girl accent. To prepare for this, I listened to hours and hours of ASMR videos of people speaking like Valley Girls and took notes on their inflection and syntax. It was here where I decided on Aracely's underlining quirk, as a way of capturing the unique style of emphasis Valley Girls used.

This also made me realize I needed to adjust Aracely's personality. Despite the tone of her voice, she was still acting antisocially. She didn't want to talk to her father, she didn't want to talk to Lachlan Nguyen, she didn't even really want to talk to Toril. Toril herself was a lump of coal. My own misanthropy kept leaking into the characters, even when I conceptually didn't want them to have it. I thought back to Cleveland Quixotic, and how what made the Jay and Viviendre romance work was that they actually both liked each other, and figured—even though I didn't have explicitly romantic plans for Aracely and Toril—that I needed to do something similar to make their rivalry truly pop. Rather than avoid people, Aracely would lean into talking to them, even if they were annoying. Although Toril remained frigid, there would be a part of her yearning for emotional contact, a way to coax her out of her shell.

I also thought deeply about the structure of my stories in general, and my inability to come up with good hooks. It was around this time that someone I knew was reading Chicago. They pointed out that the plot of Chicago doesn't really start until Chapter 26; that I was "burying the lede." I considered this. My logic, when writing Chicago, was that the Empire moving to take over Washington would be a twist, something that would shock and excite people and change their perception of the entire story.

But did that make sense, when really the story was "about" that twist? Didn't that just make everything before the twist harder to get into for a reader? Chicago might look radically different if I revealed the Empire's goals immediately, but it would also probably be a more immediately engaging work. I'm a big fan of delayed gratification in storytelling, but had I taken it too far?

This was a major revelation for me, and immediately I understood what I needed to do for my Pokémon story: move up the cult plotline. Place it front and center. Name the whole story after it even. I decided on framing the opening scene from Toril's perspective, depicting Aracely initially more as an alien other, emphasizing the fact that she was in a cult rather than hide it behind foreshadowing. This could also lead to Aracely and Toril having more of a dual protagonist setup, which would make my planned two-half finale (one half where Aracely battled "the man who always wins," one half where Toril got involved in stopping the cult's doomsday plot) work even better.

Confidence resurged. At the end of January 2024, my girlfriend of seven years  and I broke up. A few days later, I started writing the sixth—and ultimately final—draft of When I Win the World Ends.

VIII. When I Win the World Ends

Now it's the part of the Making Of where I actually make the thing I'm supposed to be making, but there's a lot less to say about it. Once I have a plan, the actual writing of the story is the easy part, and most of what I wrote—with a few exceptions—looks similar to the story as it exists now.

There were some oddities. I wrote the first seven chapters (everything up to the end of the Jinjiao battle) and then had to take a two week break to write a short piece for a writing contest I had entered in December as part of an effort to stop overthinking WIW. After this interruption, I returned to WIW writing perhaps a bit more perfunctorily than I usually would, leading to an original version of Chapter 8 (the chapter where MOTHER makes her first real appearance) that was short and abbreviated. Later, in editing, I would rewrite most of this chapter.

A few ideas emerged while writing, like the motif of serendipity/Logos, which I felt tied nicely to the ideas of evolution and history. It was also in this draft that I introduced Cely's friends Haydn and Charlie, as a nod to an earlier work of mine also featuring a fashion-obsessed girl from Los Angeles. (Speaking of nods to earlier works, in the original 32-man bracket, Cole Coulter featured as one of the competitors, but he didn't make the 16-man cut.)

The process went smoothly. I finished the draft at the end of May, a little under four months after I started it. I had envisioned the full story as being about 70,000 words, but the draft ended up closer to 115,000. Underestimating story length is just an essential element of the trade, though.

A few days after finishing the draft I went on a four-day Oklahoma Darkness Retreat where I had access to zero electronics. The goal was to think about my story deeply and how it could be improved in the editing process.

In this time chamber, where I did nothing except complete crossword puzzles and read The Recognitions by William Gaddis, I came to a realization. There was one element the story needed that wasn't already there.

That element was Sabrina. In the original draft, Sabrina was not present during the scene where Aracely meets the Old Man. She was mentioned obliquely a couple of times in conjunction with Aracely's "psychic powers," but it never really built to anything. There was still a scene where Aracely was interrogated due to her relationship with MOTHER, but only by nameless goons, and the scene lacked tension as it was clear Aracely could talk circles around them.

When I returned from Oklahoma, I prepared for my conception of Sabrina as a character by writing an 8,000 word short story from her perspective, which hashed out an entire backstory for her. Then, I started editing the draft.

For me, a lot of editing is just polish. Usually, cutting out needless sentences and fixing clunky ones, as well as emphasizing a few of the more understated themes and motifs. For instance, during editing, I made slight additions to emphasize the thematic connection between Aracely's suicide attempt and the global war that almost destroyed the world, as well as the connection between the moon and cyclical insanity (lunacy, etymologically, being related to the moon). I made the Old Man more of a Walt Disney-esque figure (from my notes: "a dying Disney"), rewriting much of his dialogue to either be direct quotes or to evoke his ideals. I also expanded on several of the scenes where Toril and Aracely interact to make their relationship more complex and nuanced. I gave MOTHER some new dialogue, including her speech in Chapter 18 about loving a child for the potential it promises, while also paradoxically wanting it to remain a child forever.

The largest changes were in the three chapters I almost fully rewrote. The first was Chapter 8, which as I mentioned earlier was overly terse. In the original draft, it depicted MOTHER as more pathetic, more dependent on Aracely. I decided to make her a more threatening figure, and incorporated a few references to the Moloch sacrifice scene from Valle Verde to make her seem more like a false idol. Similarly, I rewrote Chapter 12, which was originally a very short chapter that focused solely on a conversation between MOTHER and Nilufer that ended with the order to kidnap Aracely. In rewriting the chapter to include Fiorella, I gave myself more opportunity to flesh out the respective philosophies of her and MOTHER (including some of the story's most salient discussions about why cults exist), as well as give more of an insight into the inner workings of RISE as an organization. And lastly, I fully rewrote Chapter 19 to include Sabrina.

The last changes I made in editing were to the final chapter. When I finished the final draft of the story, I sent it to several readers, many of whom had looked at the original drafts of the first chapter, as well as julirites, the author of a Fargo fan fiction called London. There was an immediate and minor backlash to the final chapter, which was originally much more pessimistic, from most people who read it. In the original version, Aracely and Toril were not still in communication. (Fiorella was also dying of cancer instead of jockeying to replace the Old Man.) The finale had a much more somber, sedate, tragic note. Juli and 7th disliked this sad ending, while Gazemaize wanted me to cut the final chapter altogether. I felt confident that the final chapter was necessary, though, and revised it to its current version, which was much better liked.

And then... the story was finished, near the end of July. I crunched the numbers and realized that if I posted two chapters to start and then did a twice-weekly posting schedule, I could end the story serendipitously on October 12. So I did.

IX. Names and Special Thanks

In my Making Of post for Cleveland Quixotic, I had a fairly extensive list of where I got all the character and place names from. The list is a lot less extensive here; most names I constructed for the purpose of sounding evocative, rather than taking them from someplace specific. For instance, I chose the name Aracely Sosa because it sounds like whistling with its repeated S sounds, compared to Toril Lund which is a lot harsher with its consonants. You can see a similar rationale behind names like Fiorella Fiorina, Yui Matsui, and even some of the background characters, like Jacq Ray Johnson, Jr., where there is a lot of emphasis on alliteration and rhyme.

There are a couple of exceptions. Jinjiao is the in-game ID of a longtime Chinese League of Legends pro of middling notability. He picked the name (which means "Golden Horn") as a reference to the Golden Horned King, a villain from Journey to the West.

Lutz, Fiorella's cameraman, was named after an extremely minor character from Fire Emblem: Path of Radiance, who is not playable and only appears in a singular cutscene before being killed. They are so irrelevant that despite naming a character after them, I actually forgot their name, which is Lotz, not Lutz.

Haydn is named after the famous classical composer.

Special thanks to 7th and Elick320 for helping me with the teams and battles. Thanks to Gazemaize and julirites, among others unnamed, for reading and providing feedback. And thank you all for enjoying the story.

[ssa-dado]

MY ITALIAN MOM & “HOTCH NEVER FUCKS”: a case study

(Rant + I need your help)

- TESTIMONY REPORT

Last year, my mom and I decided to watch Criminal Minds together. Based on some promotional photos, I thought she’d thirst over Hotch as much as I did. But after 10 episodes of absolutely zero interest on her part, we switched to another show (this is what happens in my household - if the woman doesn't thirst over a man after 10 eps, we switch the show). Recently, I was rewatching an episode on my own when she wandered in and was shocked to find out that I liked Hotch.

“HOTCH? Really? I thought you liked the Broomstick!”

For those needing clarification, she was referring to none other than Dr. Spencer Reid. Yes, Reid. The Broomstick.

“…How can you like him? This guy never fucks. He’s too serious!”

Since then, every time I mention Aaron Hotchner, she hits me with some variation of “he never fucks.”

Naturally, I defended him, valiantly, into the trenches. But my mom, a visual learner, demanded proof.

“Is there an episode where he actually fucks? Or at least where he’s naked?”

And so, I did what any devoted fan would do: I cued up "the fisher king pt1" Because that’s as close as Hotch gets to “fucking” on screen. Plus, there’s that one 30-second-long nipple scene in dim lighting that since 2005 (?) has been the holy grail of Hotch thirst content.

I thought it would win her over. It didn’t.

We watched Part 2, and after 40 minutes of me pointing out all of Hotch’s deliciously Hotch moments (evidence below) she hits me with:

“He goes there because at home, he doesn’t fuck.” (“There” being Elle’s apartment to clean up her blood.)

The audacity (S3 Rossi kind of sass), and she asked me:

“Is there an episode where he shows his shoulders? His legs?”

I immediately pulled out the iconic Hotch Marathon™ scene in less than a second. Her only comment?

“He has no ass.”

I mean, yes... but he has an athletic ass #justiceforflatasses

“And skinny legs.”

Supermodel legs.

Still, I counted it as a win when she deflected my comments about his broad shoulders and arms and the fact he has body hair (she a fond appreciation for hairy men), but then she hit me with:

“He’s skinny.”

That’s peak S7 Hotch appeal, so I pivoted, pulling out the dad bod Hotch content™ (S10Ep20). That tight shirt. The one that’s this close to bursting. BOOBIES. ARMS. MUSCLES. BOOBIES. GUCCI TIE. BOOBIES. AND MORE BOOBIES.

We watched the entire episode because she got invested in the case, but at the end, her verdict?

“So, where was the hotness? These aren’t even tight shirts. You can’t see anything, not even a dick outline.”

... GIRL ...

(I was three seconds away from showing her The Gif™ from Love and Human Remains, but I restrained myself)

- THIRSTY HOTCH DATABASE

Which brings me here, Hotch humans. I need your help. I’m building a Thirsty Hotch Database™ to convert my mom (and for personal research reasons too)

What are the hottest Hotch moments I could show her? Episodes, scenes, gifs, pics, anything.

(Mind you, she admitted Thomas Gibson is a handsome man but insists Hotch “has no sex appeal because he never fucks.”)

I refuse to let Hotch’s honor be dragged through the mud like this. Also, I’m genuinely curious about your picks for Hotch’s hottest moments. (Are you creeps like me who find the scene where he passes out in the ER in S4Ep01 oddly attractive, or are you normal people?)

Please reach out however you’d like - DMs, asks, comments, tags, reblog this, carrier pigeon - I’ll take any leads.

And if you’re interested, I’ll keep you updated on The Case of Hotch vs. My Mom.

OPTIONAL BACKGROUND MATERIAL:

- THE PROFILES

Unsub #1: 52, female, Italian, loves crime shows, self-proclaimed connoisseur of “male bums.” After thirsting over Bridgerton’s Duke, she now binges no-ad TV shows during family dinners. Builds harems of fictional men, only continues shows if at least one character is “thirst-worthy.”

Unsub #2: 22, demisexual (that’s me). Crime show addict, inherited taste from Unsub #1. Chooses shows based on cast thirst-potential, only to end up sexualizing Unit Chief Aaron Hotchner and dedicating a Tumblr to his idolization.

- VICTIMOLOGY

The victims: Any tall conventionally attractive middle-aged man with broad shoulders, hairy (but no facial hair), an athletic or dad-bod build, and, preferably, a “fat bum.”

Please, for the love of Hotch (and justice for flat asses), help me win this case. You are my last hope.

[dehliadelights]

how many times each ninja lose their powers in every Season of Ninjago (Excluding Dragon Rising)

Pilot: They didn't have them until they found the golden weapons, so I'm counting this entire 'season'. 4 times.

Season 1 (Rise of the Great Devourer) : The ninja are reliant on their golden weapons for their elements aside from Lloyd, I'm counting this whole season. 13 times.

Season 2 (Legacy of the Green Ninja) : the ninja, aside from Lloyd, don't have elemental powers (or very limited powers) until episode ten. 10 episodes.

Season 3 (Rebooted) : The ninja all have their elemental powers for this season, though Zane's is weaker due to sharing his power source with Pixal. I'm not counting that, though. Lloyd loses his golden power, but that's not his main element of energy and I'm not counting that, either. Zero episodes.

Season 4 (Tournament of Elements) : This is the fun one, where I'm gonna counting the Ninja individually. Zane's power is gone until around episode 8, but he doesn't have any screen time in episode 1, Cole loses his in episode 3. The rest of the ninja have their elements until episode 6 or 7.

Zane: 6 full episodes, maybe part of episode 8.

Jay: 2 episodes

Cole: 4 episodes

Kai: He doesn't lose his element this season! He's smart in this season! Good for him!

Lloyd: Doesn't even spend an episode with them gone.

Season 5 (Possession) : Lloyd gets possessed by the spiteful ghost Morro, and the Ninja lose access to their powers. Starting from around halfway through episode 1 until around episode 7 or 8. But Nya gains her power this season! Good for her, I say! 7 Episodes

Season 6 (Skybound) : No powers are lost, juat Ninja captured in the Djinn blade! No episodes!

Season 7 (Hands of Time) : Again, no powers lost, just Wu. No episodes.

Season 8 (Sons of Garmadon) : Lloyd loses his powers in episode 10, he's the only one, though. One episode for Lloyd.

Season 9 (Hunted) : Lloyd doesn't have his powers back until episode 10, so that's another 9 episodes for him.

Season 10 (March of the Oni) : No episodes, it's a short 'season' like the pilot.

Season 11 (Secrets of Forbidden Spinjitzu Fire + Ice) : Kai loses his elements starting from episode 5 and doesn't really get them back until episode 30. 25 long, long episodes of powerless kai.

Season 12 (Prime Empire + Master of the Mountain) : The ninja, minus Zane, lose their powers while in the video game prime empire, starting from episode 2 until around episode 16. That's a lot of episodes. In Master of the Mountain, I don't think any of them lost their powers. Idk I stopped watching after starting prime empire, I'm reading the episode description text on Netflix now. 14 episodes.

Season 13 (The island + Seabound) : I don't think the ninja lose their powers, except Nya, who loses her power on episode 20. 1 episode for her.

Season 14 + 15 (Crystalized) : Nya doesn't have her powers for the whole of Crystalized part 1, and part 2 idk where she gets them back. I'm just saying she probably gets them back on the last episode before the season final. 25 episodes for her.

Total for each Ninja

Jay: 50 episodes across 6 seasons.

Cole: 52 episodes across 6 seasons.

Zane: 40 episodes across 5 seasons.

Kai: 73 episodes across 6 seasons. Poor guy. He has the longest duration without powers.

Lloyd: 10 ⅓ episodes across 3 season.

Nya*: 40 episodes across 3 seasons.

*Nya's does not count the time before she discovered her element.

[wtslpod]

We don't want to brag, but this might be our highest level episode of the podcast yet. Rings of Power 2x06 "Where is He?" still has us thinking of analysis we want to add. But it's good we can't, because this episode is almost 2 hours long! Discussion preview above, and time stamps below the cut.

As usual, we're talking most about Númenor. We examine the beautiful tension expressed between Eärien, Elendil, and Míriel, as well as the implications of the Sea Trial for our beloved Queen of the Sea. Kat also gives a detailed thematic read of "The Mariner's Wife" from The Unfinished Tales, connecting Aldarion and Erendis' story to the conflicts we're seeing in Númenor. 

Then we gush about Disa and Durin. Wren gets super meta too, analyzing the big picture POV choices the writers are making, and introducing what she calls the "TROP as LeGuinian Tolkien" theory, discussing what Rings of Power understands about Frodo and Gollum. 

Listen through for some slick beats and fresh takes, wherever you get your podcasts.

twitter│instagram│buzzsprout│wtslpod@gmail.com

Time Stamps: 

00:00 - Intro, Visual Feasts, and Musical Moments 

12:18 - Sauron's Design (Beat) 

12:56 - Wonders of the World 

23:38 - Númenor Lo-Fi (Beat) 

24:25 - POV Character Breakdown Part One 

36:29 - "The Mariner's Wife" Thematic Read 

43:33 - Discussion of Eärien and Elendil 

49:52 - Discussion of Míriel  

52:57 - Discussion of Disa and Durin 

56:38 - Galadriel's Theme (Beat) 

57:20 - Discussion of Galadriel and Adar 

1:03:26 - POV Character Breakdown Part Two 

1:10:20 - Performance Awards

1:13:51 - Dialogue Dialogue 

1:15:44 - Critique of the Week 

1:19:20 - Sauron's Design 2 (Beat) 

1:20:06 - Themes 

1:22:48 - "LeGuinian Tolkien" and Discussion of Annatar and Celebrimbor 

1:33:46 - Questions and Speculations

[bowletta]

SRMTHFG Watch Guide

Hi everyone! I made a list for newcomers who are interested in watching SRMT but don't know where to start! : ]

'Super Robot Monkey Team Hyperforce Go!' (Yes, that's really the title, 'SRMTHFG' for short) was a cartoon that aired from 2004-2006 on Jetix/Disney Channel.

It's about a boy and his team of cybernetic monkeys saving the universe from the evil Skeleton King. It sounds ridiculous... but it is so unironically good. There is plot. There is trauma. There are wacky antics. You can watch the entire series on YouTube, in HD, for free lol.

There's two versions of the show:

1080p HD, widescreen, censored (YouTube Link)

480-720p, cropped, uncensored (YouTube Link)

Personally I would recommend the HD cut. I am working on compiling every censored scene, nearly all of which are under 3 seconds (graphic violence, blood, etc.).

Under the read more is a guide to what episodes to watch, avoid, etc.

Symbol Guide:

Regular Text: Fine episode, but not required

*: Plot relevant

Bold Text: Good episode

Red: REALLY good episode

Strikethrough: Bad. Skip.

Season 1:

Chiro's Girl*

Depths of Fear

Planetoid Q

Magnetic Menace

The Sun Riders

Secret of the Sixth Monkey*

Pit of Doom*

Thingy

Flytor

A Man Called Krinkle

Ape New World

Circus of Ooze

Hidden Fortress*

Season 2:

Skeleton King*

World of Giants

The Lords of Soturix 7

In the Grip of Evil*

Versus Chiro*

Shadow Over Shuggazoom

The Sun Riders Return

Hunt for the Citadel of Bone*

Snowbound*

Wonder Fun Meat World

The Skeleton King Threat

Antauri's Masters*

I, Chiro*

Season 3:

The Savage Lands: Part I*

The Savage Lands: Part II*

Season of the Skull

A Ghost in the Machinder*

The Stranded Seven

Girl Trouble

Brothers in Arms

Monster Battle Club Now!

Meet the Wigglenog

Big Lug

Prototype*

Wormhole*

Belly of the Beast*

Season 4:

Galactic Smash: Space Attack

Galactic Smash: Game Over

Incident on Ranger 7

Ghosts of Shuggazoom*

Invasion of the Vreen

Evil Ages

Night of Fear*

The Hills Have Five

Demon of the Deep

Secret Society*

Golden Age*

Object of Hate*

Soul of Evil*

TLDR; Here's a condensed list of good/plot episodes you should watch if you don't want to watch all 52 episodes VVV

Season 1:

EP 1 - Chiro's Girl*

EP 6 - Secret of the Sixth Monkey*

EP 7 - Pit of Doom*

EP 8 - Thingy

EP 13 - Hidden Fortress*

Season 2:

EP 1 - Skeleton King*

EP 4 - In the Grip of Evil*

EP 5 - Versus Chiro*

EP 8 - Hunt for the Citadel of Bone*

EP 9 - Snowbound*

EP 12 - Antauri's Masters*

EP 13 - I, Chiro* (Best EP of the series in my opinion)

Season 3:

EP 1 - The Savage Lands Part I*

EP 2 - The Savage Lands Part II*

EP 4 - A Ghost in the Machinder*

EP 5 - The Stranded Seven

EP 7 - Brothers in Arms

EP 10 - Big Lug (SO many good reaction faces)

EP 11 - Prototype*

EP 12 - Wormhole*

EP 13 - Belly of the Beast* (Tied with I, Chiro for best EP)

Season 4:

EP 4 - Ghosts of Shuggazoom*

EP 5 - Invasion of the Vreen

EP 7 - Night of Fear*

EP 9 - Demon of the Deep

EP 10 - Secret Society*

EP 11 - Golden Age*

EP 12 - Object of Hate*

EP 13 - Soul of Evil*

Thank you all for coming to my TED Talk on these silly monkeys lol, I hope you all have fun watching!

(Gif by @/sweetcircuits)

[zoe-oneesama]

Do you Belieeeeeeve~ In the PO-WER of LOVE?!

Episode 53 Part 10 First < Previous > Next Season 1, Season 2, Season 3, Season 4, Season 5 Ep 41, Ep 42, Ep 43, Ep 44 Ep 45, Ep 46, Ep 47, Ep 48, Intermission, Ep 49, Ep 50, Ep 51, Ep 52

Ko-fi | Patreon

[recycledraccoon]

Dawn of Justice - EPISODE 14

"This is like early-to-mid April. Your getting your kind of midterm report cards back." (1:11:02)

"However, you guys are in the lunchroom. They give you your midterm report cards. So today and tomorrow are the last days before you'll have your spring break..." (1:11:32-1:11:40)

"The next day you all come to school. Jawbone shepherd's you into Principle Aguefort's office. Where he takes the doorknob off the door, fixes on a strange, luminous green pearlescent doorknob, opens it, and all of you walk into the Last Standard Exam, AKA The Last Stand." (1:23:26-1:23:48)

Untapped Rage - EPISODE 16

"..'Hey Mazey. Just checking in. Maybe you wanted to hang out over spring break?' - 'Do you wanna take a picture?' - 'Okay, yeah. Everyone get close so you can't see the graveyard'..." (1:00:51-1:01:01)

"And then word gets our that your birthday's the 31st, which is election day. It's the Friday that the student elections are happening,...." (1:08:52)

The Name - EPISODE 17

"'Fabian's birthday, at this point, is like a week away, a week and a half away. The school's thing is still that they are on their spring break adventure, right?' - 'That's what they say about the Rat Grinders?' - 'About the Rat Grinders, yeah.'" (1:13:03-1:13:10)

Ragenarok (Part 2) - EPISODE 20

"Is there anything that you guys do before the school year ends?" (2:31:33)

Spring Break is in April, the academic school year ends in probably first week of June for Aguefort, and Fabian Aramais Seacaster's birthday is May 31st. He is also a Gemini.

[richardsphere]

Ranma has a mom‽

Ranma 1/2, Episode 70: Im gonna be honest, i assumed this was just "generically missing parent"-syndrome. I did not expect his mom to ever be relevant. The concept of introducing a parent seventy episodes into your story is honestly kind of weird? Like Seventy is more episodes then most series get. Most successfull franchises would've been cancelled due to dwindling sales twice before Ranma got a mom. Most proper, big-time successes would've hit syndication at 52 and quit before now. We're on our fourth title-theme and you're introducing a mom now? Like that's fucked up man, thats fucked up. Where was she when her husband was feeding her son to starving cats. Where was she when her son was being sold for some pickles. Has she just been sitting at home recieving occasional visits from various police-agencies investigating her husbands decade-long crimespree? ---

Why does this episode start with a clown? Is Mom part of the circus? is she a liontamer or something... OH GOD the felinophobia... Of course she's totally gonna be a liontamer in the circus isnt she... fuckdamnit. --- Im gonna be honest, if it werent for the title-screen, i would've assumed that "mysterious woman who wants to speak to Genma and calls Ranma 'dear' in a kodachi-like fashion was gonna be fiancé number 7". Wait... is the count seven? Akane 1, Shampoo 2, Kodachi managed to make a bid once so i'll count her 4, Ukyo, 5 Fast-food-Delivery-specialist in the white bridal gown who was in 1 episode total makes 6 but that episode ends with a "here we go again" for 7... shit Mom would've been the 8th!.. Assuming im not forgetting anyone. (Blue Thunder doesnt count, he's a pursuer to girl-ranma, but he has no claim to engagement) --- Ok so the moms name is Sakura (first or last? I cant tell rn)... like a good 10-15% of all women in anime. And the version that Happosai tells is a tragic Romeo-Juliet affair, but judging by Genma's reaction that is not the truth. If it was just "her parents didnt want the two together" there'd be no reason for Genma to run interference. She also does not seem to be holding anything against Genma, she's barely even annoyed at him running interference. So she isnt even likely to be a victim of his crimespree. --- And we're back to the circus. Oh no she wants him to be a part of a Freakshow?! Motherfucking bitch. Just a quick question: Is this actually Ranma's mother? Did either Genma or the alledged mother ever say she's his mom or is that just something Happosai concluded. He's just trying to sell his kid for money, again. MOTHER FUCKER (literally this time, i am refering to Genma). Here you introduced a perfectly interesting thread for some actually interesting drama, and you just fucking rug-pull it like this? It does open up the question as to what's going on with actual mom though, maybe they're just setting up a new mom-focussed arc by planting the question for Ranma to think about. Cant be worse then "wants to use Ranma for a freakshow" though.

[smolwritingchick]

Forced To Believe Masterlist

A Dean Ambrose x OC story! The Shield 4th member.

Summary: Taking place during the start of The Shield's debut in 2012, follow Morgan Lopez's career as she becomes a member of The Shield, revamps herself as The Outspoken Diva and makes a name for herself in WWE.

OC Profile of Morgan Lopez

Chapter 1- So, You Wanna Wrestle?

Chapter 2- My WWE Debut

Chapter 3- Fighting Back

Chapter 4- My First Wrestlemania

Chapter 5- Becoming Heel

Chapter 6- Total Divas Season 1 Episode 1

Chapter 7- The Shield's Girl

Chapter 8- Total Divas Season 1 Episode 2

Chapter 9- The Shield Isn't Unstoppable

Chapter 10- Total Divas Season 1 Episode 4

Chapter 11- Justice Continues Being Served

Chapter 12- The Underdog from Philly

Chapter 13- Catching Up Before MITB

Chapter 14- Money In The Bank 2013

Chapter 15- Total Slap!

Chapter 16- Frustration

Chapter 17- Total Divas Season 1 Episode 5

Chapter 18- I Know What I Have To Do

Chapter 19- Do You Know Who I Am!?

Chapter 20- Total Divas Season 1 Episode 6

Chapter 21- Army of One

Chapter 22- Wiping That Smirk Off Your Face

Chapter 23- You Look Like You've Seen A Ghost

Chapter 24- Total Divas Season 1 Episode 7

Chapter 25- Mommy Knows Best

Chapter 26- Revenge Is Sweet

Chapter 27- Total Divas Season 1 Episode 8

Chapter 28- Is That You Being Serious?

Chapter 29- In Due Time

Chapter 30- Trying To Gain Momentum

Chapter 31- The Slammy Awards

Chapter 32- That Was A Miracle

Chapter 33- The Answer Is No

Chapter 34- Tribute To The Troops

Chapter 35- Morgan's Answer

Chapter 36- Move Thief

Chapter 37- Meeting Hot Rod

Chapter 38- Respect

Chapter 39- I Hate Snakes

Chapter 40- If Only You Knew

Chapter 41- Making A Statement

Chapter 42- Yikes

Chapter 43- Sister Abigail

Chapter 44- I Lost Her

Chapter 45- She Belongs To Us Now

Chapter 46- I See What You Want

Chapter 47- Armageddon

Chapter 48- Armageddon Part 2

Chapter 49- That Supernatural Stuff Don't Work

Chapter 50- What Are You Doing!?

Chapter 51- Things Got Personal

Chapter 52- He Kept His Word

Chapter 53- Harley Mode Was Captivating

Chapter 54- Rosa's Mind Games

Chapter 55- Togetherness

Chapter 56- Public Displays of Affection

Chapter 57- The Shield Against The Authority

Chapter 58- Bad News Dinner

Chapter 59- Getting The Upper Hand

Chapter 60- Annihilated

Chapter 61- Catching Up With Old Friends

Chapter 62- Wrestling's Fun

Chapter 63- Get Back Here!

Chapter 64- War

Chapter 65- Trust Is Dead To Us Now

Chapter 66- Confronting The Sellout

Chapter 67- Going Our Separate Ways

Chapter 68- They Can't Control Me

Chapter 69- Clock Is Ticking Morgan

Chapter 70- Outsmarting The Architect

Chapter 71- Closing The Chapter

Chapter 72- I Win (All Hell Breaks Loose)

[screechingsandwichhologram]

bap dashboard simulator

👁 seeingdolusupdates Follow

Halloween Episode is out! (10/30)

13,000 notes

🌸 toastedmagnolia Follow

did you guys see that family picture??? i need the dad CARNALLY

20 notes

💀 billiardbones Follow

hey im not in the seeing dolus fandom but i watched the new ep and is like. sophia okay? it seems superrr cultish to me.

🌀 georgiapompadour Follow

tell me you dont know what a bit is without telling me you dont know what a bit is

🕯mxtealighter Follow

hey op so thats super problmatic of you? bc sophia has stated MULTIPLE times that she's not part of a cult and that shes uncomfy with people saying that she is and also talking about cults in respect to sophia is breaking a boundary so you should probably delete this post bc ur crossing a line.

120 notes

🌟 starry_lighters Follow

witch suits her So Well !! i love her costume omg <3

2 notes

👁‍🗨 seeing_dolus_official

i hope you all like the new episode!

👽 monstefudger Follow

TELL YOUR DAD TO JOIN YOUR VIDEOS

🌸 toastedmagnolia Follow

PLEASE PLEASE PLEASE PLEASE PLEASE

30,528 notes

🌚 dolussgf Follow

NEW LORE NEW LORE NEW LOREEEE

🌚 dolussgf Follow

im adding to the masterpost this is so exciting we haven't gotten lore drops in a while

52 notes

👾 eightbitwonder Follow

200 notes

💟 dearmartha Follow

liveblogging the halloween episode!!

💟 dearmartha Follow

im so impatient im skipping the sponsor

💟 dearmartha Follow

someone get this girl a black cat Right Now

💟 dearmartha Follow

shes so fucking funny what the fuck was thattt

💟 dearmartha Follow

shes just like me. stimming so real

💟 dearmartha Follow

past halloween montage?? fr?? omg we never see personal stuff

💟 dearmartha Follow

BSKDHJGKJFK

💟 dearmartha Follow

THEY WERE NOT LYING HOLY HELL I NEED THAT MAN

💟 dearmartha Follow

OH MY GOD

💟 dearmartha Follow

foaming at the mouth rn

💟 dearmartha Follow

dear lord forgive me bc im about to sin so hard rn

💟 dearmartha Follow

jesus christ

💟 dearmartha Follow

also sophias outfit is cute

14 notes

🎃 califournya Follow

vaguely dissapointed that she didnt go as an angel bc shes sooo black cat angel coded

39 notes

🌸 toastedmagnolia Follow

"magnolia stop thirsting on main" "magnolia he appeared for ten seconds" "magnolia-" HAVE YOU SEEN THAT SOPPING WET CAT OF A MAN. I NEED TO GET HIM PREGNANT

500 notes

[rebeccalouisaferguson]

‘It was so hard to pretend not to know how to swim’

Stars Rebecca Ferguson, Steve Zahn, Common and Tim Robbins on the second season of Apple TV+’s Silo, shooting water sequences and leadership

It’s unique to join a show after it’s already been established, and I thought it was an exceptional show

It’s hard for Rebecca Ferguson not to have a deep connection with nature. She grew up in Stockholm and then moved to the south of Sweden to a remote fishing village, where she got to explore drastic changes in environments and fully embrace her love for the ocean.

So you can imagine why the 41-year-old Golden Globe-nominated Swedish actress — also a trained scuba diver — initially struggled to shoot the underwater sequences as the gruff mechanical engineer Juliette Nichols in season two of Silo, who is awkward in that element, afraid of water and can’t swim until she is forced to confront her fears.

“I was born in Stockholm and we have lots of lakes and an archipelago,” says Ferguson, who is also an executive producer on the series. “I’ve always loved the sensation of swimming and had that feeling that if I could have any superpower — mine was always flying — and I think swimming is similar. The movement is so unregulated, it’s so different from walking. I love the way it feels when you go underneath and you can’t hear anyone.

“It was so hard to pretend not to know how to swim,” says Ferguson, who also stars in three of the Mission: Impossible films: Rogue Nation, Fallout, and Dead Reckoning Part One.

“There’s a natural move, how your hands touch the water and how you paddle, how you move your feet. To be able to look clumsy, it feels silly and it’s also very hard to get into your head how you would move. To get into that mindset, I thought of animals and dogs and what we did when we were young.”

The 10-episode Apple TV+ post-apocalyptic science fiction series, created by Canadian television screenwriter Graham Yost, 65, and adapted from Hugh Howey’s popular New York Times bestselling book Silo trilogy, including Wool, Shift and Dust, is about a dystopian society where 10,000 people are living underground in mysterious circumstances.

The inhabitants of the silo do not know why they are there or who built the place in which they live and work. But they will face fatal consequences if they try to leave and find out.

In season one, Juliette (Ferguson) seeks answers about a loved one’s murder, and defies the authoritarian leadership of the silo. She was framed by the mayor Bernard Holland, played by Academy Award and Golden Globe-winning American actor Tim Robbins, 66, star of Mystic River, and Robert Sims, played by Academy Award, Emmy and Grammywinning American rapper and actor Common, 52, who stars in Selma and John Wick: Chapter 2, for violating the cardinal rule: If you say you want to go outside to “clean,” there’s no taking it back.

But when she survives and discovers a man named Solo in a deserted silo 17, played by series newcomer Emmy and Screen Actors Guild Award-nominated American actor Steve Zahn, 56, who appears to be the structure’s only survivor, a rebellion breaks out and Juliette realises she must find a way back to her home.

It’s led by Juliette’s former colleagues from the mechanical sector, Knox, played by American actor Shane McRae, 47, who stars in Gossip Girl, and Shirley Campbell, played by British actress Remmie Milner, 35, who stars in A Christmas Carol, and organised by the reclusive engineering genius Martha Walker, played by Olivier Award-winning British actress Harriet Walter, 74, who stars in Killing Eve, Succession and Downton Abbey.

“What I love the most about Juliette [Ferguson], is that she doesn’t feel like a superhero. She’s just tough. She’s just going to keep going until she can’t go anymore, and she’s going to solve that problem even if it kills her. We see more of her humanity in this season, and that’s fun to write,” says Yost.

For Zahn, who also stars in The White Lotus and joined the cast of Silo in the second season, the beauty of relationships and trust was something he also experienced off-screen too.

“It’s unique to join a show after it’s already been established, and I thought it was an exceptional show. I was excited to be a part of it but very nervous about it too because Solo is a broad character. You want to be good, believable and interesting,” says Zahn.

“But for some reason, I think due to the writing and Rebecca [Ferguson], it was easier than I thought. People were cool, it was a great environment to work in, and that’s why the head of the snake is always really important, and that was Graham Yost and Rebecca Ferguson.

“Now if those guys don’t show up, and they don’t know their stuff, or they’re angry, testy or whatever, that’s what you get from the show. But Graham [Yost] is good at creating a cool family of really awesome human beings.”

Season two of Silo comes to Apple TV+ on, November 15