#especially when you're given the context of what their talents are

[ninjagirlstar5]

This is for my mutual that requested that I do Kakeru next, so I did! I actually had this finished all in one day but it was very late where I was by the time I was done, so I had to shelve it for today instead.

Kakeru's OG design is just...funny, when you find out his Ultimate Talent. This man does not look like a lawyer and looks like any other muscular guy that probably does sports. Which makes it even funnier when you find out that, no, he doesn't actually do sports, he was literally just born like this! This man was blessed with the best health possible, and yet he feels ashamed for this because his sister was born very sickly, so he blames himself for "taking away her health" when it's not his fault. It's just how life goes sometimes. But anyways, back to his redesign. I chose to base this redesign off of his splash art as he actually looks like a lawyer in that than his in-game sprite, but changed it up and added details to it since I didn't want to straight up copy it. Based off of his OG design, he was dressed pretty casually, so I decided to have his shirt collar slightly unbuttoned and kept it untucked, his suit jacket open, and his tie a little more loose. I gave him boots to add a bit of flair to his design, gave him small earrings, an attorney badge, and a tie pin to keep it attached to his shirt and prevent it from flying off. It's to show that while he's casual, he's still a professional. Also, in his splash art, he's shown wearing glasses, so I'm questioning why LINUJ didn't let him keep that??? What, are those reading glasses, fake glasses to make himself look smarter, or are those glasses that he actually needs to see from? Imagine that those are prescribed glasses, and he's walking around the killing game with blurry vision the whole time he was alive, lmao. But seriously, it's weird cause in one of LINUJ's sketches where he drew what the 79th class would look like if they survived, he has his glasses again so the state of his eyesight is just one big question mark. So I just said, "Fuck it, he has glasses" and that was it. It honestly adds to his professional and smart aura, which actually adds to his intimidation since you'd expect him to be very serious...and then it turns out he's super sweet and shy outside of court. And what helps hint to his softer, sillier side would be the flame design on his tie, as ties with goofy designs like that can show that this person can be silly if they want to be (at least, character wise). And I didn't want to get rid of the flame design on his shirt completely, so I decided to call back to it by moving it onto his tie instead. A tie that his sister probably chose for him, so Kakeru would wear it all the time, hehe. His hair barely changed, I just adjusted it so that it has a better shape. As for the colors, I made Kakeru's tanned skin a bit more obvious, and kept his colors quite monotone aside from the tie and gold metal of his earrings, tie pin, attorney badge, and the buckles of his boots. Fun fact: I originally made his suit blue, but decided that he looked too much like Phoenix Wright and desaturated the colors to look more gray, haha.

Anyways, I love Kakeru. I just wished he acted more like a lawyer in-game, you know?

[toskarin]

So elves are angels?

if you're going off my description, which I largely lifted from tolkien, the answer is "not especially"

tolkien style elves are beholden to the concepts of fate and prophecy, but that's not a trait unique to them. they're just kind of especially fateful guys

as a fair warning, you've triggered a fantasy infodump here and I've quarantined it below the readmore

this is all going off of like... loose memories of a time where I was more fresh off of reading tolkien when I was younger, so I'm abridging a lot here. don't cite me to anyone or you'll probably be wrong. also how literally this is intended to be understood depends on whether you take the elves' word for how the elves came into being.

which you might.

men* and elves are the children of ilúvatar, more properly eru ilúvatar, who you can here understand as the closest thing in the legendarium to the christian god

*: understood to mean humans, including hobbits for the sake of this explanation, although that's left a bit vague because hobbits are thematically the most normal guys possible. they don't even feel much of a drive to give themselves a creation myth

elves were given immortality, ethereal beauty, really good memory, and incredible talents for creation. they were the first type of incarnate, from the time when the stars were coming into being

men didn't come around for a while after that. men are mortal, but will inherit the earth and can break away from prophecy and fate, specifically as it pertains to the music of the ainur, which is kind of hard to summarise without just saying "it's the scheme of how things unfold that was laid out from the moment everything was created, destiny itself"

to skip over a bunch of more complicated details, this means that elves are a union of body and soul, like men. they're intimately bound to the workings of the world, but most things that aren't men are also bound to it, and being bound to it doesn't necessarily mean you're aligned with it

there are entities that directly serve the god figure on a few different tiers. the god figure's first spirit creations were ainur*, and then the ainur who descended into the song of creation became lower forms of divinity called the valar and maiar, with the maiar being the lower-ranked spirits that assisted the valar

*: same ones mentioned in the context of the song of the ainur, since they wove the world more or less as proxies for ilúvatar

the valar take the roles of sort-of-proxy gods, while the maiar work to assist them and occasionally incarnate into mortal form when something needs REALLY fine tuning. the valar and maiar are much closer to what you're looking for, as far as angels go! (assuming I understood the question correctly of course, which I might not have lmao)

elves and men are two different kinds of incarnate, with dwarves being a third. in some way, they all contain echoes of divinity, and while some are more beholden to the framework of its designs than others, everything in tolkien's writing is echoing out from divinity, carrying divinity within itself

[xinsareforever]

I honestly love reading your headcannons. I would love to see Answer and Zato sfw and nsfw height difference headcannon where reader was shorter than them

Answer x Reader (R) / ZATO-1 x reader (R)

Topic: SFW and NSFW with a short reader

A/N: YOU SKIPPED THE LINE WITH THIS ONE !!

TAGS: SFW, fluff,NSFW, height difference, 18+, doub. penetration, Gen neutral

---

SFW

- Despite the height difference, he would respect the reader's capabilities, whether in combat or other talents. His reactions might lean more on the considerate side, possibly being protective but also making sure to never underestimate them because of their stature.

- He might casually tease the reader about their height in a lighthearted way but always in a respectful tone. "Guess I’ll have to duck a bit more around you, huh?"

-When fighting or training together, he might quickly offer tips or adjust strategies that best suit the reader’s size, never seeing it as a limitation. "Your speed is your strength—use that to your advantage."

-Answer is always business-focused, so he'd never make the reader feel inadequate because of their height. He would probably even praise them for using it to their advantage in ninja-like tactics.

NSFW

(NOW THE GUD PART)

-He will still love you the same way In the bedroom. He will try to actually consider the height difference while doing it and try not to hurt you in anyway possible.

-Its really all on you the way you want it; Answer is always respectful of what you want and is trying to make sure you are ok with what ever he is about to do.

-He may also tease you during it. Saying that "You don't want him to pull out since your really tight". You give him a flustered look, blushing at him but you're to into the pleasure to care much

-When he releases, not really a big load but will take it out most likely if he's not ready for kids. Don't worry his pull out game is good !

-Will always try to care for you after sex and makes sure to get you anything that you want. If you need anything he's most likely already gone before you say something.

SFW

-Zato, being more mysterious and reserved, might approach the situation differently. With his connection to the shadow, Eddie, his interaction with the reader could reflect his quiet and calculating nature. However, the height difference wouldn't be much of an issue for Zato. He would be more focused on their abilities and mindset.

-Zato likely wouldn’t comment on the reader’s height often. He’s not the type to point out something so trivial, unless it’s in a specific context. He values strength and strategic thinking over physical traits.

-Given Zato's darker, more intense personality, he might feel protective of the reader, especially when their height makes them seem more vulnerable. His shadow, Eddie, might reflect this by wrapping protectively around the reader during combat or tense moments.

-Zato might subtly guide the reader, teaching them ways to use their size to their advantage in combat or negotiations. He would appreciate a quick and nimble ally, using their smaller stature for precise, hard-to-read movements.

-Well if you already know how to use combat (which you should) Zato will let you fight on your own but will not let you get pummeled at all. SO he always there by your side.

---

NSFW

-Like Answer, Zato will consider your height and try to be gentle on you. He's also trying to instruct you kind of in his way of making sure nothing bad happens. You do not have to listen to him though and go your own pace.

-Zato is a gentle and savory gentlemen during sex and goes slowly on you trying to make you two comfortable while chasing your highs. He also adores seeing you small structure under his muscular body,

-Eddie will try to mess around during you and Zato's private time and try to sneak in a tentacle. When you call it out, it stops completely and Zato just tells you that its just Eddie

-Again, Zato does not mind what you want and will do it for you. If you want it rough your definitely in for a ride. Hoping Venom or Millia does not hear you two. Your moans are gonna be laced in Zato's name as he goes deeper into you.

-"Lower your voice Y/N it my alert others near" as he covers your mouth.

-Zato will care for you after intercourse as always. Trying to make sure your all set and ready for bed; Trying to be close to him and cuddling up together.

[stoopid-turtle]

moar made-up thoughts about dd's thoughts

Some of the replies on my previous post left me re-evaluating, and I don't know that I was incredibly effective at what I meant to communicate (honestly, that is really frustrating for me). So I just want to clarify and maybe add some context.

I assume it goes without saying that everybody in turtleland adores dd and gg and that we think dd is a sweetie-pie (I can't conceive of being a turtle without that belief). And as a group, dd and gg's sweet moments get highlighted a lot, which I adore. These posts I have on dd are more about stuff I don't see discussed quite as much and they're not meant to encapsulate all that dd is because, wow that's a lot. For the previous post, I'd been thinking a lot about dd's mentality and how he approaches things, as seen in SDC, because his captaining style seems really distinct in a way I wanted to dig into.

Honestly, we've known dd for years at this point, and he's grown and changed throughout that time. He's been influenced by gg and by other friends and mentors. And like most people, how he acts is variable and dependent on context. 

I do think dd was sometimes thoughtless when younger, but I don't think that's anything out of the ordinary for his age at the time, and I think he's grown out of it. In any case, it was never mean-spirited. Still, I think the way he expresses his feelings is pretty reserved and that he's not incredibly prone to sentimental gestures, like the gifts he sent Yang Kai. I think he can be thoughtful in that he's responsive when people indicate what they want, but I don't think he's the type to think up a gift idea on his own. Given that Yang Kai actually knows the guy and said as such, I don't think it's too far off-base to say that. I honestly think he probably gets help from gg with that sort of stuff, and he's likely to have gotten better at it as a result. But dd has never struck me as a sentimental guy.

(though with the captain gifts, I have no idea the logistics of how those worked, and I suspect, like most things on reality shows, that production assistants helped with suggestions and such)

I think he's a fantastic captain! I don't think I said that, because it's one of those things I assume goes without saying, especially as it's often said as such in turtledom. I think even back to Produce 101 when he was mentoring the young girls who were fawning over him. He did the cutesy dance with them to support them, even though he hates being cutesy (and bless him for it. That dance is a gift (and led to cute bts moments of gg poking fun at dd)). He's passionate about dance and he's passionate about helping other people improve (and learning from others). Dancers want to join his team because of that passion, and because dd just has a natural talent for it that is incredibly inspiring.

But he does like winning. He explicitly said as much himself. And that one episode I highlighted where his team lost is pretty tense. The rehearsals were tense, the performance was tense, dd's response to everything was tense. During one round, his team only gets 4 votes compared to, like 40 for the other team. I can't recall the score ever being so lopsided, especially when the losing team is full of top-tier dancers.

And dd's behavior then is incredibly relatable to me. He laughs about it, joking about how he only got 4 votes. But it's the laugh you get when you're really unhappy and kinda embarrassed but trying to keep a good, positive face on things (or at least, that's a strategy I have for those moments, and given dd's switch to serious-times when he's doing the team debrief, I think he's somewhat similar). 

And dd recovers well. He has a debrief with his team. He talks to Han Geng about what his team is lacking (they specifically talk about his team performance not being thematic like the others) and realizes they need a choreographer to pull everything together and give them direction. And the very first round of recruitment, he gets a choreographer for them. 

I don't think dd only likes winning. The reference to "not here to make friends" thing was a bit of rhetorical exaggeration for fun. Like I noted, he makes friends. He learns a lot and he mentors a lot, and that's definitely a big part of the draw for SDC for him. And while dd never intentionally cultivates a family atmosphere (as opposed to the other captains who explicitly tell their team that they're like a family), they come together like a family anyway. But he still likes winning, and I think he has trouble enjoying everything else as much if he's not winning. 

It's not a bad thing to be competitive like that (I once got into a fight with my wife because I kept losing in thumb wars against her. I personally know when competitiveness becomes stupid). DD has a passionate drive to succeed. This is how he's managed to excel at basically everything he tries (except cooking). I think way back to the auditions in SDC 3, when dd impresses his group by being savvy about street dance gestures (like the plagiarism gesture) and by knowing how to appeal to dancers (by having them warm up with some freestyling). He quickly overcomes any doubts the dancers have based on his idol background by being genuine, sincere, and passionate and that's why people want to join his team.

 *rereads all this* Hmmmm...feedback and replies are good. This is a better post.

Also, this judge is the one who always says nice things about dd. He's said at one point that dd has an extraordinary natural talent for dance even among professional dancers. He's right and he should say it. Best judge. A+ I hope they keep bringing him on.

[spaceorphan18]

1. It was not my intention, I really I didn't even remember you are a fan of her, I know your blog because of Klaine and I follow many blogs. I love unpopular opinions about characters, I tried to encourage you to share yours. My opinions were kind of random, I think she is much more liked now than years before and I think commenting against her is disliked in fandom? Does is make sense? I'm not a fan of her so she was first when I was thinking about example of unpopular opinion. Her plots were

2. not interesting for me. I disliked her in season 3. Kurtcedes was cute, but I don't think they were as good friends for each other as some fans say. I don't think she was there for him when he needed and he also was rather spending time with Rachel and Blaine later than her. Quinncedes had I think only one scene and I don't really care, but the amount of time I read about their plot as a missed opportunity made me think the idea of this friendship is overrated.

So. I hear ya, Nonny! And I believe your intentions.

But I'm gonna just lay out a general PSA (for everyone, this isn't just directed at you, Nonny)

I don't expect you guys to remember everything about me or my blog, especially if you're someone who has, like, 900 blogs you follow. That's a lot to keep track of. And that's fair.

What I would like you guys to remember is the fact that when you come into someone's inbox as anonymous, you are leaving me with zero context as to who you are and what your intentions are. I know nothing other than the words you give me and my own interpretation of them - and I guarantee I probably won't interpret them the way it is in your own brain.

And when you come in with something that might be more controversial, as with an unpopular opinion, it's better to err on the side of caution and provide context, otherwise, it may lead to unfortunate miscommunication.

That said, here's the thing about Mercedes. Mercedes is a great character idea. I love Mercedes for being a positive character on the show, and the representation that she brought. But here's the thing -Here's this big, beautiful black woman played by an incredibly talented actress that... and she was given almost no good writing for her almost during the full run of the show. Ryan and Co just never knew what to do with her and kept either pitting her against Rachel (and losing) or saddling her with unfortunate and sometimes racist stereotypes.

I get why one might not think much of the character in a general sense, they didn't give her enough to do to really let her develop fully as a character. But I think that's a criticism of the show and its production more than the character herself. And unfortunately, for a lot of the show's initial run, Mercedes herself was met with a lot of dislike and racism that wasn't warranted, and made the conversation more complicated than just liking or not liking a character.

And it's fair not to like something. Believe me, I get that, and I don't think you should force yourself to like something that just does not appeal to you. And no, I don't think you have to come at every thing in media with as much scrutiny as I just laid out, sometimes you have a gut reaction to not liking the thing, and that's okay.

But linking up to my original point - when having internet conversations anonymously, context is key.

<3

[corviids]

hi birdie! just saw your post about impostor syndrome hitting you and i just wanted to remind you what an excellent artist and writer you are. i know it's difficult to think so when impostor syndrome is at its highest, but i do hope this brings some comfort anyways! <3

as a writer, i cannot being to explain why your writings are out of this world, insane, crazy, wonderful. whatever emotion you try to go for, you achieve it in a way that it just clings to the reader's mind and carves a place in our bones. your dialogues, your world-building, the details, the characterisation, the sadness, the joy, the despair, the love, the yearning, the rage, the passion…. i've cried reading your writings, because they hit so hard in my heart that i just cannot stay quiet about it. and i have devoured your smut, and i have laughed with the lucemond kids' shenanigans. you have a way with words, you are so unique. i consume every single piece you publish, and i would consume any book of your own if you published, too. you were one of the first writers i read and followed when i came to this fandom and i just hope i can keep supporting you in anything you do.

as an artist, your talent knows no limits. that magic you have putting emotions into words, well, you also have it when you draw the faces of your characters. it's like looking at them in the eye, their smiles and the twitches and tilts you capture so well, and it feels like i'm looking at a real person with real emotions. i'm in love with your style, from the sketch to the colouring to the way i can see any of your art out of context and know it's yours. you have magic in your fingers, and daily dust in your soul and in your mind, and that's why every single piece you draw and you write is a treasure to be kept and protected, love and cherished.

personally, i know we haven't talked much, but you have been so kind to me. and i just love your sense of humor, your commitment, the way you treat with such respect and love your readers. how you give your heart to answer to our asks and questions just as you give it to create content.

we're very lucky to have you in this fandom, a nd i will always be grateful for every single thing that you have given us that has made me fell even more in love with lucerys, with aemond, with lucemond. with this site and with the culture of fan creating and providing.

you're a star, and i just hope i can continue to see how much you achieve as time goes by! we have your back! you don't know how much your writings and your art mean to people, and i know because i'm one of those and i have friends with whom i talked about your creations! you made hundreds of people from different places in the world to fall in love with what you do! i would say that's such a pretty neat job! <3 <3 <3

hope you feel better soon! i'm here if you ever need to talk! sending you the biggest hug and the best of vibes!!!!!! <3 <3 <3

i’ve waited a couple days to answer this because i’m genuinely speechless. i don’t cry very easily for reasons but reading this, especially after such a hard day, made me tear up. there really aren’t words to convey how grateful i am for everyone here that has supported my works. lucemond and this little community we have built have really became a safe space for me to ramble and share my stuff without fear.

i’m eternally grateful for every single person that send me asks, comments, or just comes round to check my stuff out. this is one of, if not the kindest things i’ve ever received and i hope that i can continue to make y’all as happy as you all make me <333

[real-chinq-tmblr]

I know that what he did was wrong....but I can't help but see a child rather than some "scary unhinged monster" he is usually painted to be. Or a joke. A meme. Didn't win the race and allat.

When I first heard his music and then saw that he immediately went to jail, I felt strange. I could hear the talent in his delivery and had he been given the right guidance and resources, he would've gone on to create something great.

But you know, I wonder if he would've wanted to do that, even if he was free. I sometimes notice that people who have lived that life have no interest in arts, just what is infront of them, what is reality to them. Does it make money? Does it prevent them from being in danger? That type of stuff.

Because it seems like the arts is like....a fairy tale to them? Kinda like how poverty is a fairy tale to upper middle class/upper class people?

I know that the victims of his actions suffered real pain. I don't deny that at all and I don't mean to trivialise it. Sure, he should pay for his crimes. But I genuinely feel like...he's not the problem, he's a symptom of it. I mean, he's 15. The thing is, he should've never been holding a gun or living that sort of lifestyle in the first place. So how did he end up in that position?

And it's so messed up that we glamourise this type of stuff. We like it. We encourage it. We want to see young children holding guns, following the footsteps of their older counterparts, "carrying the mantle". What mantle? Violence? Ignorance? Like I'm sorry but that's what it really is. It's like people joining the military for legacy reasons. Except it's on the streets, it's "colored", it's "poor", and therefore it's illegal.

My grandpa and my dad was like that. Not that they lived that lifestyle but they were surrounded by people that did, and whether they realise it or not they internalised similar values and passed them down. I had to do a lot of inner work to undo it and I still haven't managed to undo everything. I can't imagine myself having a child because I'm scared I'll pass something down to them myself. Because I'm not gonna lie, I can't disagree when I say that violence and ignorance has a lot of appeal. I mean, a lot. And in some circumstances it's scary to be otherwise, to not be aggressive, to not be angry. Because it could mean you're vulnerable, and vulnerability is incredibly scary depending on the context. (Because there are environments that encourages and actively requires some form of "vulnerability", or at the very least a feigning of it, or else you're a "threat" and a "delinquent".)

But at the end of the day, at least what I personally realised was that, we just all want to be seen and treated as human. That's all. Violence is just a means to it. Just like feigning vulnerability or politeness.

And it's funny cause what happened to Tay-K in the end as he strived to uphold those things (that at this point, could be considered "tradition", because I define "tradition" as "peer pressure from your ancestors/predecessors")? Incarcerated for 55 years and won't be eligible for parole until 2047, especially since his "friends" took a plea deal and threw him under the bus while he kept his mouth shut, and he also became a bit of a joke/meme. Or sometimes people just think it's a cool thing to say "free Tay-K!" but really, it's just a trendy motto moreso than anything said with sincerety.

It reminds me of a quote from Sanyika "Monster" Shakur, who said in an interview how people that "shine the brightest" end up incarcerated forever or dead so "what you really want is a nice little glow".

And think about the song he blew up from. "The Race"? He made that song/video while actively trying to dodge arrest and then the video went up on the day he was captured. It blew up because of the hashtag #FREETAYK and debuted at #70 on the Billboards. Then a whole bunch of other musicians, with nothing to do with his lifestyle or his experiences, remixed his song and capitalized off of his hype. The hype from his arrest and "authenticity" of the "gang lifestyle" behind the song or whatever the fuck. Like....is it just me? Do none of ya'll think there's something sick about this?

(But that seems to be a running theme for musicians/cultural icons anyways, especially the ones that had any sort of message. Like Bob Marley or Tupac, they're just icons to put on shirts or whatever with quotes, to sell merchandise and to "act cool" with.)

I tried to choose photos where Tay-K wasn't holding a gun or trying to uphold some image. Because I think he's human and that's how he should be seen. (I know he's doing "American Sign Language" with his hands but lets be honest, who wasn't this ignorant as a child? I have a few photos looking this stupid myself. I know, I'm such an adorable farty potato fairy today but I had my moments.)

I don't know. The older I get, the more minstrelsy and anti-human the whole "culture" feels. Well, not necessarily the "culture", but rather the people perpetuating whatever ideas they have of it whether it is that they "sell" or "buy" the "product".

Here's a few joints from Tay-K that I like:

[caatws]

I can't speak for the merchandising but when it comes to gotg rides Mission Breakout is set just after vol 2 so there would be no need to change anything about it because of vol 3. Not that I think they would change the ride anyway. The newer ride is Cosmic Rewind and it's supposed to be taking place during or around vol 1. Gamora is of course included. This ride came out last year and I don't know when or how it was decided but I have been wondering if the whole rewind to vol 1 theme was picked so Gamora could be included.

I have mostly loved Gunn's work when it comes to gotg. I think he's typically thoughtful and nuanced when dealing with the abuse and trauma plots. However I don't think he had the ability to deal with Thanos killing Gamora. Gamora needed way more attention and her death should have been one of the most serious issues gotg ever had. I don't know what the perfect solution would have been but part of me wishes they would have given Gamora a solo movie or show handled by someone more willing to do the work needed to give Gamora's murder closure and Gamora an arc that was about finding a way to give back to her rather than take away. The mcu wanting to deal with hard and complicated issues is great. Being unprepared to see them through to the end or research what those situations are really like, isn't so great and honestly can send out a bad message. Vol 3 treats everything Thanos did with nonchalance. Gunn also uses the time and space since Endgame mostly in a negative way for Gamora. Vol 3 has Rocket and Nebula as much better friends and the entire basis for this is Endgame. At the same time it only lightly touches on Gamora and Nebula's relationship even though Endgame showed that was the most important thing for both of them and the entire catalyst for Gamora having confidence that her arrival to the future might be okay and they could win against Thanos. He ignores that 5 years working and being friends with other people could pose an issue for Rocket and Nebula when the guardians came back from the snap. Especially Nebula who hadn't been on the team before. It's like none of that time mattered at all. Then with Gamora he treats her time after Endgame as if it's created a permanent wall where she can't connect with these characters or be part of the guardians. And now here we are with Gamora being excluded and her value as a character being questioned which is the exact opposite of what you should want for a film about abuse survivors.

you're so right on all fronts here! i think gunn is extremely talented and everything else has been generally handled well and beautifully; for me personally it mostly only starts to all unravel when i consider the gamora situation, but looking past that, i think most of the characters got pretty solid arcs/moments/etc across the 3 films, especially considering the chaotic context of trying to fit into the greater mcu.

i'm glad rocket got the attention and care he did in this film, esp knowing how much it meant to gunn, but like i mentioned yesterday, i think it would've made more sense to put this particular story between vol 2 and iw, since the effects of iw/eg are hardly even explored in the film beyond peter grieving, the ravager gamora storyline, nebula's presence, and just other random details.

and i'm not just making up reasons to sound like a hater here lol like i've LITERALLY been saying since 2021 when mcu content resumed post-covid that, in general, one of my biggest gripes with post-eg mcu is the lack of rly going into the effects of 1) the 5-year time skip, and 2) the snap itself on most of the characters/stories, and unfortunately vol 3 ended up falling into the majority of films/shows that didn't rly deal with it much.

and my issue isn't necessarily gunn not wanting to deal with all that on top of the rocket story he wanted to do, but just like...we didn't have to make it a post-eg story then lol

in my ideal world we'd get like a vol 4 that is post-eg where it's just the gotg grieving gamora and searching for the new one, or perhaps even rectifying the whole original issue by bringing original gamora back or merging her with 2014!gamora etc. but either way, i think gamora's circumstances in her life and death warranted her getting a story just as much centered around her and driven by how much the other characters love her just as much as rocket did.

but yeah like you said anon, i just don't think gunn - or markus, mcfeely, or the russos bros for that matter - were equipped to handle this kind of storyline. and that isn't a bad thing! that isn't even a criticism of their work. it's just a literal fact that not all storytellers are equipped to handle every kind of story. and i don't think it should be A Big Deal to simply say that a white male storyteller may not be the best choice to tell the story of the consequences of a woc abuse survivor getting murdered by her abuser like lol. (bc when white male storytellers did tell that story, it was to show how the abuser actually Loved her and how there are parts of thanos we can still sympathize with UWU)

this is not even a radical opinion. this is quite literally the whole point of movements like #ownvoices and giving bipoc/queer/etc creatives jobs in directing and/or writing films/shows that center their identities.

like it literally is not that deep to suggest that local middle-aged white man james gunn (who's already made it clear that rocket was His Guy from the beginning, so we already know which character he'd prefer to focus on) was maybe not The Best Choice to write a story abt a woc surviving and escaping her abuser only to end up murdered by him in the end. he had his chance to show he was equipped to tell that story and he didn't, the end, case closed. it's as simple as that, and i don't wanna hear any dissenting opinions from white ppl, honestly!

[pynkhues]

why do you think when theres been the recent live action adaptations of classic media, theres always a woman of colour paired with a white man? how to train your dragon, percy jackson, little mermaid, etc etc etc all follow this trend. obviously some exceptions but it seems like woman of color + white man lead/love interest is what hollywood execs have decided en masse. im not against diverse casting im just very curious why it always seems to be that specific formula is now the norm?

Yeah, it's an interesting trend in casting, isn't it? Not a bad one, necessarily - I love seeing more diverse casts for any and all projects - but I do think there's something to be said about how Hollywood views the interchangability of women's (and especially girls') experiences that erases the complexity of intersectional identities.

I was actually thinking about it a bit recently as I was getting excited watching the sneak peek for the new season of AMC's Interview with the Vampire, because that is one of the few shows that has cast a traditionally white character with a white love interest with a man of colour. Jacob Anderson is perfect as Louis, but he's also perfect because of the amount of work the writers put into adapting the story to make his race central to Louis' character's identity, his internal and external conflicts, and his relationships with others.

It really put into stark contrast for me how infrequently women characters get that same treatment. They might be recast with WOC - Hermione in Harry Potter and the Cursed Child for instance, or like you said, Ariel in The Little Mermaid, but their race becomes incidental instead of something that should be crucial to the adaptation of the story.

Because it's not just Interview with the Vampire that did it - Jason Momoa's casting in Aquaman absolutely utilised his Polynesian heritage to inform both character and story, and while I don't think it did a very good job of it, I do think the first season of Bridgerton was conscious of Simon's race moreso than it was Queen Charlotte's and Lady Danbury's, or even Kate, Mary and Edwina's in s2 (I do think they tried to fix this in the Queen Charlotte prequel to mixed results, but I do appreciate that they at least tried not to handwave it away).

I do think genre and audience demographic plays a role in this too. I don't think that it's a coincidence that we see this uptick in diverse casting with content aimed at children or young women, and I especially don't think it's a coincidence that a lot of these stories are fantasy or at least fantastical. Both I think offer writers an excuse to minimise racial identity in favour of fantastical ones - they can argue Hermione being a 'Mudblood' or Ariel being a mermaid is much more important 'in-universe' than either character being Black, and when that doesn't work, there's always the 'escapism' argument to fall back on.

Girls and women want fluff, they want escapism, they don't want stories of racism or racial trauma, which sure! Y'know! Often a lot of women don't! But race is more than that, it's culture and context and history, and to minimise it fails the character and as trends over the last decade have shown, usually results in failing the actress playing her. If you're not putting the effort into understanding how race informs this new imagining of the character, you're probably not putting the effort into understanding the position you're about to put the actress in either. Kelly Marie Tran in Star Wars or Candice Patton in The Flash both spring to mind in that sense (and god, as someone who's watched both, they're so talented and did the best with what they got, but man, they weren't given much).

It diminishes the nuance of womanhood, but that's kind of the point too, right? Hollywood's never understood the intersectionality that sits at the heart of every woman's identity, and the different aspects of her character and her resonances that builds her up or breaks her down, which is a part of why I think women characters, especially characters who are still girls, are seen as easy ways to create avenues to diversity in Hollywood.

After all, creating entry points for diverse casting for usually one (1) actress in existing IP allows studios to tick boxes and pat themselves on the back and say they're investing in diversity without actually investing in diverse stories or making space for diverse storytellers.

(I actually have a rant forever in the back of my mouth about how they're doing this to women's stories in general. After all, all these girlboss reboots of traditionally male franchises like Ghostbusters and Oceans 8, aren't telling women's stories, they're just putting lipstick on a man's).

But yes. I guess where I'm going with this particular point is that if you were to ask me point blank if I think that Hollywood wants to diversify, I'd actually say yeah, that I think they do. The problem is that no one wants to be out of the job or lose power, screen time, or representation, and given Hollywood is foundationally white, wealthy and patriarchal, those stories are always going to be repackaged in ways that centres white masculinity as something aspirational, heroic or crucial to a story, which leaves everyone else to shift roles or focus to prop them up.

Of course, in turn this does feed into the whole trend of pairing WOC and white men specifically, which is what you're actually asking, haha. And look! I do think interracial relationships in film have come a really long way in the last decade, but also still think they have a long way to go and in particular are a long way away from being able to have a non-white love interest. This by default means that if Hermione and Ariel and Iris are Black, Ron and Prince Eric and The Flash will be white, and I don't think the reverse is as 'acceptable' to studios due to the fact that the nature of both systemic and social racism means that white men are threatened by MOC dating white women, which further informs the way these relationships end up being drawn on screen.

(On a related note, there have been a few studies into interacial relationships recently, and they all tend to find that there's enormous social stigma for white women dating outside their race, particularly compared to white men dating outside of theirs, which this study links to white supremacy and incel culture.)

I think shifting beauty standards for women does contribute too, as well as - - y'know. Capitalism. After all, the avenues for merchandising particularly with childrens content (like, gosh, I love to see all the Black Ariel merch that's come out when I'm in the toy aisles shopping for my nephews, but it's also pretty impossible to deny that Disney saw a market there that they could cash-in on), and I do think all of that together probably paints a picture that can be boiled down to Hollywood execs seeing casting of MOC in these sorts of roles as limiting audience, and casting WOC as broadening it.

All of this isn't to say that I don't support these recastings - I do, very much so, but I do wish female characters were treated with more nuance in these contexts, and I especially wish we could get more diverse original stories as well as these recastings.

[permanentlyexhaustedpigeon88]

It's been said before. It'll probably be said again an infinite number of times. But I'm going to say it here, anyway, because this particular thought-process is something I've struggled with (and am still struggling with), and I feel strongly about letting anyone else that is struggling with it know that they are not alone.

YOU DO NOT HAVE TO BE PERFECT AT SOMETHING THE VERY FIRST TIME YOU TRY IT!

IF YOU RECEIVE CONSTRUCTIVE FEEDBACK ON THAT SOMETHING, IT DOES NOT MEAN THAT YOU ARE A FAILURE, AND INFERIOR, AND STUPID, AND WORTHLESS.

So, context time. I'm working on test cases for a software upgrade we're doing. I've literally only been working for this particular company, and doing this particular job (QA) for a little over 2 months. Prior to this, I was a pharmacist for almost 10 years. MAJOR career difference. These are the first ever test cases I've written, because we're a newer team, and we're only just started to hit the ground running.

My coworker (an amazing woman, with years of experience that I already look up to) offers some pointers on what I can do to tweak what I've got so far, and even suggests that one of my test cases might not actually be needed given what we're working on. All very politely. Everything she's said are very rational thoughts that make loads of sense. But what does my mind immediately do, in the aftermath of hearing this feedback?

It decides it's self-deprecation time.

"Oh no. You suck. You're a fraud. You'll never be able to do this job, and soon, everyone will know. They'll think you're stupid. You are stupid. Once everyone realizes this, you'll be on the unemployment line yet again, and guess what? You'll deserve it for being so worthless and useless and dumb."

And on. And on. And on...

It's the same old story with me, no matter where I am, or what I'm doing. It could be work for a job. Writing for fun. Just existing, but the one common theme weaving its way through all of it is that I am still that little girl, sometimes, that is so desperate for Mommy and Daddy's (or anyone else's) approval, and any hint of the lack thereof absolutely guts me.

Achievements were tantamount to gold in my family. I was the "mature for her age, a pleasure to have in class, never causes any trouble, so gifted and talented and advanced, all A student" that learned early on that my worth was inherently bound to maintaining each and every one of those compliments to perfection. Never slipping. Never being a kid. Never being human.

Mistakes were unheard of. Sure, they said honest mistakes were okay, but in the event that one actually happened, it may as well have been the end of the world. "You're grounded, this isn't you, we are so disappointed in you." And I internalized it. Oh boy, did I internalize it.

I was supposed to be perfect. Anything less was a failure. It meant that I was a failure.

And that was the worst possible thing that I could ever be.

It's obviously carried through to my adulthood. If I don't pick up something at a job the literal second I'm taught, I suck. If I make a simple mistake, I'm the scum of the earth. Everything I've ever achieved clearly cannot be by my own qualifications, there has to be some other reason. I graduated from pharmacy school by sheer dumb luck, because I'm simply too stupid to have achieved it or anything else in my life, by any other means.

I'm terrified to try anything new. To put myself out there. Because I've got this thing inside me screaming that the second I do, I'll only be broadcasting how awful I really am. And it sucks. Especially when I've got people (my parents included, make that one make sense, lol) trying to get me to have even a fraction of an inch of self-esteem.

I guess what I'm trying to say, in this long-winded freaking word-vomit ramble (so sorry, guys), is that it's a hell of a thing, trying to unravel all of this once you realize it isn't how you should really be thinking. Once you realize you do have something worthwhile to contribute to this world, even if it doesn't line up with everything you've been taught to think is 'worthy' your entire life.

The entire point of being human is to exist. To learn from not only one another, but from yourself. To grow better and better each day, and yeah. You'll slip up. You'll make mistakes, big and small. There will be things you're simply not good at. Like...at all. But you know what?

That's okay.

[blogzzs-world]

OET Reading: Extra Points and Guidance for Non-Native English Speakers

For non-native English speakers, getting ready for the Occupational English Test (OET) could be a nightmare. In order to manage day-to-day communications in the healthcare sector, you must be able to understand medical literature, guidelines, and patient information, according to the Occupational English Test.

Recognise the format of the test

Prior to beginning your preparation, familiarise yourself with the format of the OET Reading exam. It is split into two sections:

You can't take too long on each question in Part A since you'll need to read a number of brief texts—such as memoranda, patient information pamphlets, or notices—and swiftly hunt up specific information.

Part B is a longer, more in-depth essay. You will need to have a deeper comprehension of the passage in order to respond to questions on its key ideas, specifics, and conclusions.

Emphasis on Terminology Related to Health

Medical terminology is important for this component because the OET reading books are centred on healthcare. Even if English is not your first language, you can still get started by studying and becoming familiar with terminology used in the medical field. The good news is that OET reading materials typically closely resemble actual documents utilised in healthcare environments. Therefore, you'll feel more at ease speaking the language if you master some terms and phrases.

Create flashcards with the definitions of the medical phrases you will study. To see how those terms are used in context, read articles or patient care resources on health.

Work on your scanning and skimming.

Two reading strategies that can greatly help you identify crucial information quickly are skimming and scanning.

Skimming is the act of briefly reading a text to gain an overview of its main points. Instead of reading every word, focus on identifying the passage's core topic.

Searching within the text for a particular word, person, date, etc. When searching for a specific answer to a question, scanning is especially useful in Part A.

The OET Reading test requires both of these talents; it is easier to pass the test if you frequently practise the aforementioned skills.

Gain More Speed Without Losing Accuracy

A non-native English speaker's reading comprehension will likewise be restricted. They might not be able to read rapidly enough, which could be an issue given the short amount of time left to complete the test. They should read as much as they can to address this issue while yet being careful to be accurate. Their reading comprehension will increase with the amount of familiar material they read.

To help you get adjusted to the pressure of having a time limit, practise reading while the timer is running. Your ability to read accurately and quickly will increase with practice.

Employ Contextual Hints

Occasionally, you can run into vocabulary or technical terms that you're not familiar with. Although this may be annoying, do not lose hope. Rather, deduce the word's meaning from its context. Try to predict as much as you can after reading the surrounding content.

For instance, if the patient is having breathing issues and something is mentioned about "bronchospasm," even if you are not familiar with the term, you can infer from the discussion's overall context that it has to do with breathing issues of some kind.

Utilise Actual OET Materials for Practice

Using official OET resources is perhaps one of the greatest methods to get ready. These will be created to replicate the actual test, providing you with an idea of what to anticipate. You become more familiar to the format and style of the test as well as the kind of questions that are asked by taking practice exams.

Advice: Practice daily to boost your confidence, not just once or twice. You might thus become an expert in both reading and test-taking techniques.

Avoid Being Stuck on Tough Questions

You might read a word you have never seen before on the test, or you might come across an unclear question. Don't spend too much time on it if that occurs. After responding to all the questions, move on to the next one and return to it if you have any more time. Rather than being bogged down on a tough question and wasting the limited time you have left, you should finish the simpler questions first and then move on to the more difficult ones.

Take Care of Your Physical and Mental Health Lastly, keep in mind that studying for the OET involves more than just reading books. Reduce your stress, get enough sleep, and engage in physical activity. Your ability to read more fluently and focus during the test will increase in direct proportion to your physical and mental well-being.

If you are not a natural English speaker, getting ready for the OET reading portion may seem quite daunting. But as soon as you begin practicing frequently and use the appropriate techniques, your reading abilities will increase, and you'll feel more confident as you get ready for the test. One can practise three main areas: reading comprehension, practicing skimming and scanning, and broadening one's medical vocabulary.

velocity. You can significantly improve your readiness for the OET Reading test by properly putting these tips into practice.

Let's Update Language Academy is regarded as one of the top organisations for OET applicants if you're looking for professional assistance with your preparation. The school offers individualised instruction to address the particular difficulties encountered by non-native speakers. Let's Update Language Academy offers its students the greatest OET training in Kerala, with practice materials modelled after the final OET test and coaching and guidance from the most experienced trainers. Let's Update Language Academy's all-encompassing method will get you ready for the challenge of beating OET.

speed. By appropriately implementing these suggestions, you can greatly increase your preparedness for the OET Reading exam.

If you're seeking for expert help with your preparation, Let's Update Language Academy is considered one of the best companies for OET applicants. To meet the unique needs of non-native speakers, the school provides customised instruction. With practice materials based on the final OET exam and coaching and advice from the most experienced trainers, Let's Update Language Academy provides its students with the best OET training in Kerala. The comprehensive approach of Let's Update Language Academy will prepare you for the task of succeeding in OET.

[accirax]

You thinking that Eden sounds guilty despite not believing her to be the killer 🤝 me thinking that Eden sounds innocent despite believing her to be the killer. I suppose it was a very up-for-interpretation sequence, haha.

But yeah, I understand why you brought this up, because I didn't think it was one of my strongest points, either. However, I do still believe it, so let me try to defend myself a bit better. It seems like you basically have three main points, so I'll cover them one at a time.

I think it'd be very difficult to cover a topic like that this early in the story without having the scene be directly superseding the stabbing, which I think would (probably) reveal a little lot too much about the circumstances surrounding the whole 'betrayal' in the first place, as well as who the secret person is. (Though, obviously Xander.)

So, by this, I assume you mean that it would be too early to show the surrounding context either in the end of the Chapter 2 daily life (which this theory presumes is the end of Eden's main content) or in Eden's presumed ensuing bonus episode. Upon further review, I definitely agree with that. The most I think we'd get is, like, a reverse shot CG of Xander reacting to his eye being ripped out-- to confirm the popular theory that Xander is hands man and to illuminate anyone who hasn't heard of that theory yet-- but given that I don't think any of the students currently remember this scene happened, I don't know who would be the one to call it to memory. I guess it could be shown unwittingly as Eden says "you can't go back, no matter how hard you try"? I'm getting distracted.

Anyways, to reiterate, you're right that the series probably won't cover the full breadth of the stabbing at this point in time. Rather, I just don't think that Eden necessarily needs to be alive when they do.

Also, it would feel a bit abrupt to kill off Eden directly after a reveal like this, especially since most regular viewers just do not understand what that reveal is trying to communicate. It's exclusively something which people who are particularly interested in the story will understand, and a regular viewer will probably just see it as a weird & unusual moment which doesn't actually mean much ATM.

Now this, I still disagree with (I say kindly and respectfully /gen). Killing Eden off after dropping that CG might feel a little jarring, yes, but that feeling of missed potential and wanting to know more might get people even more invested in the lore. I think the best way to illustrate how this practice could happen is to point out how other killing games dealt with a similar premise. I'll be using a canon example, an example from another fangan, and some similar behavior already exhibited in DRDT.

(MAJOR SPOILERS for Danganronpa v3 and MINOR SPOILERS for SDRA2)

Canon Example: Rantaro Amami

The best and the brightest of the Early Mysteries, Rantaro dies while still clearly having a lot of lore to drop. He comes out the gate swinging with a missing talent and mentions of the "Ultimate Hunt," only to die with neither of those mysteries being solved. In Chapter 4, we get another tease of his mysterious knowledge when the beginning of his video message plays, and the stakes are further raised when his locked Ultimate Lab appears in Chapter 5.

While you could argue that bringing this up goes against part of your premise-- that it would alienate the "regular viewers" for which v3 arguably has none, because everyone watching theoretically purchased and is playing the game for themselves. But, even then, there are going to be players who want to immerse themselves in the mystery and try to crack the case before Shuichi steps foot into the Class Trial Grounds, and those who are moreso there for the quirky characters and are mostly along for the ride.

And, as far as I can tell, no one who's played v3 has ever had a problem with additional Rantaro lore being added after his passing. Instead, players are keen to know more, to get sucked in, to see what he has to offer when it comes to the overall plot. Even if we don't understand what Rantaro means when he says "this isn't your first" in Chapter 4, we trust that the game is laying out puzzle pieces that either it or we will solve in the future.

Fangan Example: SDRA2's First Killer

(I'm not going to name them for the sake of anyone who hasn't played the game, but there will be some spoilers as to the circumstances.)

In SDRA2's first trial, everything seems to be proceeding as usual until the students correctly identify the blackened and question them during the post trial. At that point, the killer reveals that they're part of a secret organization working with the mastermind, and, furthermore, that there three other hidden agents (besides the mastermind) camouflaging amongst the students. And then, the first killer dies.

At the time of their death, we know basically nothing about why they were a part of this mysterious organization. Other than possibly if you did their FTEs, you have no information about the character's backstory, or what could have compelled them to aid in the killing game's construction.

However, this, too, doesn't feel jarring because you know that there are other characters out there who can reveal more about the killer's circumstance, whether by directly revealing things about the killer or implying things about the killer through their own experiences and opinions. That, and the developer incorporated a Monokuma Theater-esque segment into the game that allows the killer to talk a bit more about themselves posthumously.

While perhaps not as directly, Eden could have both of these things. Other characters, such as David (due to his strong associations to Xander) or Teruko (due to her strong associations with Xander including being mentioned by name in the hands scene) may be able to give further detail on the situation once they remember it. Characters that Eden is close to, such as Hu or Teruko (again) would also be able to deliver on the emotional front when reacting to the past of their former friend. And, although it certainly wouldn't give us all the answers, Eden's Bonus Episode could give us some indirect hints as to what happened.

DRDT Example: Xander Matthews

I mean. Let's be honest, DRDTdev has pulled this move once before. He showed us all of these classics...

... before going and confirming that Xander was dead. It's easy to see how someone could have thought Xander had "too much going on" to up and die like that. However, I don't think many people felt it was too abrupt-- although, given that I wasn't there, I can't say that for sure. It's because in this genre of story, we can trust that our outstanding questions about Xander will be answered by the end of the narrative.

And we have gotten some answers already, even if they've raised more questions along the way. We've learned more about Xander through his bonus episode, through David's memories, and, of course, through LGI. These things may only be SUPER apparent to the super invested, but I also think that how much you're invested in the lore might correlate to how jarring you might find it. Like, of course if you're invested in the lore, you're going to be like, "wait, what, Eden's dying right after that reveal? But we have so much more about her we need to learn when it comes to scratching out Xander's eye!!!" But, for those less-invested that you were worrying about, the reaction might be more of a "woah, that was weird! I guess we'll learn more about it later like we will that hands thing at the beginning and the redhead Teruko remembered."

Speaking of that redhead, I do want to bring up Mai for a second here. Although you can't really say that Mai "died" after Teruko remembered that scene of her (though she very well may be dead anyways), she hasn't had any main story relevance since that scene was shown. Therefore, there's a precedent of showing a mysterious CG and not getting back to it for a while, letting the theorists theorize and trusting the general public to remember the broad details of the obviously important stuff.

I think that killing her off would definitely remove some tension from the reveal, since it's more of a building block, as well as from the hook to the series in general, since we now know who the attacker is and we no longer have them to confront, at all.

I mean... "knowing" that Xander's attacker is Eden, if she survives this chapter, do you think we're going to confront her with any hostility about it? Right now, I would wager that Eden doesn't know anything more about that scene than we the audience do. Hell, she probably knows less, because we at least have the CG and and the context of the hands scene. Therefore, confronting her, in my opinion, wouldn't really raise the dramatic stakes, because she wouldn't have any more information than we do.

(I guess there is the possibility that Eden could have done so as the mastermind, but given that neither you nor I believe her to be the mastermind (last I recall you were a Whit!MM truther, sorry if that's changed or I forgot something), I'm not super keen on delving into that theory.)

Furthermore, I don't think that the hook of the series has been damaged at all. In fact, I think it's been heightened, at least for those who care about the lore. The original hook was that someone stabbed out probably-Xander's eye with a fork. Theorizing about that, Occam's Razor would probably lead you to the least surprising outcome-- Teruko did it, Mai did it, some agent of the Spurlings did it-- but now we know that Eden did it, somehow. And we have no idea why. Now, the question isn't "who attacked Xander?", but rather "why did Eden attack Xander?", which I think is much more interesting.

I guess it could hurt the perception of the hook for the fans who don't care as much about whatever secret plan Mai and Xander were creating together or the number Eden says Mai was calling. But then you're also counting on those more casual fans to put together that Xander is hands man, and Xander's eye injury looked kind of fork-inflicted, and therefore Eden must have been the one to attack Xander and rip out his eye. Also, even if DRDT's hook would suffer a little bit from this early reveal followed by death for some groups of people, I would certainly think that DRDT has enough other points of interest cooking right now to keep people interested despite that. It's okay with me if we trade up one hook for others.

I feel like I had more to say on the subject, but I really wanted to get back to you before next episode and I'm quite tired, so I think I'll have to cut it off here. If you have further retorts to my arguments, then perhaps we can discuss them again sometime, although it'll probably be after 2-14 at the very least, which may provide additional evidence and slant the discussion one way or another.

Thank you for your sharing your opinions and your compliments on what else I wrote!

Danganronpa: Despair Time Chapter 2 Episode 13 Dissection

Jesus CHRIST, the hits keep on coming (/pos). I don't think anyone could have predicted everything that came to light in this episode. But, hey, at least we're finally cooking on the murder method a bit more...?

SPOILERS for Danganronpa: Despair Time though Chapter 2 Episode 13! Also, CW: discussions of suicide.

Similarly to last time, I tried not to look at too many other people's major reactions/theories as to not influence my opinions as they were when I watched the episode. (Although I think I failed to do that more than last week...) Here's what this episode got me thinking about!

Genocide Jack, Junko, Mukuro, Peko, and Korekiyo:

On that note, though, this is... debatably relevant lore about Hope's Peak as it exists in DRDT? We know from Chapter 2 Episode 2 that Veronika (and likely all of the non-Terukos as well) don't remember Trigger Happy Havoc, and, based on this, it's likely that they don't remember much of the history of the old HPA either. Ace being so adamant that HPA wouldn't scout a murderer implies that the new HPA has fully regained its spotless reputation, potentially even more than the Tokyo school ever had.

I want you all to know that I tried to write out a little theory about whether or not Levi could have killed any plot-relevant characters here, but I came to a dead end at every venture. Levi killed Mai? No, he has no motive, and the murder happened before everyone attended Hope's Peak. Levi killed Elliot? No, Ellie was probably killed by dogs, and the timing is all wrong. Levi killed someone at the North C and Chariton incident? That didn't even happen. I was just getting that confused with my theories about what Xander might have done at that incident in FF's DRDT Milgram AU. Not even what actually happened in the AU. Just my theories on what might happen.

The only option I couldn't fully rule out was the idea that Levi killed some of the ~5 missing members of the altDRDT cast, but, holy shit, can you imagine how funny that would be? Teacher and the gang get to the sixth Class Trial and ask all dramatically, "so, what happened to the rest of our class that didn't make it to the killing game...?" and Monowhatever is just like "actually, Levi Fontana just straight up merced those dudes years ago." Hilarious.

Anyways. That goes to show that I do think these were just random guys, and the only specific relevance they would have is in the realm of Levi's backstory specifically.

RIP to the "Levi used to be an assassin" theory. I actually kinda liked that one myself.

(Also, hijacking this image to point out the background music here. You hear the ticking clock motif? Very suspicious indeed...)

Yup, even more confirmation that HPA highly valued having an incredibly pure and righteous image. Of course this HPA was also corrupt. Is it even possible to make an HPA without some level of corruption?

(Levi. My guy. I need you to use a different sprite; the quadruple image combo is starting to look ridiculous.)

What I find really interesting here is that, even in the realm of forgetting about murders, Levi remembers the three random guys before his father. Like, I know that Levi says that he kinda equally doesn't care about everyone (and I believe him to be telling the truth on that), but you would think that, just by virtue of having spent more time with his dad or the people around him's reactions, Levi would have remembered killing his father before offing three random thugs.

I don't know if this is meant to A) really drive the point home that Levi sees no difference between those he "knows" and those he doesn't; B) imply that Levi might have sustained some greater amount of trauma from killing his father that caused him to block that memory out more; C) suggest that killing the guys was more recent than killing his dad, which might lead him to remember it with more clarity; or D) some combination of the former three. However, I think it's an interesting detail to note.

The foils are foiling........

This was hilarious. And lowkey evidence that Nico was the one who tried to kill Ace.

You know, I actually almost made a theory once that the clauses "you're a murderer" and "you have no remorse" could be read as two separate secret statements! Not to say that Levi didn't have no remorse for the killing part, but that having no remorse was a state of being not solely tied to the murdering.

Alsoooo... just gonna say, Levi on Drawing Pins is looking better and better all the time...

Eden: But you're a good person. Why are you saying these things when it's clearly not true? You're so kind to everyone. You're always helping others out, even when it'd be easier not to. Like that time Ace almost died. You kept trying to help him, even if he always pushed you away. Isn't that what "a good person" does?

WE ARE BACK AT IT AGAIN!!! "GOOD PERSON" SPECIFICALLY IN THE LEVI/EDEN CONTEXT AAAAAAAAA

Beyond the further "good person" jumpscare, I found this line interesting due to how Eden describes Ace. Someone who "always pushed [Levi] away." Sounds a lot like Arei, huh? In fact, a lot of it sounds like Eden is applying it to herself.

"But I'm a good person. Why am I thinking these things when it's clearly not true? I'm so kind to everyone. I'm always helping others out, even when it'd be easier not to. Like that time Arei yelled at me. I kept trying to help her, even if she always pushed me away. Isn't that what "a good person" does?"

Obviously, I'm reading into this in the "Eden is the blackened" context, but I think that it's still an interesting read of Eden's mental state even if she isn't the blackened. We know that, to some extent, Eden blames herself for both Min and Arei's deaths. Therefore, despite likely feeling like she's fucked up, she wants to cling onto the idea that she's a good person so she doesn't lose faith in herself.

That leads into some super interesting parallels when it comes to this speech versus what Arei said, but I'll talk about that more once we get to the Arei monologue.

This week, acevi shippers take the L. Really, Levi x anyone shippers, but I think acevi shippers got the worst of it.

Except, they also took the W. "Ace lowkey confirms he once had feelings for Levi" was NOT on my bingo card. Or Star's.

(Also I LOVE this new sprite)

I saw some people talking about Ace's friend (Taylor?) but I do not remember and cannot find any information about this character (so I can't even tell if they're just fanmade :( ). If anyone knows what I'm talking about and has a link, please send it to me. Anyways, "insult to his memory" definitely makes it sound like Ace's friend is dead. I wonder if the way in which he died has anything to do with Ace's fear of horses/cowardice in general.

I want to see more Levi and Veronika interactions so bad. It's no surprise that Veronika was the first to pick up what Levi was putting down. Both of them don't have the "normal" way of processing their feelings and interacting with others, but while Levi has decided to try to be what society deems as "good" anyways, Veronika has decided to fully live by her own creed. I wonder if Levi could be at all convinced by Veronika to go back to his old ways.

Veronika: You're always guessing as to what a normal human would do in your situation. You're so awkward in social settings because you can't tell what other people want.

I'm excited to see Levi and Nico interact too, obviously. I suppose Nico is kinda like the midpoint of Veronika and Levi-- doesn't understand people and wants the world to work the way they perceive it, but also has been bullied enough to feel forced to play along with how others want them to be. Characters like these have become some of my favorite archetypes to discuss. I'm so glad that DRDT has so many of them!!!

The foils are foiling AGAIN...

Why the fuck are you so pressed about the secrets now??? I thought you were all about privacy?????

Well, thank you for "confirming" that swap, ladies! This talk of a pact is very interesting, though. I guess Hu must have gone to Veronika pretty early to ensure that her secret wouldn't get out-- makes sense, as without that there's a good chance Hu could believe that Veronika would reveal her secret at the most unflattering time to create drama.

It does slightly recontextualize Veronika's "A little mystery makes this Trial more exciting, don't you think?", though. I wonder if that was just straight up a lie, or if that was the rationale Hu used to appeal to Veronika. I doubt we'll get a flashback of this scene now that this moment's passed, but I'd love to see it. FTEs...? 👀

David you have to stop this right now or you're going to become my new favorite character. Dude's been dying to don the mantle of the comic relief character, apparently.

Is The Motive Scoreboard Accurate?

I'm including this because I've seen some other people say that it is, specifically on Teruko's front. I strongly believe that this motive board is incorrect, and Teruko and Xander's secrets are swapped.

The blaming yourself secret mentions parentS and siblingS. Back in Chapter 1 Episode 4, Teruko says that she never knew her parents (and therefore may even just be assuming that she has two), and she only had one biological brother. Furthermore, she has no idea if they're dead or not. On the parents front, she could assume that being sent to an orphanage is confirmation enough that her parents are dead instead of just not wanting her. Being sent there with her older biological brother is a further implication of that.

However, Teruko specifically says that her brother "left with some other family." She makes no mention of believing he's dead at all. Therefore, for Teruko to have the secret she claims to have, Teruko would have to be constantly mourning parents and an additional sibling that she never knew, and to believe that all of them are dead despite having no reason to believe that her known brother died.

Obviously, all of these things were said aloud to Charles and Whit, so there is a possibility that Teruko lied about or concealed parts of her past to keep her walls up around those two. However, what does this face from David mean if not "I've caught you in my trap?"

(DRDT sprites are SO GOOD--)

To me, this sprite clearly indicates that David knows that Teruko is lying about something, but has chosen not to bring it up to save it for later purposes. I don't know if he has something specific in mind or just wants to hold the potential blackmail over her head, but I strongly suspect that we'll come back to this someday-- either in later daily life or a post-Trial scene in this chapter.

It's also interesting to note that, while David knows that this is Teruko's for sure, Charles and Whit also have the opportunity to recognize the discrepancy. I definitely wouldn't be surprised if Charles kept notes about what he knows about everyone somewhere. We'll have to see if either of them ask her about it down the road as well.

Eden: I know that she's dead!! I know that she's dead and that she's never coming back. I know that I'll never be able to talk to her ever again. But even then... I have to know that when she was alive, she was still trying to become a good person. That if she lived, then maybe there'd be a world in which we would both be friends. If you really say that you lied about making Arei kill herself, then tell me the truth. Tell me that you didn't make her lose hope. Please! Tell me what happened last night between you and Arei!

Oh boy.

Can Eden Still Be the Culprit?

Look. I understand if you look at this and believe that Eden couldn't possibly be the culprit-- or at least, not without being a completely different character than we know her to be. Because I almost did. Zel's performance did a really good job of selling Eden's heartbreak in a way that makes it feel like she couldn't have possibly been the one to end Arei's life. However, upon further review, I do think that Eden's words could be that of the killer, with minimal levels of intentional manipulation thrown in.

If it would cause you emotional distress to listen to me continue to accuse Eden, I'll write the rest of this section in purple so that you can skip it if you'd like. I don't want to make anyone sad, so I fully understand if you want to avoid these bad vibes. However, for those of you who are still on the fence, and those who have stuck with Eden!culprit all along, here's my justification. I think it'll be easiest to break it down block by block.

Eden: I know that she's dead!!

Okay, well, maybe skipping this section a bit. More points for Arei truly being the one who's dead, I guess?

Eden: I know that she's dead and that she's never coming back. I know that I'll never be able to talk to her ever again.

Alright, so, this can fairly easily be read as the same thing as what Eden was doing back when she was talking to Levi: reassuring herself.

Well, maybe "reassuring" is the wrong word. Basically, she's repeating the same mantra that she told herself when she was trying to justify her decision to kill Arei. When making the decision to kill anyone, the killer (if they care) has to process that they will have to kill every other person in the game if they want to escape for themselves. Therefore, if Eden is the killer, she already had to grapple with the fact that she can't turn back time. ("You can't go back, no matter how hard you try.")

I think that Eden might have it in her head that, even if it wouldn't fully erase her wrongdoings, as long as she doesn't just forgive and forget the whole affair, it makes things slightly better. That's why she was yelling things like "You forgot about all the things you did just because you didn't face any consequences for them? That's incredibly selfish!" at Levi.

Feeling bad about things is her punishment to make sure that Arei is never fully forgotten. She knows that, if she goes through with killing, she'll never be able to talk with any of these people again. However, if there's something more important to her than these 13 lives that she has to escape the killing game to reach, it's a consequence she'll have to accept. She knows it's selfish-- but she at least won't be so selfish as to also forget everyone else's sacrifice.

Eden: But even then... I have to know that when she was alive, she was still trying to become a good person. That if she lived, then maybe there'd be a world in which we would both be friends.

This is probably the part that feels the most damning. Why would Eden care about whether or not Arei was trying to become a good person if Eden is the one who killed her? Wouldn't it be better for Eden if she wasn't?

Well, that's what Eden is trying to figure out, too. In Venus' Narrative Defense of Eden Culprit Theory, Venus says that Eden didn't believe that Arei actually changed and wanted to be her friend. And, it really makes complete sense if she didn't-- Eden had no idea that David and Teruko continued to talk so seriously with Arei after her departure, and Arei saving Eden from Arturo literally happened the same day that Arei had her breakdown. It had probably been, like, 4 hours since Arei chewed her out for her worldview being stupid, and then Arei's suddenly turning around and declaring that she wants to protect Eden at all costs. Of course Eden might just believe that Arei was setting her up for a fall! (Murder pun not intended.)

Venus also adds that, at this point in the Trial, David knew something that Eden didn't: namely, that Arei actually wanted to change, and saw Eden as her inspiration for doing so. Under the assumption that that revelation has been bothering Eden the whole time, it makes perfect sense that Eden would want to know more about what David knew about Arei. She needs to know exactly how terrible she needs to feel for doing this terrible thing.

I think the quote becomes a lot less defendable if you just swap out the "that" for an "if."

"But even then... I have to know if when she was alive, she was still trying to become a good person. That if she lived, then maybe there'd be a world in which we would both be friends."

Now, obviously, you could say that this is an unfair point-- Eden didn't say "if," she said, "that"! How can you excuse Eden based off of evidence that isn't actually real?

My point is that, even if DRDTdev didn't have Eden phrase it that way, it would be an incredibly easy swap to make. Thus, the only way in which Eden would have to be lying is to swap out one word. With that one word, "if," we see how she's still doubting whether Arei really was trying to be a good person, and can read into why she's bringing that up at this time. To disguise it, all Eden has to do is trade "if" for "that"-- she doesn't have to be some masterful lying manipulator to pull off a quick exchange that makes her look more innocent.

Eden: If you really say that you lied about making Arei kill herself, then tell me the truth. Tell me that you didn't make her lose hope.

Eden needs the truth so that she can know how despicable she actually is (in her opinion). She needs to know how bad she needs to feel for taking Arei's life, so that she won't wind up as "inhuman" as Levi.

I also think that "tell me that you didn't make Arei lose hope" could be interpreted in a killer-ish way. There is a rhetorical device in English that sorta turns words like that on their head. Like, if I said, "don't tell me you spoiled DRDT for all of your followers!," it's often interpreted as "I know that you did spoil DRDT for all of your followers, but I don't want to hear it." In this case, Eden might not want David to tell her that he made Arei lose hope because she doesn't want to believe that Arei had any hope in the first place. It's better than if Eden was the one to directly crush those hopes, sure, but if Arei approached David talking about wanting to be a better person mere hours before her death, that still means that Eden was killing a hopeful Arei. She doesn't want David to confirm her worst fears.

I don't know if I phrased that section exactly how I imagined it in my mind, but hopefully you understand what I'm getting at.

Eden: Please! Tell me what happened last night between you and Arei!

In the end, though, Eden knows that she has to face the music to figure out how she wants to proceed with this trial, whether that's sinking the cost of her fallacy or owning up to her crime. And that's how I think you can justify this outburst of Eden's within the context of her being the blackened, without having to fully corrupt her character.

What Arei Meant

This part isn't a theory, exactly; it's more of an analysis of the point I think Arei was trying to convey in this section. I've seen some people be sad about the new note that Arei's character is "going out" on, but I actually think that this is a pretty realistic, thematic ending for where Arei's story and the themes of the chapter are headed. Time to praise DRDTdev's writing for a bit!

Arei: I'm a manipulative, two-faced bitch. I pretend to be cute so that I can treat others like trash. I only care about myself, and I always hurt others for selfish and stupid reasons. Of course I wanted to change myself. [...] Still, for the longest time, I thought it was stupid to even try. I'm rotten to the core, and I might as well be a different species from saints like you and Eden. [...] No matter what, I'll never be a good person. And yet, despite all that... David, you... It turns out that you might be a total piece of shit after all. If even a perfect inspirational speaker like you turns out to be an asshole, then there's no such thing as "a good person." [...] And that makes me relieved, because it means I'm not too far gone. It's okay that I'll never be a good person, because no one else can be either.

I don't think that Arei is saying that the world is a lost cause.

Instead, she's saying that no one is a lost cause. She's applying that Syndrome logic: "if everyone is a bad person, no one will be." Arei thought that, because of her upbringing, there was no possibility that she could ever Be Good, because she'd already done too much wrong. Good People are perfect, unerring gods who do nothing but help others and reach out to wayward souls. However, David's manipulations proved that that wasn't true.

Good People fuck up. Good People do good things for bad reasons, and bad things for good reasons, and, hell, if David is a Good Person, then Good People do bad things for bad reasons sometimes, too! Arei confessed to us that she felt like her life was over because she was given an unfair start. However, now she knows that the bar has been lowered, and that being a good person can be done by anyone, anywhere, at any time. Perfection doesn't exist. Now that she knows that there was never any need to be perfect, the chance she sought for so long has finally been granted.

(Dipping back into purple for a sec to talk about Eden culprit stuff)

After this, I feel like the theme of this chapter has to be about deconstructing the myth of "The Good Person." You think that Nico is just a soft and shy bullying victim? No, they're just as willing to kill as anyone else. You think that Hu is a gracious motherly figure? No, she has an angry streak and talks over other people. You think that Levi is a softhearted giant who just struggles with what to say sometimes? His kill count is higher than everyone who's died to the killing game so far, and he doesn't really care that that's the case. You think that Whit is just a silly guy who cares about others? Fuck, even he's willing to stall out the trial in an attempt to fulfill his own agenda.

The main person who hasn't yet been proven so be not as good as they seem so far is Eden, who in this episode has been clinging to the idea of being a good person harder than ever. I know that some people believe that Eden needs to survive to fulfill the role of the optimist, but I feel like this episode proves that that isn't true. We don't need A Hopeful Person because anyone can step up to the plate and believe in hope if they want to do so. Eden isn't A Good Person, but a real person, who's just as capable of laughing and crying and living and dying as anyone else.

A good person is not gold. That's why everyone who tried to cling to the idea that they were being A Good Person-- Xander, David, Levi-- has always wound up hurting others in the end. Xander believed his actions were morally justified, and thus decided to kill Teruko, causing Min's death and lots of anguish for Teruko. David wanted to follow in his footsteps, and beyond his inspirational speaker persona causing damage to himself, he was also about to kill everyone else to do "what's right." Levi (Arei pending) hasn't killed anyone since trying to become A Good Person, but pretending to follow those guidelines without actually wanting to change anything about himself emotionally hurt Ace, who was set up with false expectations.

If Eden is so convinced that she's a good person, she's only blinding herself to the ways that she's inevitably not.

Back to Arei, while it is sad that her development was cut off just as she made this revelation, I believe that clarifying this additional bit of content is a way to allow her to rest in peace. Even if she didn't get to transform as much as she wanted to, she at least got to die knowing that she wasn't as wretched as she convinced herself that she was all these years, and having done at least one good thing-- saving Eden from Arturo-- before she passed. It's an amazing character arc to squeeze in for your second victim.

Phew, finally, a chance to talk about objective lore instead of heavy and divisive character themes! Except, uh...

WHAT THE FUCK???

Remember when, at the beginning, I said that no one could have predicted everything that came to light in this episode? This was the main point I was talking about. I don't think anyone saw this reveal coming, especially in this moment.

For starters, even though this CG does appear in David's memories, I don't think that he or Arei actually remembers whatever this was taking place. Beyond me attempting to debunk the idea that David had additional memories of Hope's Peak last week, Arei or David specifically referring to this moment means that they had to... be there? When whatever this was happened?

I say "whatever this was" to briefly create suspense before connecting the dots everyone's already talked about: that Eden was probably the one to scratch out Xander's eye. This would make Eden the "she" that Xander (er, I mean, "the guy with the bloody hands") talks about in the intro scene.

It also gives some more context to the clock with the fork stabbed into it depicted in LGI.

I don't know if "non-functional" and "I didn't expect her to" mean that Eden could have been brainwashed or otherwise broken down into not acting like herself when this happened, but it certainly seems out of character for what we know of Eden. Even her facial expression seems to suggest that she might not have wanted or intended to attack anyone with that fork.

Anyways, for Arei or David to know about the contents of that CG, they would've had to both be there when Eden attacked Xander and then also have regained/had their memories of it, which seems unlikely given how both of them treat Eden. Like, even if Arei is sure that Eden "did something to hurt someone in the past," this seems a bit extreme, and David probably wouldn't be so neutral on her if he knew that she attacked his man.

Another really clever point that I saw someone make (AND THEN COULDN'T TRACK DOWN WHO OR IN WHICH POST IT WAS--) was that Eden is wearing her current outfit in this CG. Interestingly, I looked back at A History of Hope's Peak and Visiting Graves to see what Min and Xander were wearing, and while Min was wearing her typical killing game uniform, Xander was wearing something different. Given that Min's scene takes place in HPA and Xander's doesn't, this could imply that Min was wearing the HPA uniform? That's fitting, for her.

We also know that the DRDT cast were all wearing these outfits believing that they were headed for the HPA entrance ceremony. Therefore, we know that Eden would wear this getup to school, but we don't know if she'd wear it elsewhere. Once again, assuming it was Xander who got forked, we can place this CG some time between Visiting Graves and the start of the killing game. I have a hunch that Visiting Graves might have taken place during HPA's spring break-- in A History, Min and Mai (er, I mean, "Unnamed Student") are at school studying for a test with "Spring Break next week" on the chalkboard, while in Visiting Graves, Mai and Xander have traveled elsewhere-- but that's not confirmed, so we can't lock it down.

Maybe we can get more information about this in Eden's bonus episode! Because, well, I at least do think that most of the mysteries of this CG could be solved within a bonus episode and/or other characters talking about her posthumously in later chapters. Again, I understand if you want to use this CG as evidence that Eden is important enough to need to stick around, though.

AREI I MISS YOUUUUUUUUUU

Also, I didn't catch this at all, but credit to everyone who noticed how similar this scene is to the "Diana Chiem" scene in LGI! Fascinating implications that I have no additional thoughts on at the moment. Mostly because we don't know shit about Diana, if that even is her who's portrayed in that CG. I'm sure I'll come back to this someday, just not right now.

Oh, and I don't think you can really argue that Ace made up this conversation anymore. Idk how much of it he stuck around to listen to, though.

See like why is she so pressed about it???

I'd like to say that this is a win for Whit not being the mastermind (because he doesn't seem to know what MonoTV is talking about), but he could probably just be going "why are you saying that at this time?" or something like that. Sigh (/j)

Why Does Whit Know So Much About Hanging?

Alright, so, obviously, this could be a super-suspect hint that Whit knows all of this stuff about hanging and therefore decided to use that knowledge to kill Arei. But, I don't care about that! What I don't understand is how Whit came to know all of this in the first place!

Well, after a quick review, there's one option that stands out more than all the others: Whit's mom was killed by hanging, likely self-inflicted. The only thing we "know" about Whit's mom dying (assuming that secret really is his) is that she is dead, and Whit omits it. It's phrased pretty vaguely. We also know that Whit thinks his mom is awesome, but that doesn't tell us anything about how she saw herself. Sadly, I think this lines up all too well.

Whit's main character flaw, as we've seen throughout the story so far, is ignoring things that stress him out or make him sad. He represses, and chooses not to get involved in others' fights because it's "not his business." It would make sense if the same extended to what he was like before the killing game. If Whit always chooses to ignore things that worry him, there's a possibility he blames himself for his mom's death via not paying enough attention to any warning signs that her mental state might have gotten so dire. Of course, if repression runs in the family, she might have been doing her best to not make it obvious as well.

So, even though he hates himself for not giving his mom enough support in her darkest hour, he still can't (yet) make any changes in his life because ignorance is the only way he knows how to cope. Yet, he still won't let himself pass up on helping another soul in clear need of support, like Charles panicking over the blood, or Eden suffering over seeing Arei's body. He can push himself to help others that are sad, as long as he never focuses on himself.

Or, he's the time loop mastermind who's heard Class Trials discuss hanging a billion times before. You never know with this guy.

CONGRATS TO FF AND BADJOE FOR BEING THE SMARTEST PEOPLE IN THE WORLD!!! 🎉🎉🎉🎉 Man, even seeing Teruko explain this mechanism as the truth, I still don't know if I would've been able to come up with it myself. This fandom is so smart :D

(Also, why was Whit a dog? Goddammit, is this more MonoTV coding?! /lh)

FUCK YES, WE'RE ACTUALLY GOING TO GET ANSWERS ABOUT THE GYM MURDER IN THIS TRIAL? HALLELUJAH! IT'S ABOUT TO BE T A P E T I M E, MOTHERFUCKERS! (/j)

Phew, barely squeaked it within 30 images! I'm impressed and amazed that DRDTdev keeps managing to make such gripping episodes week after week.

Get it? Gripping? Like grippy tape?

I'd apologize, but you're almost certainly going to hear more of that from me next week. Until then!

[askmerriauthor]

Pokemon S/V - Story Themes: Failure and Abuse

Something I actually really like about Pokemon S/V, which is somewhat ironic given the state of the game itself, is that its underlying story theme is about how the adults of the setting have utterly failed the younger generation.

General discussion and rambling about Pokemon S/V after the jump, as there's sure to be spoilers. This is a long one, so buckle up.

Throughout the many stories Pokemon has told over the years and its iterations, the role of adults in the series and how they relate to the kids - ostensibly, the Player themselves as well - has varied wildly. They've been mentors, friends, allies, enemies, or even just odd folk we encounter. But, for better or worse, they've always been fairly direct in a What You See Is What You Get sort of way.

Pokemon S/V subverts that a bit in that all of the adults - even those we don't meet and only hear about through dialogue - have completely failed the children of the story. The results of those shortcomings range from very mild to absolutely disastrous, but nobody is untouched by it. Even the Player isn't spared.

Right up front we've got the Friendship Trio: Nemona, Arven, and Penny. Being the core to the story, they're the biggest examples one has out the gate. Common themes they all share are that they're each left without support from their families or peers, and that they're each desperately lonely as a result. Nemona is a star pupil, a battling prodigy, and daughter to a wealthy, powerful family. But despite all her talents she's left adrift without aim or goal. Her younger sister is the one being given control of the family business and Nemona's own talents set her apart from other students, meaning she struggles to find peers. Her family seem all too happy to focus on the younger sister, while Geeta from the Pokemon League and the academy itself happily makes use of Nemona's skills for their own ends. Nemona is constantly eager to please, always looking up to powerful people like Geeta and Professor Turo/Sada, but admits that she's just sort of floundering without any anchor. The people she looks up to only see her as a tool to be used and immediately discarded until the next time they need her.

A lot of Players joke about how battle obsessed Nemona is toward the Player, or how yandere jealous/possessive she becomes immediately upon meeting us. She even stands up to Geeta - who she absolutely hero worships - about our attention being poached. But can you really blame her for realizing there's finally someone who not only matches her skill, but seems dedicated to following a route the game itself states virtually nobody else in the region ever comes close to achieving? Nemona is not only the youngest Champion ever, but the only Champion in years, until the Player shows up. Regardless of what the person holding the console feels toward the Gym Challenge, in-context of the story the Player is proving through their own actions that they value Nemona as a friend/rival and are putting in genuine effort to meet her. When you defeat her, especially at the very end when she goes all out in a way she's never been able to with anyone else, she's thrilled. To Nemona, it's got to be the most amazing validation she's ever had in her life. Why wouldn't she hold on dearly and enthusiastically when nobody else, let alone her own family, are able to keep up with her or offer her the validation she needs?

Arven is just absolutely wrecked by his parental failure. His parent (Turo or Sada depending on which version you're playing) was so obsessed with their research in Area Zero that they threw away their entire family. Their spouse left them and took Arven, leaving the boy growing up constantly feeling the void of that missing part of their life. They keep hearing about the things their Professor Parent has accomplished and how well-regarded they are, but that's always just a reminder that the parent put more effort into their work than into being with their child. When Arven tries to go into Area Zero to find their parent himself, his Mabosstiff (his beloved Pokemon companion he's had literally his entire life) is near mortally injured as a result and Arven spends the rest of the game desperately trying to save it. Later, it's revealed that the Professor's work is endangering literally the entire ecosystem and stands to destroy Paldea itself, leaving Arven with the knowledge that not only was he abandoned for the sake of research, but that research was both ultimately harmful and pointless.

By the time the Player reaches the depths of Area Zero and meets the AI Professor, they find out a few things about the Professor. Namely that they're dead. It turns out that the Box Legendary they brought through time killed them years prior and the person the Player - and Arven - has been interacting with all throughout the game is just an AI replica left behind. While exploring the Professor's various labs, the Player first finds an empty picture frame that had its photo removed and, when in the final lab in the heart of Area Zero, they find the photo pinned to the Professor's work board. A photo of Arven as a tot with his beloved Pokemon (still an unevolved Maschiff at the time). This yields two big realizations. One is that the Professor still absolutely harbored love for their child and family, but allowed their drive - or possibly insanity - to overcome them. They were lying to themselves all those years saying "I'm doing this for my family" while outright ignoring said family entirely. Second is that the Player is the only one who learns outright that the Professor was killed, which means they - albeit off-screen - were the ones to break the news to Arven. Even in death, with the AI Professor's remnants of its creator's memories showing love for Arven, they failed him again and again. It's always up to Arven himself to carve his own way through his parent's wake, relying on his own abilities and the help of his friends, to struggle through the mess his parent left him.

Penny is failed on multiple fronts and to multiple degrees. She's a complete introvert and clearly suffers from a fair level of social anxiety due to the bullying she endured during her time at school. She's not shy, per say; when it comes to interacting with the Player and others, she's actually rather outspoken once she feels comfortable. But there's absolutely a wall put up that she doesn't let anyone past until she's ready, controlling her level of exposure and interaction through mediums like only communicating via phone or intentionally restricting her in-person time behind excuses.

At the most basic level, Penny is failed by her own father who doesn't understand her. She mentions that he's always doting, giving her childish nicknames and basically fawning over her. That sounds great on its face - exactly the sort of thing Nemona and Arven crave - but it shows that her father doesn't understand his daughter. Penny doesn't enjoy or respond well to that type of affection and it's being forced on her, causing a wedge in her home life. Next up are Penny's friends, the bosses of Team Star. They gained that rank and gang affiliation because of Penny; she's the one who set it up as a means of rallying all the students who suffered from constant bullying to stand up for themselves as a unified resistance. By that point she was so emotionally battered that she couldn't even stand to be in the company of other people directly, isolating herself and communicating only through phone calls. The Team Star Bosses and Penny all considered each other to be the closest of friends, yet they had never once met her face to face. While it's not explored as much (criminally so, I say) each of the Team Star Bosses show that they're in a similar state as Penny; they rely on each other for support but also self-expression and validation. It's shown throughout their stories that they're let down by the systems they trusted and their families, not able to find what they need from those establishments and instead turning toward one another.

As it's revealed through the events of the Team Star story, the previous administration of the Paldean Academy allowed a brutal level of bullying to go on at school. So much so that it resulted in the targeted students dropping out, falling to truancy, and literally forming a gang just to protect themselves from their aggressors. When Team Star finally did put their collective foot down (peacefully by both intent and action), they were wrongfully branded as the villains of the story and stigmatized. Team Star was shown that not only would adults not protect them, but would actively punish them for protecting themselves. The school admin at the time - who were fully aware of the whole situation - not only allowed it to happen but then actively attempted to cover it up for the sake of protecting their own asses. They were content to sit by and allow their own students to suffer, ultimately leading to drop outs and expulsions, just for their own sake. This led to both the admin and the entire teaching staff to resign and be replaced by the staff we see in the game, and Director Clavell starts to fall into the same error as his predecessor.

When the Player gets involved, Clavell is about to expel all the Team Star members for good (and there's a TON of them). But, hey, credit where it's due; Clavell really puts in the work and goes to considerable lengths to uncover the truth of what happened. He puts into motion the start of healing those wounds by setting aside not only his time, but his own ego for the sake of understanding his students, protecting them, and rectifying the mistakes of those who came before him. There's a part at the very end where Clavell outright apologizes to Team Star for the abuses they suffered at the hands of the previous Academy staff and deeply bows to them. That may not seem like much on its face, but one has to consider the context of this being a Japanese game. A major authority figure like Clavell bowing and apologizing to those younger than himself, let alone those he's an authority over, is a MAJOR demonstration of genuine regret.

That's not to say Clavell is perfect though. Far from it; while he succeeds in this area, he fails in others as he readily allows Geeta to use both the Academy and its students as she pleases. Geeta outright takes advantage of the students for unpaid labor - the Player included - even though none of them actually work for her. The teaching staff themselves, while all good people who are trying their best, show similar failures to varying degrees. Saguaro doesn't show who he really is because he's afraid of disrupting the image students have of him. Miriam - beloved by students for her skills and nature - languishes unable to fulfill her desire to be a teacher because the credential testing (presumably set by Geeta, who establishes similar needlessly exclusionary tests) keeps knocking her down. Hassel is endlessly harangued by his family to give up his passion for art and teaching to take the lead of their House.

It continues with the Gym Leaders and Elite Four as well, given how Geeta readily abuses her position of power to her own ends. All the Gym Leaders readily discuss their dislike of Geeta, how she holds them back or interferes with them, and the various shortcomings of their lives due to structural failures in their society. People like Larry, Brassius, Grusha, and Iono are wholly at the whims of capitalism in a region where the economy itself is tied directly to the Pokemon League they work for. Larry and Hassel pull double duty as both a Gym Leader and Academy Teacher, as well as members of the Elite Four, further showing how much Geeta is intentionally intertwining all these systems together into a narrow, unstable medium. Poppy, a LITERAL TODDLER, is somehow a member of the Elite Four - when Geeta doesn't even pay adults a living wage to be Gym Leaders/Elite Four and also readily takes advantage of students for free labor, you cannot possibly tell me Poppy isn't an overt case of child labor abuses. Seriously, who are this kid's parents and where the hell are they? Later in the game, Geeta calls the Player on their phone out of the blue and one of the responses you can give is "How did you get my number?". She replies that because you're a Champion, she has access to your personal information. Information you did not consent to give her, that she used her position to look up and privately contact you - a child - for work, without the consent or awareness of your parent. Geeta has set the Pokemon League in a way that best suits her desires and warped the entirety of Paldea around it, endangering and weakening other institutions as a result.

There's actually a lot more to this scattered throughout the game, such as a student who's languished in the Academy system for twenty years without graduating because he's constantly failing. Or everything that has to do with History Teacher Raifort. But this has already gone on long enough of a ramble. In summary, Pokemon S/V has some honestly interesting explorations of institutional and personal failure from the past and how it impacts the future. Themes of generational trauma wasn't what I expected out of a Pokemon game. I hope to see it expanded on in the coming DLC content or, even better, in the upcoming anime series.

[gucciwins]

night gone wrong

visiting family is never fun... especially during the holidays

Word count: 2243

A/N: happy thursday! im not sure where this piece came from but it's something sweet. honestly I needed a break from the series as much as I love it, needed to give my brain a bit of a break. so here's this little blurb where y/n and harry try surviving thanksgiving dinner.

_____

"Right, what's our story?"

"Again, really?"

Harry frowns, "I don't want to make a fool of myself."

"There's a chicken on your chest. It's too late for that."

He glances down at his blue jumper, the chick sitting in a hatched egg. Mon petit stitched on. It makes him look bilingual, and he was when he was younger, not now.

"I think I look cute."

"Course you do, but not my family thinks I'm dating a dork with glasses."

"You've complimented them before."

"Yeah, got you in my bed, didn't it."

"All you want me for is my body."

She shoots him the first smile since their ride down, "now you're getting it."

"As your fake boyfriend, I need some context."

Y/N sighs; how did she get here. One moment she had Harry pulling down her pants, making her come in a matter of minutes with his talented tongue and blurting out she wanted to take him home as a fake date to impress her family. Harry had never once told her no, and she expected this to be the first, but he surprised her as he has every day since she met him in her second year at uni.

Harry happened to be her roommate's friend, and from the moment Harry dropped a sixteen-ounce soda on her ruining her favorite velvet blue pants, saying it was her fault they never see eye to eye. Always teasing each other, sarcastic comments thrown back and forth. It wasn't always banter. Sometimes they needed a friend, and they were the first to arrive with no questions, only comfort, and understanding.

The first time Harry came over with bruised knuckles, she didn't question him, instead led him to her bathroom and cleaned him up. Once he fell asleep in her bed, she kissed each knuckle wishing them to heal nicely and that they did. Harry helped Y/N when she forgot to print her midterm paper, bursting into her class with shouts of apology of how he had taken it from the printer and did not notice when really he ran from his dorm room to bring it to class when she emailed him the document with over ten please typed out to print it for her.

They weren't friends, and they weren't enemies. They were something in between, not lines crossed.

That all changed when Harry finally managed to get Y/N to take tequila. He taunted her, saying she couldn't handle it, and she was never one to turn down a challenge, especially not against Harry. Three shots later, Harry and Y/N are kissing in a bedroom neither one has ever been in. Mitch had given them the all-clear, and there was no stopping them. Harry and Y/N could hold their alcohol, and after both checking for confirmed consent, there was no going back.

Neither of them regretted it, of course not. They did regret hating that they were awful communications, which led them to their dilemma right now outside Y/N's childhood home.

"Darling." She narrowed her eyes at him, not a fan of the endearment. "Sorry, bub." Not the best, but she'll take it. "Why is this so important?"

"I'm a loser."

"No, you're not."

"To them, I am," she point towards the house they’ve stopped walking towards. "All my life, I've been focused on school and getting the top grades, and I did it. I'm proud of it, I'm an all-around seasoned athlete, got a full-ride scholarship, and am now in the top three percent at the university, yet that means nothing to my family when I've never had a partner."

"Hmm...your family sounds shitty." He confesses.

"Well, they are, but they are the only ones I got."

"You didn't have to come."

"Didn't I? They bother me and know where I got to school. No escaping."

Harry sighs, "don't have to go in."

Y/N sighs, knowing he means that, but she promised him a home-cooked Thanksgiving meal, something neither of them could really splurge on.

"You want to leave?"

"If you want to," he shrugs, "I'd follow you anywhere. Can go back to the apartment and order our favorite pizza, watch some movies and drink shitty wine."

"Your wine is shitty," Y/N mutters, slowly warming up to the idea of leaving. She's about to agree when she spots the front door opening, the screen door still shut.

"Mother is asking when you're coming in." Y/N's brother, Greg, shouts from the front door stopping two small children from running out.

"Too late to run, it seems," Y/N mutters, kicking at some of the snow gathering on the sidewalk.

"Well, we're in this together, right?"

"Right."

"What's our safe word?" Harry asks, reaching out for her hand, intertwining their fingers together as if he had done it every day.

"Uhh..." Y/N's trying not to focus on the warmth of his hands and how safe she feels. "Cranberry."

"You don't make a cranberry dish?"

"No, uh, Greg's allergic."

"Okay, cranberry it is."

Walking in, everyone has their smile plastered on, and she knows not a single one is directed at her.

"Darling," Y/N cringes at the word, and Harry catches it, "so good to see you. Have you put on weight?"

Y/N grimaces, pulling away, "no, still the same. Thank you for the boost of confidence."

"Who's this lovely gentleman. Surely he's too handsome to be with you."

"On the contrary, Y/N's the beautiful one. Had to convince her to date me."

"Well, I think you should have escaped when you could have," her mother comments, patting his arm.

Harry frowns, turning to look at Y/N when he sees her kneeling in front of a small child, no older than two. He goes down next to her, making the little girl's eyes shift to him.

"Who he, auntie?"

"This is my boyfriend, Harry. He's excited to meet you."

"I, Faith."

"Hi Faith, a pleasure to meet you. Your butterfly necklace is beautiful."

"Your eyes are beautiful."

Harry grins, "thank you."

"What's boyfriend?"

Y/N chuckles, running a hand through her niece's ringlets. "Someone who takes care of you, and loves you, and helps you when you need someone."

"I want."

"One day, angel."

"Y/N, stop stalling, come say hi to the others," Y/N sighs, hearing her father's loud voice coming from the kitchen.

She presses a kiss to her niece's head before telling her to run along, and she does so happily, "ready, H."

"I've got you, love."

Y/N smiles, grateful she has him.

The afternoon passes slowly, and with every minute that passes, Harry's blood boils more and more. He hates how she's treated, how she's talked over, and she lets it happen. This isn't the same person who debated with him why macaroons are the best desserts to ever exist and how ice cream can be eaten in any type of weather.

She's a shell of the person, and he wants the girl he knows back. He missed her smiles, even if they were ever few directed to him.

They are all sitting at the table, dinner close to finishing, when he feels himself close to his breaking point.

"Hey, what are you majoring in again?"

A rare smile forms on her face, "oh-"

"-don't get her started," her father interrupts before she can answer. "God knows we finally got her to shut up.

"Just know it's boring, and it's not hard to do. I mean, she's not the brightest remember." Her mother comments.

Harry sees her shrink down, frowning down at her plate, and that's when he has enough.

"No." He shouts.

"H, it's fine." Y/N looks up at him, pleading with him not to.

"Cranberry, love."

"Relax, it's all a joke." Someone comments, an uncle he didn't bother remembering.

Harry bites back a scoff, "no, it's not. You all treat her like shit, and she lets you. She's the best person I've ever met. Sure we got off on the wrong foot when we first met, but she's always been there when I needed her, unlike you. Now, we are leaving. I'd thank you for this evening, but we all know it was a shit show. Let's go, love."

Y/N stays still in her seat, shocked that he defended her. Harry looks at her expectantly. She sits there frozen, pushing the chair out as she stands up.

"If you walk out the door, don't come crawling back when he breaks your heart and leaves you alone." Y/N's mother spits out.

Harry doesn't acknowledge her mother, his eyes locked on Y/N. He stretches a handout, hoping for her to take it. Y/N takes a deep breath, looking down at her sleeping niece in her brother's arms. She's so young and full of life and love that she never received. She's in good hands.

Without a second thought, she grabs onto Harry and lets him pull her out of the house. Stopping briefly to swipe their sweaters and not stopping until they were both in the car, they parked up the street.

"You alright," he checks in.

The car is blasting one of Harry's classical songs from his relaxing playlist. It's all piano, and it brings her a comfort she has never felt before.

"Yeah." She sits back, letting the silence fill the car as he drives them back to her apartment.

Before she knows it, the hour ride goes by in the blink of an eye, and she is now outside her apartment.

"Is it alright if I walk you up?"

Y/N nods, "Harry?"

"Yeah, love."

"Could-would you like to stay?"

Y/N misses the smile that takes over his face, "Of course I will."

She nods, "good."

They walk right next to each other, taking the stairs together, knowing Y/N's shitty elevator is never working, and the rare day it is, it's filled with people. Y/N notices they walk in sync, smiling down at this silly thing that brings her more joy than her family ever did.

Harry steps back, giving you space to unlock your front door; Berenice, your roommate, is in Florida visiting her family and won't be back until Monday, meaning you have an empty apartment and for once and won't be using it as she would have earlier this morning.

Y/N watches as Harry walks in, draping his coat across the back of the kitchen chair, making his way to the living room, grabbing the TV remote, and draping his favorite pink throw blanket over his lip. He makes himself at home, and Y/N notices she doesn't mind at all.

"Love, the film's queued up. Get your bum in here."

Y/N slowly toes her boots off, slipping under the blanket he raised for her, "what did you put?"

"Your favorite," he smirks, "well, one of them. You've got different moods for some."

"Oh," she raises an eyebrow at him, "please do tell."

Harry grins, turning his body to face her. "Gladly. Okay, when you're sad and want a pick me up, it's Pride and Prejudice. When you want comfort, it's Tangled. And when you want to feel your sadness, it's Love, Rosie."

Y/N laughs, knowing he's gotten each right, "missing one."

"Wasn't done," he chastises. "The Princess Bride is your favorite because it's a love story where they give up, but as Wesley said, Death cannot stop true love. All it can do is delay it for a while. It's your comfort because you're searching for love like that."

Tears are threatening to slip out of her eyes, "think I found it," she confesses.

Harry's eyes widened, in surprise, never expecting her to confirm this. "Y/N, love."

"I love you, and I'm done fighting it. I did it because I thought I didn't deserve you. You're too good for me, but I want to be selfish for once."

Harry leans in closer, moving his hands up to cup her face. "You're not selfish, not a mean bone in your body. Bloody perfect you are."

She shakes her head no, "not good enough, but I'll try."

"You're perfect, and I'll spend the rest of my life reminding you."

"Harry, do you-" she trails off, not bringing herself to say the words.

"What, baby?"

"I love you." She breathes out confidently.

Harry can't help himself, it's the second time she's said it, and he needs to kiss her. His lips are on Y/N's in seconds, she responds eagerly, pouring all her love for him into it. This is who she needs, no one else.

"I love you," Harry whispers against her lips.

"Again, please."

"I love you, Y/N."

Y/N kisses him again, not wanting to stop. Not when he feels the same, and they've spent so long beating around the bush, never expressing their feelings.

"Gosh, I could kiss you forever," she confesses.

"You have permission to do so."

"Do I?

"Yes, of course."

Y/N smirks, "well, let's start now."

With The Princess Bride playing in the background, Harry and Y/N get lost in each other, allowing themselves to breathe each other in. Their love is yet to be explored, but rest assured, it will only grow as both will learn to cherish and nurture their love the best they can with trust, honesty, and most importantly, all the love in their heart.

_____

thank you for reading <3 I adore you

make sure to reblog :)

[beyblaiddyd]

Quarry spoilers below, do not pass go if you havent finished the game

Something I find really interesting about the transformations is how they kind of... amplify modes of aggression, or the worst parts of a character's self. To a certain extent it draws on generic aggression/anger, but there are specific features to each character we see in depth's behavior.

Nick is the primo example because we sit with him the longest and he doesn't know what's happening and neither do we.

(A little aside here to say that even though it can read a little tasteless in context, I actually like how they handle the scene where he starts going south. He says the "I want to taste you" line and you're obviously meant to read it in a sexual way, but Nick means it literally. Before she pushes him away you can see him open his mouth, like he is About to bite her. It's something you don't notice on the first playthrough bc you're thinking "wtaf is wrong with him oh god I fucked up so bad".)

But it's very clear that Nick's primary mode of aggression is Insecurity. He's a very insecure person and that's how his erratic behavior starts. It starts off with light questions about how Abi feels about him, or him starting to get more bitter options like "I'm pouring my heart out here."

Then it becomes more paranoid, insistent, as he gets closer to that animal transformation he becomes more and more compelled by the narrative that people (specifically Abi because she's the only one that talks to him) hate him, and that's what drives his anger. One of his core fears/frustrations/motivators is this idea that people won't like him.

It's not really out of nowhere, we see it earlier in the game quite a bit. He falls into line whenever Dylan or Jacob do something, he wants to be chill and to be liked by them. He's insecure that he doesn't know what he wants to do with his life and he feels pushed along by nothing, and he's amazed that Abi knows her talents and knows what she wants until the infection sets in and the bitterness leaks through the cracks and he starts to tear her down instead of building her up (as we know he prefers to do when given the cognitive opportunity).

To me the werewolf transformations are like... imagine all the worst thoughts in your head. All the impulsive first thoughts, the self hate, the fear, all spilling out uninhibited because you don't know what's happening and don't know how to stop it. He clearly fights it for a while until he can't. It's very chilling in the context of his and Abi's conversation about fate and how not being in control of your actions is a "convenient excuse" because 1) even if he's not in control of himself this is still some deep primordial part of him and 2) he is going to blame himself for what he said during it forever. Fun stuff to rotate in my head.

We see more of this idea with Jacob and Max.

Starting with Jacob, he actually has really similar core drives to Nick. He is just more openly emotional. He wants to be wanted, he wants to be loved, and he throws aside his concern for others in the pursuit of it. When he transforms he says, "stupid boy, summer is over, she doesn't want you, nobody does." It's this self-hatred he's pitting inwards, but I think it's also easy to imagine what he might have said if he ran into Emma (especially because we know what awful stuff he can say if you have them meet up after Emma is freed from her curse). The self-hating statements going outwards, I did this for you but summer is over, you don't want me, you hate me, etc.

Max is an interesting one because he's a very reserved character and what moves him to anger is protecting Laura. He gets most agitated when he 1) needs to keep her safe or 2) isn't being listened to. In his transformation scene he obviously has the benefit of knowing it's coming. He knows what he is, he knows that he's dangerous, he knows that what he's feeling "isn't him." But if Laura tells him to get closer despite his protests he can't stop himself from getting up and screaming at her. (She's not listening, she's putting herself in danger).

Laura is a fun one because she's very impulsive, her aggression tends to come with playfulness, rude barbs, but also Extreme Aggression/Bloodlust. She's motivated primarily by again, protecting Max, but also by revenge to a certain extent and that comes across in her actions. In the scenes preceding her transformation she can kill two people (and fuck Constance and Jedidiah, but still interesting from a character perspective! Her specific kind of violence can come with a body count well before her transformation)

I wish we got to have more time with the other characters when infected I know the game didn't have the time to do that but it's disappointing how hasty it is. I know by design they had to do the most build and the most fucked up stuff with Nick because once it's happened once we won't be as surprised when it happens again (and that's a mechanical, meta reason it was so much more intense than the other character transformations) but I like the character detail it adds. :(

[caffernnn]

Yeah hi again! More tsoa au snippets anyone?

Now that i think about it, albert could be apollo in tsoa, so imagine him taking a look at makoto climbing the walls of troy, disdainfully raises his nose, spits "puny little mortal" and flicks him off the wall with godly telekinetic powers to be killed by our hector, which is hiyori; i mean albert is already symbolized as a god in canon.

Kinjou could be the dickwad pyrrhus since people refer to pyrrhus as achilles without his patroclus, and kinjou is hinted to have given up personal relationships in order to be a stronger swimmer, and fans theorize him to be creating a rift between haru and mako, so yea...there's that. He could be our proud, arrogant, homophobic lil shit pyrrhus who thinks everybody should be like him- friendless and glory-hungry.

AJHSAKDJSK I WANT TO SEE THE CONFRONTATION BETWEEN BRISEIS AND PATROCLUS AS KISUMI AND HARU!!! Imagine haru being mad at kisumi for daring to touch makoto even after his death, when all kisumi wanted to do was clean him since he doesn't deserve to lie in filth, and haru goes apeshit that nobody should touch his makoto and kisumi goes "you're not the only one who ever loved him!!". Kisumi goes on to rant that haru only cares about chasing his honor and that makoto only died to save his reputation, which i got from a prompt under the #kisumako tag where kisumi confronts haru about how makoto chose him instead of kisumi even though he only takes makoto for granted, then jabs haru with "i wish hiyori kills you tomorrow" and haru goes "do you not think i wish the same?" Omg I'm just quoting from the book at this point I'm so sorry 🤭🤭😅😅✌✌✌

I have an idea on how to include the fireworks scen to the scene where patroclus convinces achilles to fight and save the greeks where haru goes "not you too! Do you not see how they don't care for me?!?!" Or like how they are only nice when they need him smth like that and makoto drops the bomb "then let me fight in your stead" and haru goes on an an Achilles-like tantrum "ask me of anything, but not this!!!" Anw that's not the whole dialogue but haru relents in the end.

Imahine hharu arriving in the underworld expecting to find makoto waiting for him only to be unable to find him even after an eternity of searching, so finally breaks, like the fireworks aftermath where he looked like he just got dumped by his bf, and ge curls into himself, realizing he may have lost makoto forever (again)

I just can't stop thinking how the gay panic nao gave makoto is very similar to odysseus' "sharing beds is gay" comment, so imagine makoto, who followed haru everywhere and shared everything with him, suddenly distancing himself and sleeping outside their tent because he feels that he cannot let the entire army they are gay, especially haru, the best of the greeks, so haru confronts him "what's wrong?" And then they resolve by saying "let them think what they want" or "i will not let them hinder us" or "we don't have to change" smth like that and proceeds to do their nightly cuddle, kinda like the dolphin courtship ritual they performed at the pool.

Aaahhh i just want to expand on phoinix's (that would be mikhail???) story about the king who supposedly was forced to choose between his pride or people he rules, and he chose his pride, even with the king's wife (best friend, in this context??? The king in the story would be ryuuji) and did not help his people win the war so his people turned against him. The wife's name sounds like patroclus, and so phoinix was hinting that only makoto could talk haru into fighting. Makoto had to fight, which results to angst, since haru chose his pride, much like the king (pls let this not be what happens in the movie kyoani we beg you)

So that's it. I'll send more when the ideas come. I swear i will try to turn this into a fic if i ever get out of my slump. IF 😫😫😫

Patrochilles AU fans, come get y’all’s juice 💕

It’s always so interesting to see people explore Haru’s relationship with his own pride because it’s definitely multidimensional. There are so many characters who fall victim to their own hubris or struggle with it more externally (the people who appear as antagonists or rivals to Haru both in canon and in different AUs), but it feels more complicated with Haru, at least to me. His pride doesn’t manifest through Haru boasting about his talents or trying to control/lead people, especially early on in his story - the moment(s) his self-esteem shifts into a double-edged pride is when his belief in his current successes and happiness stops him and the people around him from growing and changing. That’s his downfall. My thoughts from my own Free! x Hadestown AU are sporadic at best, but this verse always makes me think about Haru, especially his descent into hopelessness during ES:

Haru falls apart when he clings to his vision of comfort and happiness and forgets the ever-changing life involved in that scene. He holds onto the life he has with Makoto, the life he has with his friends, the life he has swimming however or whenever he wants to… and he blinds himself from the reality that everything evolves and continues to change. His pride comes out in his desperate delusion that he can stop the hands of time through willpower and refusing to watch time go by. He’s definitely not the only one going through this sort of internal battle (I’d argue many of the “antagonist” characters go through similar struggles) but it’s the one we arguably get the most insight on.

ALSO: I love Haru dearly but I also love seeing characters pull himself out of his own head for a bit. That Kisumi interaction to remind Haru that Makoto was loved by a lot of people? Knowing Makoto often holds himself back when it comes to Haru because he’s almost too aware of Haru being watched by the world around them?? There’s so much there to explore I just !!!!

I’m rambling, but thanks for sharing as always!