#event: subversion part 1

[taylortruther]

also re: the racial component of TS/fan base, if you haven't you should watch Alex Avila's video on Taylor Swift, I think it was really well done

this is SO good. thank you SO much for this recommendation.

i really liked how avila noted how masterfully taylor blends authenticity and social normativity - "the reason taylor swift seems so authentic to young girls is because she's conforming to an image [of white patriarchal girlhood] that young women internalized from a young age." similarly, the popular feminism of 2014 (when 1989 was released) was flimsy and did not challenge patriarchal norms, and we see how she made feminism part of 1989's branding.

and he asks a question i often pose: is there anything subversive in idolizing the most popular cultural object? does poptimism (the critique of pop music as a serious form of art) simply reinforce existing power structures??

taylor swift and whiteness

understanding how someone becomes a legend and icon means understanding how they challenge, but also reinforce, the biases in society, which includes race, class, gender, and so forth. and "there IS something deeply white about [taylor's] image" (1:18:33). her image is cultural whiteness! taylor swift's relatability (which is and has always been part of her brand), her social capital, her social normativity, is directly tied to the neoliberal racial philosophy that, instead of calling whiteness superior, establishes whiteness as the norm (1:21:23).

millennials want celebrities to be morally pure. this is a mistake.

also - LOVE that he points out that millennials don't judge female celebrities by their sexuality or modesty anymore, but instead they judge based on political awareness, which is just another way of continuing the "patriarchal history of regulating narratives around women's actions" (1:42:39). avila focuses specifically on millennials here, cautioning us not to consider this a a sign of true political engagement from millennials. as he points out, systems of oppression adapt to our ever-changing culture. when we try to 'cancel' or 'hold a celebrity accountable' for their ideologies or missteps, sometimes it's because they're truly terrible, and other times it's because we hold women to "unrealistic standards of purity." ie, this isn't necessarily real political engagement, it is just another example of judging women. often it's both (pointing out missteps, and also being sexist.)

whiteness again

avila goes on to discuss how white women have long been held up as virtuous, moral centers of american families - and while this is a racist and sexist practice, given that woc aren't seen as virtuous, it also lays the foundation for why white women in particular dominate conversations about politics in the public sphere. it is an Event every time a white celebrity frames their political awakening as a personal, spiritual journey of self-realization. yes, this act is important, because women must learn about their own oppression, and talk about it, in order to educate others.

but when taylor (or any other famous white woman) frames politics solely through the personal, it relieves her of the obligation to critique systemic issues. her own political awakening is all that matters - she must prove her own political purity (instead of sexual purity, as before.) there is a deep problem in society demanding this, rather than larger systemic change, but we'll get to that later.

this personal political purity awakening earns her a lot of goodwill, but her resistance ends with herself. and this is a pattern that we see happen all the time, in what robin james calls "neoliberal resistance discourses" in pop: someone is damaged by oppression (sexism), she overcomes it brilliantly with an awakening (miss americana/lover/denouncing trump era), and she absorbs this goodwill into her brand. these individual damages and awakenings supposedly symbolize society's own awakening and resilience(!). (1:52:48)

🚨 some readers might be getting tired/annoyed at this; i can hear y'all saying "well, what do you even WANT from her omg!!!" just stay with me here. 🚨

she holds a mirror up to society, tho

what avila so brilliantly points out is that... this cycle of damages and resilience isn't helpful. it goes nowhere! and we are all at the mercy of the same patterns as taylor. it's not about taylor, it's about us, and how capitalism commodifies everything, including social movements! including personal 'goodness'! a neoliberal system wants individuals to care about their individual choices and looking like good individuals; it encourages the use of "purity tests" and "commodified algorithmic social movements" to discourage challenges to systemic issues (reminds me of the celebrity blackout situation earlier this year, and conversations we have about politics, well, daily on here.) and the pattern of a person failing politically as an individual is part of this machine. if we're too busy policing individuals for their purity, we won't ever organize together for shared material goals. unfortunately, unlike taylor swift, most of us are not extremely powerful, wealthy, and influential as individuals. she does have more power than us in this regard.

taylor as cultural hegemony

anyway, avila goes on to talk about how taylor had this musical renaissance with folklore, and became more honest about her masterminding her own career in midnights. she has shown herself not just to be a musical chameleon, but a cultural one as well, positioning herself as white teenage purity when the culture called for it (circa 2008-2010), neoliberal pop feminism (1989 -> lover), pandemic escapism (folkmore) - and the culture has become part of her brand, part of her music. music that is already heavily wrapped up in her own life. she is the brand she is the culture. of course she put the work in, and not just anyone could do this. but imo, her whiteness (which, again, gives her this "default" "neutral" background to work with) is part of this success. "sure, she's challenged the institution but all in the effort to become the new face of musical hegemony" (2:06:25.) she challenges systems to assimilate into them, or create them in a way that requires assimilation.

of course, this is all based on her REAL experiences, her REAL life. she is living her own life, and also living it in this metacognitive way that mirrors culture.

but we don't have to hate taylor, actually!

and MOST interestingly, avila closes out by suggesting: it's not actually super healthy to always be suspicious and critical of art (2:17:24.) yes, there is a long political history of "paranoid reading," of critique based on marx, freud, and nietzsche's philosophies. it is the basis of A LOT of our frameworks for thinking about the world, including art.

as i've said before, it's interesting to discuss taylor or celebrities because they hold a mirror up to society. but we can't just relentlessly critique ourselves - after all, the critique is supposed to protect us from being bad! the critique is what keeps us good! and it's why we project so much onto them (the celebrities, or "bad" people.)

this video dove into a term that may be new to a lot of people (i only learned of it recently) - "reparative reading." rather than relentlessly critique art or what-have-you, engage with it in ways that is "affirmative, creative, and caring." this does not mean you toss out critical readings - reparative readings can coexist, and give us hope, optimism, feelings of beauty/appreciation, and affirmation.

for example, it's why -while i enjoy critiquing taylor (or what she Represents) - i am also here to just... have fun. i don't want to linger 24/7 on her emissions, or what she hasn't done, or who she's friends with. it's also why, as a fan of color, i hate that she is often dismissed and minimized to "white musician making music for white women." i find affirmation in a lot of her music, regardless of her race; i find optimism and hope in the way women so deeply relate to her, and how queer fans (also like myself) relate to her! (which avila points out too 2:21:00.) it's why i stopped debunking stuff, because queerness - like any other aspect of the fandom - is such a critical, significant part of why her music is beloved. it's so important for people to recognize that she is more than just 'music for straight white heterosexual cisgender women.'

[somebodys-nightmare]

Why Tifa is the Underdog of FFVII

I’ve been thinking about this ever since I first played Rebirth & got to Cosmo Canyon. Many folks were perplexed at the direction of Cosmo Canyon and found aspects of it surprising or confusing. I would say that it was entirely subversive for a number of reasons, but primarily, I want to focus on Tifa, because it got me thinking about her role in a much larger sense.

When I first played FFVII as a 14 -year-old girl in the late 90s, my first impression of Tifa was that she was an underdog as a character and as a heroine, especially in comparison to Aerith, the other heroine of FFVII. This was primarily due to how she was presented throughout the first disc, but also how she evolved as a character throughout the story, leading up to and through the Lifestream Scene. At the time, underdog stories particularly resonated with me (they were also quite prominent in the 90s) and they are relatable to real people. It’s one of the many reasons I fell in love with Tifa.

That being said, FF7R has really developed all of the characters in ways that gives their arcs more depth and resonance, and I think this is particularly visible with Tifa. It's especially apparent in Rebirth, especially given what we see in Cosmo Canyon and how it relates to Tifa’s previous character development, while foreshadowingi what is to come for her and her role.

In storytelling, an underdog arc involves a character who starts from a position of disadvantage, either through external circumstances or internal struggles, only to rise and succeed against the odds. The underdog heroine, in particular, undergoes a journey of emotional growth, perseverance, and resilience, transforming her into a capable and powerful figure by the story’s end. This arc creates relatability and builds tension, making the heroine’s eventual triumph all the more rewarding for both the character and the audience. Underdog stories tend to feature heavily in sports and martial arts films (hmmm) but it is a universal archetype in storytelling.

For Tifa, her role as an underdog is critical to understanding her role and ultimate evolution as a heroine, both in the OG and even more so in FF7R, which builds upon this arc more steadily and organically. Through pivotal events in the game as well as her evolving relationship with Cloud, Tifa’s underdog arc is designed to prepare her for her significant heroine arc in Part 3, which will cover disc 2 of the OG.

Let's start with the OG, where Tifa is an often understated character, particularly in the early portions of the story. In Disc 1, she plays a quieter role compared to more outwardly central characters like Cloud and Aerith. While Aerith has her connection to the Planet and Cloud is thrust into the role of the group’s leader, Tifa’s journey seems more personal and internal. Tifa's primary focus is her relationship with Cloud, who is dealing with an identity crisis that leaves him emotionally distant, confused, and susceptible to strange behaviors. Although Tifa harbors deep feelings for Cloud, her confusion over their mismatched past memories leaves her vulnerable, confused, and reticent, compared to other characters who feature more centrally.

However, this positioning as an underdog is precisely what sets Tifa up for her eventual role as a heroine. In the OG, she begins as someone overshadowed by more powerful or prominent figures, but proves to be emotionally essential, particularly in the Lifestream scene. It is Tifa, with her quiet strength and deep connection to Cloud, who helps him recover his true self from the fragmentation caused by Sephiroth’s manipulations.

Though Tifa may not have a magical connection to the Planet or the external conflict, her strength lies in her emotional resilience and her ability to anchor Cloud when he is at his lowest. This transition from being in the background to being pivotal in Cloud’s recovery is a hallmark of the underdog arc. Tifa’s most critical strength is not in her outward power but in her deep emotional ties and unwavering support. It is also a huge signal of the game’s propensity to use red herrings and subversion as a vehicle for storytelling.

FF7R takes Tifa’s underdog arc that was present in the OG and expands it more steadily and organically. In Remake and Rebirth, Tifa’s journey is given more focus and depth, allowing her character to grow gradually, especially in relation to her bond with Cloud and her own emotional challenges, such as her internal conflict over her involvement with AVALANCHE.

In Remake, Tifa and Cloud reacquaint themselves after years apart, and their relationship becomes a central focus with far more development, nuance, tension, and prominence than the OG. Early in the story, Tifa is hesitant, unsure of her place in Cloud’s life and the larger conflict surrounding them. Much like in the OG, she begins in a vulnerable position, confused about the discrepancies of their pasts, and struggling with feelings of guilt and self-doubt.

Remake carefully builds up their relationship, showing moments where they grow closer, develop trust, and begin to support each other emotionally in ways they never did before. This slow burn of intimacy is a critical part of Tifa’s underdog arc—while she may not be the most obvious heroine within the scope of the external conflict, her emotional journey is laying the groundwork for her later importance in the internal conflict.

This is reinforced in Rebirth, where Tifa’s relationship with Cloud is tested by the growing threat of Sephiroth and related external forces. From the very first chapter, beginning with their conflict in Kalm, we see the tension, unresolved issues, and external manipulation (Sephiroth) between them that will carry through the story.

This slow burn of reconciliation and tension defines their relationship, as Tifa grapples with her growing trust in Cloud while dealing with his unpredictable behavior. The climax of this arc comes in Gongaga when, under Sephiroth’s control, Cloud attacks Tifa. This moment marks a critical low point in their relationship, meant to test Tifa’s faith in Cloud and her ability to stand by him despite his actions.

However, the following Lifestream scene acts as a turning point for Tifa’s underdog heroine arc. In this scene, Tifa is essentially given a "tutorial" of sorts, which accomplishes three vital things:

1) Prepares her for her coming role in Part 3 (aka Disc 2) by reinforcing her emotional resilience and resolve;

2) Reveals that Tifa, too, has been gifted with an important connection to the Planet for a specific purpose—becoming Cloud’s heroine, the one person who can help him reclaim his true self; and,

3) Fortifies her faith in Cloud, reaffirming her belief in him despite the trauma of his attack. All of these elements are crucial in building Tifa up for her ultimate role in Part 3, where her emotional strength and deep bond with Cloud will prove indispensable.

Following these climactic events in Gongaga, Tifa’s role as an underdog becomes even more pronounced during the events in Cosmo Canyon, revealing her heroine arc with greater clarity through a clever subversion of expectations. Traditionally, Cosmo Canyon is a section of the game that focuses on external conflicts, especially tied to Aerith’s role as a Cetra and her connection to the Planet.

However, in Rebirth, Tifa is also unexpectedly thrust into the spotlight in a setting that purposefully marginalizes her, with the narrative now drawing attention to her internal struggles. This shift in focus gives weight to her emotional and personal conflicts, contrasting with the larger planetary issues central to the external conflict, although centered in the same setting where those issues are the focal point.

Bugenhagen and the elders, who represent the epitome of knowledge about the Planet and the Lifestream, ridicule Tifa’s personal experiences, dismissing them as heretical and uneducated compared to their teachings. This organized structure of Cosmo Canyon, revered for its wisdom, alienates Tifa, making her feel further out of place. She is sidelined in a place where the spiritual wisdom of the Planet should matter most, yet her direct experiences within the Lifestream are discredited.

This subversion is essential to Tifa's arc: although she is overlooked by those considered authorities, it highlights her position as an underdog whose true power lies in her emotional resilience and connection to Cloud, not in abstract spiritual knowledge. Her ability to persevere beyond what she encounters in this scene is what will make her triumph in Part 3 further rewarding. The fact that the planet itself has facilitated this experience to some degree (in Gongaga) makes this arc even more compelling.

All of these events in Rebirth subtly prepare Tifa for her role as a heroine in Part 3. Despite being undervalued by those who should understand the power of her connection to the Lifestream, Tifa is destined for a crucial purpose. The Planet has clearly chosen her to be the one to save Cloud, "the boy who is destined to save the world."

This culminates with a powerful emotional contrast that sets up her lowest point just before the game ends, perfectly priming her for her ultimate heroine role in Part 3. After the events in Cosmo Canyon and Gongaga, the narrative takes a softer turn during Tifa's date with Cloud at the Gold Saucer. This scene is crucial for both Tifa and the player, as Cloud finally gives a clear indication of his feelings for her by kissing her, offering a moment of happiness and intimacy. For Tifa, this moment of connection and affection from Cloud is deeply validating—after their long, slow burn of building trust and emotional closeness, this kiss solidifies that Cloud returns her feelings. It creates the "calm before the storm," giving them both a brief moment of peace and joy before the dark trials ahead.

*disclaimer* it doesn’t matter if the moment is "optional". All of the dates are "optional" in that sense and all of them are narratively important. It is much more honest to consider the date "expanded" rather than "optional". They expand our understanding of the narrative and characters, not alter it.

Anyway, this moment of emotional relief is soon followed by the unraveling of Cloud’s mental state, marking the descent of Tifa's arc into its lowest point yet. The game transitions from the joy of the Gold Saucer to the Temple of the Ancients, where Cloud’s spiraling intensifies under Sephiroth's manipulation. Tifa is forced to watch as the man she loves loses control, and her devastation grows as she realizes how powerless she is to stop it.

The situation worsens at the Forgotten City, where not only does Cloud continue to deteriorate, but Tifa also witnesses the loss of Aerith, one of her closest friends. The combination of losing Aerith and seeing Cloud fall deeper into Sephiroth's influence leaves Tifa emotionally shattered, hitting rock bottom.

These events at the end of Rebirth set the stage for Tifa’s ultimate rise in Part Three. Her devastation, watching Cloud spiral and suffering the heartbreak of losing Aerith, pits her at the lowest emotional point in her journey. This is essential for unfolding her heroine arc in Part 3 (Disc Two of the original game), where she will be pivotal in the events at the Northern Crater, the escape from Junon, Mideel, and ultimately, the Lifestream scene.

The Lifestream scene is the culmination of Tifa’s entire arc—everything she has experienced in Remake and Rebirth has been preparing her for this moment. Despite the many challenges of the journey thus far - many of them internal - Tifa will be the one to guide Cloud back to his true self, using the deep emotional connection they've forged. It is here that her resilience, emotional strength, and faith in Cloud, despite everything that has happened, will solidify her as the heroine destined to play a critical role in not just Cloud’s recovery but in the party’s fight against Sephiroth.

In this way, Tifa’s underdog arc is not just about personal growth; it is about the power of emotional resilience in a world where traditional heroism is often defined by strength and cosmic or magical power, a core message of the game’s overall subversion. By the time she reaches her role in Part 3, Tifa will have transformed from someone who was dismissed and overshadowed into a heroine whose quiet strength proves to be indispensable.

Her journey, both in OG and FF7R, shows that true heroism often lies not in grand gestures but in emotional endurance and unwavering support for those who matter most - those we love.

[bfpnola]

introductory excerpts on COINTELPRO

it came to my awareness that some folks don't know what COINTELPRO is still, so imma drop some excerpts from the wikipedia page. ofc there are a billion other resources you can check out, especially firsthand accounts, but this is always a good place to start! link attached below:

[Note that the embedded link above's photo has the following caption: "COINTELPRO memo proposing a plan to expose the pregnancy of actress Jean Seberg, a financial supporter of the Black Panther Party, hoping to "possibly cause her embarrassment or tarnish her image with the general public". Covert campaigns to publicly discredit activists and destroy their interpersonal relationships were a common tactic used by COINTELPRO agents."]

The Introduction:

COINTELPRO (syllabic abbreviation derived from Counter Intelligence Program; 1956–1971) was a series of covert and illegal[1][2] projects actively conducted by the United States Federal Bureau of Investigation (FBI) aimed at surveilling, infiltrating, discrediting, and disrupting domestic American political organizations.[3][4] FBI records show COINTELPRO resources targeted groups and individuals the FBI[5] deemed subversive,[6] including feminist organizations,[7][8] the Communist Party USA,[9] anti–Vietnam War organizers, activists of the civil rights and Black power movements (e.g. Martin Luther King Jr., the Nation of Islam, and the Black Panther Party), environmentalist and animal rights organizations, the American Indian Movement (AIM), Chicano and Mexican-American groups like the Brown Berets and the United Farm Workers, independence movements (including Puerto Rican independence groups such as the Young Lords and the Puerto Rican Socialist Party), a variety of organizations that were part of the broader New Left, and white supremacist groups such as the Ku Klux Klan[10][11] and the far-right group National States' Rights Party.[12]

Methods COINTELPRO Utilized

According to attorney Brian Glick in his book War at Home, the FBI used five main methods during COINTELPRO:

Infiltration: Agents and informers did not merely spy on political activists. Their main purpose was to discredit, disrupt and negatively redirect action. Their very presence served to undermine trust and scare off potential supporters. The FBI and police exploited this fear to smear genuine activists as agents.

Psychological warfare: The FBI and police used a myriad of "dirty tricks" to undermine movements. They planted false media stories and published bogus leaflets and other publications in the name of targeted groups. They forged correspondence, sent anonymous letters, and made anonymous telephone calls. They spread misinformation about meetings and events, set up pseudo movement groups run by government agents, and manipulated or strong-armed parents, employers, landlords, school officials, and others to cause trouble for activists. They used bad-jacketing to create suspicion about targeted activists, sometimes with lethal consequences.[74]

Harassment via the legal system: The FBI and police abused the legal system to harass dissidents and make them appear to be criminals. Officers of the law gave perjured testimony and presented fabricated evidence as a pretext for false arrests and wrongful imprisonment. They discriminatorily enforced tax laws and other government regulations and used conspicuous surveillance, "investigative" interviews, and grand jury subpoenas in an effort to intimidate activists and silence their supporters.[73][75]

Illegal force: The FBI conspired with local police departments to threaten dissidents; to conduct illegal break-ins in order to search dissident homes; and to commit vandalism, assaults, beatings and assassinations.[73] The objective was to frighten or eliminate dissidents and disrupt their movements.

Undermine public opinion: One of the primary ways the FBI targeted organizations was by challenging their reputations in the community and denying them a platform to gain legitimacy. Hoover specifically designed programs to block leaders from "spreading their philosophy publicly or through the communications media". Furthermore, the organization created and controlled negative media meant to undermine black power organizations. For instance, they oversaw the creation of "documentaries" skillfully edited to paint the Black Panther Party as aggressive, and false newspapers that spread misinformation about party members. The ability of the FBI to create distrust within and between revolutionary organizations tainted their public image and weakened chances at unity and public support.[49]

The FBI specifically developed tactics intended to heighten tension and hostility between various factions in the black power movement, for example between the Black Panthers and the US Organization. For instance, the FBI sent a fake letter to the US Organization exposing a supposed Black Panther plot to murder the head of the US Organization, Ron Karenga. They then intensified this by spreading falsely attributed cartoons in the black communities pitting the Black Panther Party against the US Organization.[49] This resulted in numerous deaths, among which were San Diego Black Panther Party members John Huggins, Bunchy Carter and Sylvester Bell.[73] Another example of the FBI's anonymous letter writing campaign is how they turned the Blackstone Rangers head, Jeff Fort, against former ally Fred Hampton, by stating that Hampton had a hit on Fort.[49] They also were instrumental in developing the rift between Black Panther Party leaders Eldridge Cleaver and Huey Newton, as executed through false letters inciting the two leaders of the Black Panther Party.[49]

...

In order to eliminate black militant leaders whom they considered dangerous, the FBI is believed to have worked with local police departments to target specific individuals,[78] accuse them of crimes they did not commit, suppress exculpatory evidence and falsely incarcerate them. Elmer "Geronimo" Pratt, a Black Panther Party leader, was incarcerated for 27 years before a California Superior Court vacated his murder conviction, ultimately freeing him. Appearing before the court, an FBI agent testified that he believed Pratt had been framed, because both the FBI and the Los Angeles Police Department knew he had not been in the area at the time the murder occurred.[79][80]

...

In 1969 the FBI special agent in San Francisco wrote Hoover that his investigation of the Black Panther Party had concluded that in his city, at least, the Panthers were primarily engaged in feeding breakfast to children. Hoover fired back a memo implying the agent's career goals would be directly affected by his supplying evidence to support Hoover's view that the Black Panther Party was "a violence-prone organization seeking to overthrow the Government by revolutionary means".[84]

Hoover supported using false claims to attack his political enemies. In one memo he wrote: "Purpose of counterintelligence action is to disrupt the Black Panther Party and it is immaterial whether facts exist to substantiate the charge."[85]

Intended Effects of COINTELPRO

The intended effect of the FBI's COINTELPRO was to "expose, disrupt, misdirect, or otherwise neutralize" groups that the FBI officials believed were "subversive"[58] by instructing FBI field operatives to:[59] 1. Create a negative public image for target groups (for example through surveilling activists and then releasing negative personal information to the public) 2. Break down internal organization by creating conflicts (for example, by having agents exacerbate racial tensions, or send anonymous letters to try to create conflicts) 3. Create dissension between groups (for example, by spreading rumors that other groups were stealing money) 4. Restrict access to public resources (for example, by pressuring non-profit organizations to cut off funding or material support) 5. Restrict the ability to organize protest (for example, through agents promoting violence against police during planning and at protests) 6. Restrict the ability of individuals to participate in group activities (for example, by character assassinations, false arrests, surveillance)

When did they start?

Centralized operations under COINTELPRO officially began in August 1956 with a program designed to "increase factionalism, cause disruption and win defections" inside the Communist Party USA (CPUSA). Tactics included anonymous phone calls, Internal Revenue Service (IRS) audits, and the creation of documents that would divide the American communist organization internally.[9] An October 1956 memo from Hoover reclassified the FBI's ongoing surveillance of black leaders, including it within COINTELPRO, with the justification that the movement was infiltrated by communists.[31] In 1956, Hoover sent an open letter denouncing Dr. T. R. M. Howard, a civil rights leader, surgeon, and wealthy entrepreneur in Mississippi who had criticized FBI inaction in solving recent murders of George W. Lee, Emmett Till, and other African Americans in the South.[32] When the Southern Christian Leadership Conference (SCLC), an African-American civil rights organization, was founded in 1957, the FBI began to monitor and target the group almost immediately, focusing particularly on Bayard Rustin, Stanley Levison, and eventually Martin Luther King Jr.[33]

How did the news get out about COINTELPRO?

The program was secret until March 8, 1971, when the Citizens' Commission to Investigate the FBI burgled an FBI field office in Media, Pennsylvania, took several dossiers, and exposed the program by passing this material to news agencies.[1][54] The boxing match known as the Fight of the Century between Muhammad Ali and Joe Frazier in March 1971 provided cover for the activist group to successfully pull off the burglary. Muhammad Ali was a COINTELPRO target because he had joined the Nation of Islam and the anti-war movement.[55] Many news organizations initially refused to immediately publish the information, with the notable exception of The Washington Post. After affirming the reliability of the documents, it published them on the front page (in defiance of the Attorney General's request), prompting other organizations to follow suit. Within the year, Director J. Edgar Hoover declared that the centralized COINTELPRO was over, and that all future counterintelligence operations would be handled case by case.[56][57]

[halfetirosie]

🔥🔥🔥Vigilant Observer Edmond's R2 is UNDER-RATED!!!!!🔥🔥🔥 (a self-indulgent long-ass Edssay defending a room I really REALLY liked)

So, I have seen a weirdly large amount of comments online saying that the new SSR Edmond's Intimacy Room 2 sucks. I've seen it called boring and a waste of intimacy gifts.

Peace and Love, I know everyone has different tastes---and I am hella biased towards Edmond---

BUT!!!

I believe any perceive shortcomings are completely out-weighed by the elements this room actually focuses on.

At the very least, this intimacy room DESERVES to be appreciated more, rather than ruthlessly slandered.

1) What Happens VS What Doesn't

Here's a very general outline of what happens in R2:

Eiden initiates a "Guard searching/punishing a Prisoner" scene (Roleplay)

Eiden provokes (/ is a Brat to) Edmond (Dom/Sub)

Edmond use essence to conduct electricity into the baton, and uses the electricity to stimulate his exposed skin and dick (Electroplay + Masochism)

Eiden's provocations eventually turn into teasing (Dirty Talk, + light Humiliation)

Eiden uses the top of his foot to rub Edmond's bulge through his pants

Edmond cums first; Eiden teases/provokes him for it

Eiden cums shortly after from the Electroplay

Perfectly normal, standard intimacy room, yes?

But, from what I've gathered, people are labelling it as boring or under-whelming because:

There isn't any Bondage

There isn't significant nudity/direct skin-to-skin touching

The areas that are touched are relatively small (basically just each character's groin)

Edmond isn't the one that gets off from Masochism (or at least, not from physical Masochism)

These points go against what people's EXPECTATIONS were; since the setting of this event was in inside a prison--a harsh environment full of rough individuals and literal bondage--they expected this R2 to be more physical and rough than it actually was.

Hell, even I wasn't expecting for the room to be as "tame" as it was.

But just because my expectations were subverted doesn't mean I got pissy about it.

BECAUSE THIS ROOM IS STILL FUCKING GOOD!!!

I think a lot of people are ignoring the fact that not all BDSM plays NEED Bondage, skin-to-skin, physical pain (in this case, just on Ed's part), etc. to be satisfying--just because they expected that but didn't get it.

2) Missing the Point - THIS ROOM IS STILL HELLA KINKY (A Closer Look at Ed's Satisfaction)

If you're seeing this post, there's a fair chance you've also seen my GIANT Edmond Post for Struggling Fanfic Writers; which is basically a long-ass character analysis of Edmond.

As I mentioned in that post, Edmond H-scenes have certain themes/kinks that re-occur; and as it turns out, the Intimacy Room we'll be looking at today features a lot of them.

However, for the purposes of this post, I'm going to narrow it down to just 2--the 2 that, in my opinion, were the main contributors towards Edmond's orgasm. (After all, the quality of intimacy rooms with each unique character relies on the quality of that character's experience.)

The quality with which these themes/kinks are executed is extremely impressive, which is why it was satisfying to the characters; and thus, satisfying for us players to watch.

(I have censored this image in the hopes that Tumblr won't snipe me)

When R2 starts, Eiden immediately sets the scene by provoking Edmond; saying that Edmond should do is job as a guard and properly search the prisoner.

Via Eiden's provocations, although Edmond is in a vulnerable position--kneeling on the ground--he is, for the moment, playing the Dominant role.

This is another subversion of expectations, which I find very welcoming. This is possibly the closest we've ever gotten to characters switching roles--only, Edmond doesn't actually "top." (Though, now that I think of it, Silver Confessor Olivine R5 also has a similar dynamic....*shrug*)

While Edmond is acting as a Dom, Eiden is a Bratty Submissive; saying things like "it feels like a tickle!" when Edmond starts electrifying the baton.

Edmond is surprised when Eiden gets excited by being treated in such a degrading way (I spy, with my little eye, PROJECTION); but he's shortly thereafter put into a degrading position himself---

This is when Eiden starts rubbing Edmond through his pants with the top of his foot--which honestly isn't far off from the whole stepping-on-others position that is common in BDSM.

If you ask me, this is a HUGE POINT contributing towards the quality of this room: This submissive position, symbolizing Edmond's gradual loss of power/control.

Eiden also teases Edmond in the hopes that he'll suck him off; but, staying in-character, Edmond refuses him.

In other words, not giving Eiden head--another expectation people had that wasn't fulfilled--was literally a part of the play. It's Sexual Denial.

But, as R2 goes on, Eiden's teasing and dirty talk get more and more intense, and it basically ends up switching their roles in this play.

You know how in a typical Edmond H-scene, Eiden's kissing, caressing, etc. gradually make Edmond lose his mind with how horny he gets?

Well, so far, literally the only thing Eiden has done is indirectly rub his bulge. Rather than physical touch, Eiden's dirty talk is what makes Edmond the most aroused.

DEADASS---EIDEN DOESN'T EVEN HAVE TO DO THAT MUCH. HE DOES SUCH A GOOD JOB RILING EDMOND UP JUST WITH HIS WORDS, THAT THIS HAPPENS:

BITCH, EDMOND'S NIPPLES GET ERECT ON THEIR OWN!!!! JUST FROM HOW TURNED ON HE IS!!!! WITHOUT THEM EVER BEING TOUCHED!!!! THAT HAS LITERALLY NEVER HAPPENED BEFORE!!!!!!!!!

All Eiden has to do to fully switch Edmond from the Dom position back into the Sub--making Edmond lose control over himself--is TALK.

THAT IS SO FUCKING SEXY, WHAT THE HELL???? ♡♡♡

This is why I DO NOT UNDERSTAND people that don't like this room.

I've said before--in the GIANT Ed-Post--that Edmond is sensitive. And his H-scenes do a great job of showing that off---via PHYSICAL TOUCH.

But what this intimacy rooms excels at is expressing how Edmond is sensitive to more than just physical touch.

AND THAT IS THE WHOLE DAMN POINT!!!

Let's look again at the evidence:

Listen. I know this intimacy room didn't have the play people were expecting.

BUT IT WAS STILL GOOD.

Speaking from personal experience--and from the obvious arousal and satisfaction Edmond shows in this room--not every BDSM play needs to be super physical. Submission/masochism is not exclusively about physical stimulation/pain.

What we see in this intimacy room is Edmond being dominated in a psychological way, and that's what makes is so damn kinky and rewarding; both for viewers and for Edmond.

3) The GOD-TIER Technical Aspects

...So...did the people that are heavily criticizing this R2 just, like, have their sound off the whole time??? Or did they only read the subtitles without looking at the actual visuals of this intimacy room??????

Even if, for whatever reason, the find the scenario under-whelming, I CANNOT FOR THE LIFE OF ME picture a situation where the voice-acting and animation couldn't make up for that.

Quickly referencing back to the last section of this Edssay; Eiden is teasing Edmond like the entire time, and that "slightly husky" and "seductive" voice is INCREDIBLE. An absolute TREAT for my ears. And Edmond's panting, gasps, and moans???? HOT DAMN.

These two could be doing the most mundane, "boring" sexual act ever, but if we can hear that the both of them are clearly very into it, then why wouldn't it be a satisfying intimacy room???

And then there's the art---

It's all just SO GOOD, DAMMIT!!!!

4) ╭∩╮(˶ᵔ ᵕ ᵔ˶)╭∩╮♡

I know that this Edssay was unnecessary. I know I spent too much time on it. I know that there's a high likelyhood no one will read it.

And, of course, I know that everyone is entitled to their own opinions.

BUT WHEN THOSE OPINIONS ARE BASED ON SILLY-ASS REASONS, AND END UP SLANDERING MY BOI EDMOND????

AND WHEN THOSE OPINIONS ARE JUST OBJECTIVELY WRONG??? (Peace and love)

I CANNOT, AND WILL NOT, STAY SILENT!!

I WILL PUT A STUPID AMOUNT OF TIME AND EFFORT INTO SCREAMING ABOUT WHY THAT OPINION IS HELLA MISGUIDED, AND I WILL SCREAM INTO THE VOID ABOUT IT!!!!

,; (ง 🔥 ﾛ 🔥 )ง ;,

...

.....

..........

This intimacy room was good, dammit....

Stop being so mean to it......

(⸝⸝o̴̶̷᷄-o̴̶̷̥᷅⸝⸝)

[positively-bi]

It ain't over til the bisexual speaks...

The March on Washington for Lesbian, Gay, and Bisexual Equal Rights and Liberation took place on the 25th of April 1993 in Washington, D.C. An estimated 80,000 to over 1 million people attended.

The 1993 March was the first March on Washington to include bisexuals in the title. Out of 18 chosen speakers, only one was bisexual: Lani Ka'ahumanu.

Afterwards, she wrote an article for bisexual magazine Anything That Moves about her experience entitled "How I Spent My Two Week Vacation Being a Token Bisexual", which can be read on her website here.

The webpage also contains a transcript of the speech she made at the event, which has been copied below the cut:

Aloha, my name is Lani Ka’ahumanu, and it ain’t over til the bisexual speaks...

I am a token, and a symbol. Today there is no difference. I am the token out bisexual asked to speak, and I am a symbol of how powerful the bisexual pride movement is and how far we have come.

I came here in 1979 for the March on Washington for Lesbian and Gay Rights.

I returned in 1987 for the March on Washington for Lesbian and Gay Rights.

I stand here today on the stage of the 1993 March on Washington for Lesbian, Gay and Bisexual Equal Rights and Liberation.

In 1987 I wrote an article on bisexuality for the Civil Disobedience Handbook titled, “Are we visible yet?”

Bisexual activists organized on the local, regional and national levels to make this March a reality.

Are bisexuals visible yet? Are bisexuals organized yet? Are bisexuals accountable yet?

You bet your sweet ass we are!

Bisexuals are here, and we’re queer.

Bisexual pride speaks to the truth of behavior and identity.

No simple either/or divisions fluid – ambiguous – subversive bisexual pride challenges both the heterosexual and the homosexual assumption.

Society is based on the denial of diversity, on the denial of complexity.

Like multiculturalism, mixed heritage and bi-racial relationships, both the bisexual and transgender movements expose and politicize the middle ground.

Each show there is no separation, that each and everyone of us is part of a fluid social, sexual and gender dynamic.

Each signals a change, a fundamental change in the way our society is organized.

Remember today.

Remember we are family, and like a large extended family, we don’t always agree, don’t always see eye to eye.

However, as a family under attack we must recognize the importance of what each and every one of us brings to our movement.

There is strength in our numbers and diversity. We are every race, class, culture, age, ability, religion, gender identity and sexual orientation.

Our visibility is a sign of revolt.

Recognition of bisexual orientation and transgender issues presents a challenge to assumptions not previously explored within the politics of gay liberation.

What will it take for the gayristocracy to realize that bisexual, lesbian, transgender, and gay people are in this together, and together we can and will move the agenda forward.

But this will not happen until public recognition of our common issues is made, and a sincere effort to confront biphobia and transphobia is made by the established gay and lesbian leadership in this country.

The broader movement for our civil rights and liberation is being held back.

Who gains when we ostracize whole parts of our family? Who gains from exclusionary politics?

Certainly not us...

Being treated as if I am less oppressed than thou is not only insulting, it feeds right in to the hands of the right wing fundamentalists who see all of us as queer.

What is the difficulty in seeing how my struggle as a mixed race bisexual woman of color is intimately related to the bigger struggle for lesbian and gay rights the rights of people of color and the rights of all women?

What is the problem?

This is not a competition.

I will not play by rules that pit me against any oppressed group.

Has the gayristocracy bought so far in to the either/or structure, invested so much in being the opposite of heterosexual that they cannot remove themselves that they can’t imagine being free of the whole oppressive heterosexist system that keeps us all down?

Bisexual, gay, lesbian, and transgender people who are out of the closet, who are not passing for anything other than who and what we are all have our necks and our lives on the line.

All our visibility is a sign of revolt.

Bisexuals are here to challenge the bigots who have denied lesbian, gay and bisexual people basic civil rights in Colorado.

Yes, Amendment 2 includes bisexual orientation.

Yes, the religious right recognizes bisexuals as a threat to “so called” family values.

Bisexuals are here to protest the military ban against lesbians, gays and bisexuals.

Yes, the Department of Defense defines bisexuals separately as a reason to be dishonorably discharged.

And yes, out bisexuals are not allowed to be foster or adoptive parents,

And yes, we lose our jobs, our children, get beaten and killed for loving women and for loving men.

Bisexuals are queer, just as queer as queer can be.

Each of us here today represents many people who could not make the trip.

Our civil rights and liberation movement has reached critical mass.

Remember today.

Remember that we are more powerful than all the hate, ignorance and violence directed at us.

Remember what a profound difference our visibility makes upon the world in which we live.

The momentum of this day can carry us well into the 21st century if we come out where ever and when ever we can.

Remember assimilation is a lie. It is spiritual erasure.

I want to challenge those lesbian and gay leaders who have come out to me privately over the years as bisexual to take the next step, come out now.

What is the sexual liberation movement about if not about the freedom to love whom we choose?

I want to encourage bisexuals in the lesbian, gay and heterosexual communities to come out now.

Remember there is nothing wrong with love. Defend the freedom to express it.

Our visibility is a sign of revolt. We cannot be stopped. We are everywhere. We are bisexual, lesbian, gay and transgender people.

We will not rest until we are all free;

We will not rest until our basic human rights are protected under federal law;

We will not rest until our relationships and families are not just tolerated but recognized, respected and valued;

We will not rest until we have a national health care system; We will not rest until there are cures for AIDS and cancer.

We deserve nothing less. Remember we have every right to be in the world exactly as we are.

Celebrate that simply and fiercely.

I love you.

Mahalo and aloha.

[sunnynwanda]

Masterlist

My attempt at comprising a masterlist for my stories. Please, do let me know if this is convenient. I’ll mark the suggestive and/ or spicy stories with a * sign. 

Oh, and just to note. Requests are open, as is my inbox if anyone wants to discuss/ ask something. Stay safe. Love you! 

Hero and Villain Oneshots

Standards

Newspaper clippings

A dance with the enemy

Wedding bells 

Betrayal 

Surrender 

Turn of events 

Sea waters 

Repent

Errors in translation

Friends & Enemies

A solution *

Entertained *

Seduction Subversion *

Supervillain is sick

[In]sanity

Similarity

Uccellino

Creation

Reaching out

Villain & Sidekick

Rules to break

[Im]balance

Making amends

Soulitary

Meet the parents

Even odds

Hellbent

House of memories

Point of No Return

Two to Tango *

In the Heat *

Something Blue

Heal me

Ruin

Master

Do Your Worst

Spicy margarita

Not his day

Dream

New Toy

Bite me

Birthday

Blow * New!

Red Lights New!

Remember New!

Fair warning New!

Hero and Villain Series

Wedding Date         Part 1      Part 2      Part 3      Part 4

True enemy             Part 1       Part 2

Blind or Blinded      Part 1      Part 2

Kill me softly           Part 1      Part 2

The Darkside          Part 1      Part 2 *     Part 3      Part 4

Done                        Part 1 *     Part 2 *

The Lab Night Part 1 Part 2 * Part 3

Temptation Part 1 Part 2 *

Under the influence Part 1 * Part 2

Black hole Part 1 Part 2 Part 3

The Game Part 1 Part 2

Drop Dead Part 1 Part 2 * New!

Trouble of Mind Part 1 Part 2 New!

Audio recording of my Betrayal story by Relm Works

The Legends of Vishaps

The Escape

The Beginning

Dragon stories 

Of dragons and princesses 

Dragon in distress

The Taglist can be found here.

In case anyone wants to buy me a Ko-Fi, you can do that here.

Thank you for reading!

[7grandmel]

Todays rip: 04/04/2024

Mario Does Not Dream of Bunny Girl Princess

Season 5 Featured on: SiIvaGunner's Highest Quality Rips: Volume C

Ripped by Jiko Music (@jikomusic)

Requested by Memmy! (Discord)

Well, would you look at that: It's a rip request six months in the making!! I hope the wait will have been worth it, Memmy! And thank you endlessly for championing the blog so early on in its life <3.

Now - I recently spilled a lot of words regarding SiIvaGunner's fifth annual April Fools event back with Your Best Nightmario and Bowser's Finale, just four days ago. It is arguably one of the channel's all-time high points, an event that I still see discussed from time to time by random internet dwellers, even now three years later. And its clear to see why: akin to something like Mega Man Dropping January 7th‼️from earlier this year with Hella Pummel, Mario's "Death" on March 31st was an event that a huge part of the internet was already keenly aware of, one we'd all been anticipating, and one that SiIvaGunner in turn had a golden opportunity to leverage for an amazing channel event. From March 31st to April 3rd, we got to see Mario's existence as a figment be celebrated for one final day, then be entirely erased from the SiIvaGunner channel's reality at the day's end, only to then begin fighting tooth-and-nail in Your Best Nightmario for his memory to live on - a battle that, through our continued support as YouTube commenters, he was able to win in Bowser's Finale. A storybook journey, a clear beginning/middle/end structure, with a clearly-told message by the end of it all - Super Mario was back.

Yet, it still wouldn't be complete without that one last touch. Any book needs a back cover, any film its credits roll, any game a return to the title screen. Mario Does Not Dream of Bunny Girl Princess, then, was what truly closed the whole event out - and in typical SiIvaGunner fashion, did so in a deviously clever manner.

A lot of the appeal in this event as a whole, I feel, is just how easily understood the bit was at a moment's glance. Without even clicking on the videos, a viewer will notice Mario's gone, it's IMMEDIATELY apparent that something is wrong - and that likely drew a lot of eyes to the event that may have otherwise missed it. This shift in dynamics with how viewers engage with the SiIvaGunner channel is practically what this year's April Fools event, from just a few days ago, was entirely built on, yet there it was done in an incredibly tounge-and-cheek way. Because really, what it pretends to be doing almost goes against everything the channel is meant to be! The bait-and-switch, though not nearly as effective as it once was back in Season 1 with rips like Be Cool, Be Wild, and Be My Girl, IS core to what the SiIvaGunner channel is all about. It has always been a channel all about surprising you with something delightful, be that with surprise bangers like Beyond the Floating Isles, hilariously executed bits like ​THIS RIP WAS MADE BY TEETH GANG, or everything inbetween. There's a reason why I said that this year's event only *pretends* to be going against this - because the bit with this year's overly-explained, corny titles, is that the rips themselves still hold a secret bait-and-switch bit within them. Even when it appears to be quite literally explaining the joke, the channel hides further layers to rips just out of sight.

But what does all of that have to do with Mario Does Not Dream of Bunny Girl Princess? Well, what I'm trying to say isn't that the Season 5 April Fools day event betrayed the essence of SiIvaGunner or anything - rather, that by intentionally breaking its own rules for an entire day's worth of uploads, rules it had otherwise kept up for five whole years prior, it made this sudden subversion and the stakes of the event hit all the harder. That part may be rather obvious, sure, yet the brilliant thing here is that as a closer to the event, Mario Does Not Dream of Bunny Girl Princess employs the exact same trick in reverse order. Because after an entire day's worth of rips going against the grain, a storyline clear as crystal to follow no matter what rip you've landed on - the LAST thing anyone would've expected would be for it to close with something so seemingly low-key, standard-fare, outright NORMAL for the SiIvaGunner channel, as a single rip of Super Mario 64's Staff Roll theme. I'm sure many were expecting a grand fusion collab, some sort of CCC-esque lore video, a true mind-blowing celebration of the journey's end...and yet, to me, this return to normalcy is absolutely brilliant in so many ways, both as a subversion of those expectations, but on so many layers yet deeper. Yes, it marks the return to the SiIvaGunner status quo, it marks that Super Mario has finally been remembered - yet look beyond that, and you may just realize that Mario Does Not Dream of Bunny Girl Princess's one joke subtly hides layers of meaning, that almost recontexualize the entire event.

But, alright, let's get the ground rules set first - Mario Does Not Dream of Bunny Girl Princess is an absolutely lovely rip as is in isolation. Jiko Music is no stranger to the channel nor to the blog, having worked on several hidden-gem favorites of mine such as Trail on Powdery Snow Halation and YACKER TOILET - they very clearly know their way around a rip, and have a stellar track record over their seven years of activity. Super Mario 64's Staff Roll theme is a lovely piece of music already, one I covered a fair bit already with Staff Roll (SM64) Fusion, and Jiko Music absolutely leverages that quality to full effect here - its nostalgic percussion, melody, and instruments that sound so indescribably "Nintendo 64" push this arrangement to some truly excellent emotional heights. The original song's vocals are no longer here, akin to rips like Blessing the Dire, Dire Rains - yet through changing the lead melody's instrument from section to section, from verse to chorus, Mario Does Not Dream of Bunny Girl Princess is able to elegantly replicate how the original song's vocals would change per how many of its six vocalists were singing at any one time. It's a great rip!! ...but wait, what exactly IS the original song its arranging?

Alright, here we go - Fukashigi No Carte is the ending theme to the anime series "Rascal Does Not Dream of Bunny Girl Senpai", a story about many things, yet primarily about a mysterious girl suddenly made invisible to the world around her, dressed in the titular "bunny girl" costume. The immediate surface-level box to tick is, of course, that it's the ending theme to an anime, a credits roll to match the dramatic storyline of the event - but you may also start connecting some other dots, too, hm? Mai Sakurajima, the titular bunny girl, isn't merely made invisible to the world - she is FORGOTTEN by the public consciousness, her existence at all erased from all's mind, save for the series' protagonist who works to get the rest of the world to acknowledge her existence. Sakurajima's curse in the series is, effectively, that of a forgotten Figment - the fate that befell Mario in this very event, with us as the audience taking the role of the story's protagonist, together helping Mario win the fight against his fate by collectively remembering him.

That's a great reference all on its own, but there's another part left to discuss - the coolest part, I'd argue! Unlike comparable events such as Season 7's with ...of 2023, the Season 5 April Fools event spanned a total of five days - from the day Mario's execution was scheduled on the 31st, to April 1st itself when the event of his disappearance kicked into gear, a day-long break of April 2nd leaving his fate uncertain, the final push to resurrection on April 3rd, and the credits rolling on April 4th - which, during 2021 in particular, just so happened to be Easter. And do you notice anything in particular about this timeline of events? Executed on the 31st of March, brought back from the brink on April 3rd: Mario, just like Jesus Christ himself, AROSE ON THE THIRD DAY. Almost through sheer luck, the holiday celebrating the resurrection of Jesus Christ fell *right* next to Mario's great story of returning from public execution - allowing the whole event to come to a close on the most perfect day imaginable. And aside from Jesus himself, what is THE thing that defines Easter as a holiday?

That's right - The Easter Bunny. Bunnies. Rascal Does Not Dream of Bunny Girl Senpai.

The way every single puzzle piece clicked into place for Mario Does Not Dream of Bunny Girl Princess to work is genuinely incredible and some of the coolest shit I've ever seen the channel pull off. Not only is the rip itself a beautiful listen, it nails the landing on every single imaginable front: Subverting the expectations of the entire event's premise by its return to the status quo of rips, connecting the very lore that the SiIvaGunner channel is built on to an anime series with a rather iconic and recognizable ending theme - and connecting the event's storyline to the very foundation of the Easter holiday, and one of the Bible's most well-known events. On the very last video of the event's runtime, Mario Does Not Dream of Bunny Girl Princess made SUPER FUCKING MARIO into a Jesus allegory within the SiIvaGunner channel - and if that's the case, does that make Grand Dad the holy spirit? Is SiIvaGunner ITSELF a loose allegory for Christianity?!

...Mamma Mia, this post got long. But I hope you've been able to understand why I have so many words to say on it - so many thoughts finally able to spill over in the three years I've spent ruminating on this incredible event. Mario's return itself after Bowser's Finale was already pitch-perfect, featuring a sudden reappearance of The Reboot from Season 1 (don't get me started, I'll be here all day) - but ending it all off with something so seemingly plain, yet hiding so many layers of beauty and connective tissue, as Mario Does Not Dream of Bunny Girl Princess...it, to this day, blows me away how perfectly the pieces clicked into place.

[duskwingmoth]

"Your choices don't matter."

This is and will continue to be the most-misunderstood line in the game. Even now in June 2023 with ample evidence, many players seem to believe that Deltarune is a game that disregards player agency and their decisions, despite the Player still being the single most powerful entity in its universe.

The confusion is understandable, as I do believe it's an intentional red herring, and certainly with regards to the outcome of Chapter 1's events it holds largely true. Nonetheless, people seem to overlook the fact that Ralsei, mere minutes later, has this to say:

"I believe your choices are important, too!"

The importance and implication of both lines together goes overlooked, likely because the latter doesn't happen with nearly as much fanfare as Susie's explosive introduction. But the parallel framing gives the game away, as does the dichotomy in Susie and Ralsei's reaction to your role as the "leader" of the Lancer Fan Club.

What Deltarune is telling you with these lines is that whatever Chapters 3 through 7 hold, a defining aspect of the RPG formula is going to be heavily scrutinized and deconstructed, just like player/game morality, repeat playthroughs, and player character agency were in Undertale.

In RPGs, be they western or eastern in origin and influence, a largely unchallenged assumption is baked into their design. You, the Player, will be the final word on any decision that the Party makes, whether it be a party of one or 100 characters. What Kain, Rosa, Rydia, Edge, and every other party member in Final Fantasy IV want out of their lives is irrelevant, and their thoughts and feelings on the next course of action even moreso; they all default to Cecil's decisions, and Cecil can do nothing without you. Therefore, Cecil is entrusting the events of the game to the player that controls him in the overworld and in the battle scene. They will all be in your final party lineup, whether they like it or not.

Later versions of Final Fantasy IV will take this even further, allowing you to subvert the exit of other party members from your control once the finale is ready to commence. Cid, Yang, Palom & Porom, and Edward no longer have the security of irrelevance to convalesce, heal from their wounds and sacrifices and traumas. If you want them to be part of your lunar expedition, you need only speak to them at the Tower of Prayer, and they will hop into Cecil's pocket while another party member (of your choice) is left behind.

Their choices don't matter. Yours do.

As far as we've seen in Chapter 1 and 2, Deltarune is absolutely holding NES and SNES Final Fantasy up as a strong influence, especially IV, with party members entering and leaving your command as the plot and their agency within demands. This makes for interesting gameplay changes and challenges, certainly. What the game is doing with it thematically, however, seems to be going thus far largely unexamined. Final Fantasy IV, after all, was something of a subversive JRPG experience for its time as well, and if there's one thing that's very clear about Undertale and especially Deltarune, it's how much it wants to subvert player expectations, thwarting the flowchart mindset with which a game-savvy person is conditioned to approach video games of similar trappings.

Through the majority of Chapter 1, Susie is completely impossible to control, command, or influence in any direct way. She has absolutely no regard for what Kris and Ralsei think of her actions, ignoring the rules set out by Ralsei and the game's mechanics, and you are expected to merely play around it. When she rejoins and when you do finally gain the ability to command her in battle, it is only because of forces utterly beyond your direct control, and even then, only because Susie made the active decision to submit to your will for the time-being.

Even still, she reserves the right to comply maliciously or revoke her trust in Kris (and your) decisions.

Not only that, but her actual ability to follow certain orders is immediately called into question.

"Your choices don't matter" to Susie. Only Susie's choices matter to Susie. She is the party member who rebels against your controlling influence as the player on the basis of her own whims, taking actions unprompted and departing entirely when being with Kris is inconvenient to her impulses and desires. You, and the game, have no control over Susie thus far.

Compare and contrast with Ralsei, the goodest goody-two-shoes floof you ever did see, obediently and staunchly obeying the laws of the game and its universe. Despite ostensibly being a ruling power within the confines of Castle Town, he immediately, happily, and without argument submits fully to the Player's will, whether you wanted to have that much control over him or not. What he may want, what he may think, what he may feel, he considers secondary to what Kris wants. As we have seen, that too is equally meaningless in the face of what the Player wants.

Even when the laws of physics, relativity, and the very rules Ralsei himself establishes dictate that he cannot be in the Computer Lab with you as far as we are currently aware, Ralsei goes out of his way to return to Kris' side, and take orders from them once again. He does not argue when you deliberately flout his advice and are just as violent as Susie in Chapter 1, and he does not make any attempts to actively rejoin with you when Susie drags him offscreen to parts of Cyber City unknown in Chapter 2. Even when violating the set rules of the game is the consequence, he will follow yours and Susie's directions.

Whatever the mysterious forces may be that compel Ralsei to be so rigidly obedient that he will diminish his contributions when you purposefully belittle them, the demonstrable fact is that, in effect, you own him. You are everything he is, and his everything is yours. Will this be reified within the plain text of the game? Who knows. It would certainly be fitting if it was. Though whether that makes for a stronger story remains the opinion of the development team, and they are 100% willing to play with your expectations.

Like, for example, the prevailing understanding coming out of Chapter 1 that "your choices don't matter" was the be-all, end-all statement Deltarune had to make, something that somehow persists beyond Chapter 2's release and collective analysis, and, more specifically paradoxically, in light of the revelation that is Noelle Holiday.

Much of Noelle's life beyond what you can observe as her classmate is left ambiguous. In part to maintain some fun textual mystery for later, but more so that you have a blank slate upon which to work as the unchallenged master of Deltarune's entire universe. A master that likely has experienced Undertale in some form or fashion and is well aware of its conceits and statements, thus likely looking for more explicit, gameplay-defined dichotomies. Think of Susie as Deltarune's thesis, Ralsei as its antithesis, and Noelle as a synthesis of the two opposing ideas. Or, more simply, a question posed to the player:

"What happens when we give you the power to subvert someone's will without their knowing consent?"

In relation to Queen, Noelle is to her as Susie is to you. She does not want to obey her commands or be in her presence because her own desires are not in alignment with Queen's. The thing about Noelle, is that she is far less rebellious, and escapes Queen's control via simple avoidance, instead entrusting you with her agency based on prior familiarity with Kris and the fallacious assumption of shared goals.

Your relative anonymity, and the ambiguity of your desires as a Player are what leave Noelle susceptible to your influence. And you, the Player, may well not be someone who should be trusted with that kind of power.

Thus, Snowgrave.

In a deliberate echo of Undertale's deconstruction of multiple playthroughs and game morality, you can, if you want, turn Noelle into a murderer, a thing she would never become on her own, and thus demonstrate that the rigid rules of Deltarune and what you previously believed it had to say fall limply before your power like wet paper. In the process, you also subvert the supposed control Queen has as the chapter's antagonist, and make an example out of the one character who actively and completely refuses to submit to your will, rendering them both completely obsolete.

In the end, you have final authority on whether Noelle Holiday the character is a person with agency in her own story, worthy of her own backstory and motives, or a set of actions with no capacity to argue with anybody, only perceiving the world through the lens of violence, as most RPG party members are. And it should be stressed; you never have to go through the motions of Snowgrave yourself to "see what happens"; the internet already has your answer. You choose to do this to Noelle and the characters, because you want to do it.

There's a lot to appreciate about Deltarune and its dedication to being a richer experience in every way, but most fascinating are the questions Noelle poses. "How ethical is it, really, that you have the power to veto everything about a character and what they want? Are you okay with this arrangement? Do these cute little pixels mean anything to you beyond what they can do for you?" For the fact that it explores this so thoroughly in under two hours, and for the implication that there's even more musings just like it in the future. I don't know if there's a game that has really interrogated the concept of party members like this, because I've certainly never heard of it. Compared to the well-trodden ground in Undertale's core statement, this is a mental exercise the general audience isn't primed for, possibly one that a lot of game developers haven't entertained either. Certainly not with this large a crowd watching with bated breath.

I'm not a Deltarune theorist by trade, but this is my one that I will openly put forward: Deltarune is not done making you feel uncomfortable with the monopoly you hold over these characters in this way. This is what sets it apart and elevates it to one of the greats in the medium, mark my words. Your choices do matter, and they matter very much.

[battleangelaelita]

Yet another post-canon Azula plot bunny

This time, with 100% more trans fem energy.

I've actually had this one for a while, and discussed it at length with @jusendork on discord. But due to an unfortunate run-in with malware, and discord support being useless as ever, my account and all the dm convos are lost forever now, so I figured I'd put it up on here so the idea itself does not fall down the memory hole.

So this came as a result of my unfortunate tendency to write right up to the line about trans adjacent characters, but never really go all the way despite being trans fem myself (see every Ranma 1/2 fanfic I have ever written). So this ones for all my sisters out there.

We begin the fic ten years after the ending of ATLA, and we're just going to sidestep the comics. The inciting incident is an attempt on the life of Fire Lord Zuko; the plot fails, but with as of yet no heir, the Fire Lord is in a politically difficult situation.

Wanting to settle this matter discretely, Zuko turns to his old friends to find the whereabouts of his sister, to determine whether she had any part in the plot, and if not, to return her safely to the capital so that there will be a line of succession. Unfortunately for him, he's a bit hard up for people able and willing to help. Ultimately, only Katara, ambassador from the Southern Water Tribe, and Mai are able and willing, no matter how reluctantly.

I've decided to borrow one note from the comics and have Zuko have split with Mai. Whether he is married to someone else for political reasons, I have not decided. The first leg will be told primarily from Katara's point of view as the outsider to the family dynamics. In the search, she's trying to peel back the layers of resentment and secrets. Mai knows more than she let's on.

Azula herself has been living under an assumed name in Ba Sing Se, disappearing into the anonymous mass with the help of a few of the former Dai Li who remained loyal. I've mulled various different trades she may have plied to survive, from organized crime to more reputable trades, but ultimately they are not important. The key is that she's basically been disassociating the past ten years, and the sudden arrival of people from her past dredges up everything she's been trying to forget.

The keystone of all this is that Azula is a trans girl, and it always was a sordid little secret of the royal family. Her father's (selective) affirmation of this was just another part of controlling her. From the moment his 'son' made 'his' first flames when 'his' mother humored 'his' protestations, Ozai saw an opportunity. 'Azulon' the Younger can play at being a girl, but only if she's the best. And she certainly can't go back on filial piety.

The main theme of it will be transmisogyny in all its forms. And I'd hope to do it in such a way that conserves the scenes in the original; events occur as they did in the show proper, but flashbacks are of course in full unreliable narrator. So the changes would be things that recontextualize events, not change them.

This is of course one of those ideas I may not actually get around to, so please don't stop if you're thinking along similar lines or if you got inspiration from this. But I really just had a good hard think about how Azula in fanon gets this sort of degendering; a character commonly perceived as a cis lesbian, and the commonalities lesbians have with trans women in how they're treated for existing outside the bounds of patriarchal norms, treated as violent, predatory, emotionally unstable, and masculinized. So i thought I'd just steer into this skid, and write her as a trans lesbian, because I can. There's few things as subversive as treating a character as having been trans and passing the entire time.

[tinyreviews]

Writing Tips: Coming of Age

A Bildungsroman is a literary genre that focuses on the psychological and moral growth of the protagonist from childhood to adulthood (coming of age). This genre is rich with themes of personal growth, self-discovery, and maturity. 

1. Initiation and Emotional Loss: Bildungsromans often begin with a significant emotional loss or a disruptive event that propels the protagonist into their journey of self-discovery. This loss serves as a catalyst for change and marks the end of the character's childhood innocence. 

2. Quest for Answers: The central character in a Bildungsroman is typically a sensitive individual who seeks answers and meaningful experiences. They embark on a quest, whether physical, emotional, or intellectual, to gain a deeper understanding of themselves and the world around them. 

3. Gradual Maturity: The primary goal of the Bildungsroman is the protagonist's maturation, which occurs gradually and is often fraught with challenges and obstacles. This journey towards maturity is a central narrative thread and can encompass a range of experiences, from education and personal relationships to self-discovery and self-acceptance. 

4. Conflict with Society: A common element in Bildungsromans is the conflict between the protagonist and society. Initially, the protagonist may reject or rebel against societal norms and values, leading to tension and conflict. This clash with societal expectations is a crucial part of their growth. 

 5. Acceptance into Society: As the story progresses, the values of society are gradually embraced by the protagonist. They begin to understand and appreciate the norms and expectations of their culture or community. Ultimately, the protagonist is accepted into society as a mature, responsible individual. 

*There is increasingly a modern subversion to this, where it is the society that changes and learns to accept the different views of the protagonist. This is a great example of a flat arc.

6. Helping Others: In some Bildungsromans, after achieving maturity, the protagonist may use their newfound wisdom and experiences to help others. This can be a redemptive element, where they seek to right past wrongs or positively influence the lives of those around them. 

7. Resolution and Character Development: Bildungsromans typically conclude with a resolution that highlights the protagonist's personal growth and transformation. They are no longer the same person they were at the beginning of the story, and their journey towards maturity is complete. 

8. Variations and Themes: While the Bildungsroman follows a general pattern, it can take on various themes and settings. Whether it's a classic coming-of-age story in a school setting, a tale of self-discovery in a distant land, or a modern exploration of identity, the genre is adaptable and relevant across cultures and time periods.

One popular example of a coming-of-age story is Are You There God? It’s Me, Margaret(book and movie). I reviewed the movie here.

This is part of my Writing Tips series. Everyday I publish a writing tip to this blog.

[theprinceandthewitch]

Look my guys... there is no fucking force in this universe that will ever EEEEVER be able to convince me there wasn't a plan for a Lunter endgame. Like you CANNOT look me in the eyes and tell me the Heartbreak card with Amity on it and King's "Skip to the finale, because it is quite a payoff" playing over a literal Lunter Kiss wasn't foreshadowing. When literally everything else that was presented in SAI came true later.

"Oh, well, those hints were subversions of expectations" How the FUCK were they subversions when they're literally part of an episode that spoils future events. Like how is anyone supposed to know that these specific details were subversions of expectations but the others were not. That's because they weren't fucking subversions they were FORESHADOWING lmao.

This show clearly wanted more than 3 seasons [from a studio that usually cancels it's shows right after it's first season btw]... but here's the thing: I honestly dont think they would have done a good job if they got more seasons.

Hunter needed to be introduced in season 1 and not season 2. Antagonistic character's like Hunter need alot of time dedicated to them to make their redemption arcs work - this is even more important if you plan on pairing this character off with the protagonist. The reason why he isn't in season 1 [beyond just those two cameos], despite the show making references to him in WBW and SAI is because they had to deal with two major things in this season:

Lilith's redemption arc and Amity's redemption arc. Hunter isn't excluded because of some weird shipping reason - they wanted to focus on these two character's first and then move onto him. Which again, was a mistake and it was a mistake that came about as a result of thinking they were going to get alot of seasons.

[imaginefinneganswake]

... for messages before joshuan judges had given us numbers or Helviticus committed deuteronomy ...

Finnegan’s Wake - James Joyce

ChatGPT4o explanation:

This fragment from Finnegans Wake showcases Joyce's signature weaving of biblical references, wordplay, and historical layering, offering both an allusion to the early biblical texts and a reflection on the evolution of language and meaning. Let’s break it down step by step and explore its possible meanings and interpretations.

1. "for messages before joshuan judges"

The phrase likely plays with the names of books from the Old Testament: Joshua and Judges. These two books recount the early history of the Israelites after the death of Moses, covering the conquest of Canaan under Joshua and the period of the Judges, who ruled Israel before the establishment of kingship.

"messages": This could refer to divine communication or revelation. Joyce seems to be suggesting a time when messages—perhaps divine laws, truths, or forms of communication—were transmitted before the codification or structuring of religious laws as found in the Bible.

"joshuan judges": By blending Joshua and Judges, Joyce collapses the timeline between these two books and characters, suggesting that the era of Joshua and the Judges is not discrete but part of a fluid biblical continuum. This echoes Joyce's theme of cyclical time and historical continuity, where distinct historical or biblical events merge into one another. It may also hint at the idea that before these authoritative, patriarchal figures came to dominate the narrative, there was a more fluid, less rigid system of understanding or communication.

2. "had given us numbers"

This is a direct reference to the Book of Numbers, the fourth book of the Old Testament, which continues the story of the Israelites as they wander in the wilderness. Numbers is named after the censuses taken of the Israelites, emphasizing order, structure, and the imposition of a formal system on a once-nomadic people.

"had given us numbers" could symbolize the imposition of order, systematization, and hierarchy. The shift from fluid, oral, or unstructured forms of "messages" to formalized, codified systems (like counting, organizing people into tribes) represents a broader shift from chaos to order, from the poetic to the bureaucratic. This reflects Joyce’s broader interest in the transition from mythic or pre-literate cultures to more structured, literate, and rule-bound civilizations.

It might also suggest a movement from intuitive, poetic modes of understanding (associated with myth, oral cultures, or a pre-biblical era) to more systematic, rational forms of thinking. The "numbers" could symbolize the constraints of logic and reason imposed on the more fluid, creative, or spiritual "messages" that existed beforehand.

3. "or Helviticus committed deuteronomy"

This part of the passage is rich with wordplay and biblical allusion, blending Leviticus and Deuteronomy—the third and fifth books of the Pentateuch, respectively—while also introducing Joyce’s distinctive humor and subversive sense of word association.

"Helviticus": A play on Leviticus, one of the most legalistic books of the Bible, which outlines the laws and rituals governing the Israelites. Joyce changes "Leviticus" to "Helviticus," possibly alluding to Helvetia, the Latin name for Switzerland. This could be a reference to Switzerland’s reputation for neutrality and order, or to the idea of a place where laws are strictly upheld (as in both Leviticus and Helvetia). This word could suggest the fusion of biblical law with modern or secular legal systems, highlighting Joyce’s theme of the blending of sacred and profane histories.

"committed deuteronomy": Deuteronomy is the fifth book of the Bible, in which Moses reiterates and "commits" the law to the Israelites before his death. Here, Joyce plays on the legalistic meaning of "committed," as in committing to law, duty, or even to a crime. There’s also an implication that Leviticus (the book of laws) has somehow been responsible for or has "committed" the act of Deuteronomy—a restatement or repetition of those laws.

This wordplay reflects Joyce’s interest in how laws and stories are told and retold, how texts are always being rewritten and reinterpreted. In Finnegans Wake, nothing is ever original or singular—everything is part of a recurring cycle of textuality and history. The phrase "committed deuteronomy" might hint at the idea that the law itself is never complete, always being reformulated and represented throughout history.

Symbolic and Thematic Layers:

Pre-Biblical Time and the Evolution of Law: The phrase "before joshuan judges had given us numbers" suggests a time before the formal codification of laws—perhaps a mythic or primordial era. This is aligned with Joyce's exploration of pre-linguistic or pre-civilized states, where oral traditions, intuitive messages, and unstructured forms of meaning dominated before the arrival of written law and the structuring forces of civilization. Joyce plays with the shift from fluid, organic systems of meaning (messages, oral traditions) to structured, rigid ones (the biblical books of Numbers, Leviticus, and Deuteronomy, which impose laws and structure). This could reflect a critique of how human societies move from a more natural, chaotic existence toward systems of control and order.

Cyclical Time and Repetition: The phrase "committed deuteronomy" also ties into Joyce’s fascination with the repetition of history and text. Deuteronomy is essentially a repetition of the law given in earlier biblical books, much like Joyce’s characters and narratives endlessly cycle through history, retelling and reinterpreting themselves. This could be read as a reflection on how texts (like the Bible or even Finnegans Wake) are never truly original, but always repeating or commenting on earlier iterations. Joyce also evokes the biblical idea of covenant—how laws and agreements are restated or renewed, just as history, in Joyce’s view, is constantly being renewed in cycles. His use of the word "committed" here might suggest a kind of binding contract with history or text: that we are all "committed" to reliving, retelling, and reinterpreting our stories.

Blending Sacred and Secular: The blending of "Helviticus" (a playful twist on Leviticus and Helvetia) brings together the biblical with the modern and secular. Joyce often collapses sacred and profane histories, showing how religious narratives intersect with modern legal, national, and cultural systems. By inserting a reference to Switzerland (perhaps representing neutrality, order, or modern bureaucracy), Joyce might be commenting on how ancient laws (Leviticus) have been "committed" or reinterpreted in new, secular contexts (as in modern Switzerland or contemporary legal systems).

Critical Interpretations:

Historical and Mythic Time: This passage can be read through the lens of Vico’s cyclical view of history, which deeply influenced Joyce. Vico theorized that history moves in cycles, and this passage reflects that sense of eternal recurrence—laws are given, repeated, and reinterpreted in different contexts, but they are part of a continuous historical process. Joyce collapses biblical history and modern history into a single narrative moment, reflecting his belief that history is a cycle of recurring events and themes.

Linguistic Play and Deconstruction: The punning and wordplay in this passage invite a deconstructionist reading, where meaning is always deferred, never settled. Words like "Helviticus" and "committed deuteronomy" suggest that texts are always in the process of rewriting and revising themselves. The playful manipulation of biblical language destabilizes fixed meaning, showing how Joyce’s language constantly undermines any attempt to pin down a single interpretation.

Religious Critique: Joyce could be critiquing the rigidity of religious and legal systems, contrasting them with the freer, more fluid state of "messages" before laws were codified. The shift from intuitive communication to legalistic structure (as seen in the transition from "messages" to the giving of Numbers, Leviticus, and Deuteronomy) could reflect Joyce’s skepticism of institutionalized religion and law, which often imposes rigid, dogmatic structures on the more organic, chaotic realities of human life.

Conclusion:

This passage exemplifies Finnegans Wake’s intricate interweaving of biblical, historical, and linguistic layers. The references to Joshua, Judges, Numbers, Leviticus, and Deuteronomy point to a time when human life shifted from an unstructured, intuitive way of being to one dominated by laws and systems of control. Joyce plays with these biblical themes, blending them with secular references and comic wordplay, to suggest that all texts and histories are part of a continuous process of rewriting and reinterpretation—just as in the Wake itself.

[raspbeyes]

teruko confuses me as a character

Maybe i'll one day expand on this (probably not) but I genuniely have such mixed feelings over teruko as the protag, like one moment im like "slay teruko go off u subversive queen :D" and other times im like "bro quit being edgy for five seconds AND PUT THE GODDAMN KNIFE DOWN -"

LIKE - i fully understand why she has grown so pessimisstic at her perception of everyone turning against her after she let her guard down in chapter 1. especially with her belief of fate being unchanging for her and her bad luck, she chooses apathy in order to protect herself from being betrayed again.

BUT AT THE SAME TIME, she's sometimes very hard to enjoy as there is a major disconnect in how I, someone who is interested in learning about the cast and knows they are just as terrified as teruko, want to interact with the story vs how teruko views the story. its both parts fascinating but aggrivating watching teruko nope out of the story in chapter 2, like forcing eden off the elevator or going to sleep after ace's injury, or her flailing her knife around at charles and j. cuz like, I as an audience member, don't want to throw around a knife at characters i like and also want to learn more abt these events. but teruko doesn't because she finds protecting herself the most important.

tho personally i think the writers behind drdt are well aware that teruko is acting kinda unlikable in this chapter in response to the shit thrown at her in chapter 1, so that does give me confidence that this is to build to a future development of hers to open up again rather than a permanent change in her personality. honestly i just wanted to write how teruko is frustrating to watch through the lense of but interesting to analyze as a character.

[lime-bloods]

it was inevitable, and now here it is; I saw the movie, took note of its shared thematic heritage with Homestuck, and now I'm making a comparative analysis post involving Across the Spider-Verse. I won't bother covering the nature of canon events themselves, because to be frank that's entry-level comics deconstruction. I want to discuss the specifics of one canon event in particular; the death of Gwen Stacy.

i saw some discussion of Sollux and Spider-Man earlier today the exact details of which are not important, because I came away from the discussion thinking one thing; "but Sollux doesn't really react to Aradia's death the way a Spider-Man might react to Gwen Stacy's death." and the reason for this should be obvious; because Aradia isn't the Gwen Stacy to Sollux' Spider-Man, but rather the other famous dead woman in comics:

Some (probably everyone) may have noticed that many of the trolls are loosely or not so loosely related to various super heroes and villains. Sollux - Cyclops Aradia - Jean Grey (including parallels with her death/resurrection to Phoenix, which augmented her powers)

and because it's impossible to think about the stories of Gwen Stacy and Jean Grey and the canonicity of these stories without deconstructing the function women serve in comics and stories as a whole, this thought reminded me of something else about Sollux, which I've talked about before, but which can be summed up by an extract from Hussie's own commentary:

As a psychic, he's aware of things on a lot of levels, such as future visions of doom and gloom, but he also seems intuitively aware of his place in the narrative as just a marginal cast member in a story containing people much more important than he is. [...] his resigned sense of fatalism is inseparable from his narrative impotence, and the basic truth about him is that he was built to be little more than a serviceable part of a big machine. Just like his ancestor. (Homestuck: Book 4: Act 5 Act 1, p. 96)

knowing that these "future visions of doom and gloom" tie Sollux and Aradia together as twinArmageddons and apocalypseArisen, it seems only natural that we should assume Aradia is in the same boat here. and with that in mind, Porrim's own theory on the Alternian system seems to apply in retrospect; when we think of lowbloods as mere cogs in a machine, we must also be thinking of women as cogs in a machine.

this isn't a theory post so much as as it is a thesis proposal... I've been diving deep into the X-Men as of late but have yet to pluck up the courage to go right back to the beginning and read the Claremont stories that started it all, but if this could be a serious line of inquiry, maybe it's the impetus I need? again, Homestuck and Spiderverse descend from the same long tradition of comics deconstructing comics, and the Watchmen references later in the comic show that Hussie isn't above using the language of his predecessors to do that deconstruction... Claremont is known as an early subversive when it came to the treatment of women in comics, and starting with Aradia it might not be such an absurd assertion to suggest that the so-called "comic book death" phenomenon is one of the parts of comic history that Homestuck attempts to deconstruct (forget not that the primary villain is a monster capable of not just killing, but wiping away the immortal ghost forever, voiding all chances at revival). so with movies like Spiderverse and comics like Hickman's recent X-Men revival putting such a spotlight on death in comic books, maybe now is the right time to shine such a lens on Homestuck?

[8bitsupervillain]

Higurashi When They Cry Hou Ch. 1 Onikakushi, pt. 6

I do wonder if Higurashi was the patient zero for all those "subversive" visual novels that were in vogue for a while. I know there was a gap between the original Japanese release and the English release. Even taking that into account though it still released several years before School Days had.

I know repetition is part of the game here, but I admit to a certain annoyance with the constant repeating about how Keiichi wants to trust his friends, but he can't because of the mountain of evidence against them. But I admit this might be just because of my impatience to get to the parts I don't know about this series.

I found it funny how despite being wracked with paranoia that everyone is out to get him one of his first thoughts is to sue his potential killer.

I get the distinct impression that Rika knows more than she lets on in this chapter. Please be aware that I'm trying to ignore the similarities to Bernkastel and Lamdbadelta from Umineko Rika and Satoko put off.

I can't help but wonder about the canonicity of the TIPs. I know that a lot of them are there to help fill out the world, the articles about the Dam Incident, Ooishi's investigation materials and so on. But I wonder if the TIP that involving Mion and Rena talking about how Ooishi might be a secret servant of Oyashiro-sama is an event that actually happened or if its meant to be a red herring.

I figure that the post game "All Cast Review Session" isn't canon given that it talks about events of the game as being a game.

[animehouse-moe]

Skip And Loafer Episode 1: Sparkling Fresh

So, this is one of those series that I've been meaning to read for ages, and the anime just snuck up on me, leaving me with no actual knowledge of how things are supposed to go. That said, I'm thoroughly impressed with this first episode, and have lots to dive into.

I think the first thing that stands out is the color design, which (those that follow kViN on Twitter probably already know) is a strong penchant of the director's. They very much lean into pastels and, for lack of a better term softer and flatter colors. By no means is it a DIY!! style palette though, it's got much more saturation to it, but just not near as much contrast or highlights. And what I find most interesting about that is that the color designer, Yuuko Kobari, is arguably most known for those aggressive and strong palettes. They did the color design for series like Great Pretender and Redline, so you wouldn't really think that they'd be so at home with such a passive color palette.

But, they nailed it in just about the same way that Kotomi Deai did the direction of this episode. It's largely a quintessential high school slice of life, but just the right mix of creativity and expectation subversion.

Take, for example, the scene of the students getting dressed. We don't know who they are at that point in time, but such care is placed in how they go about things to help associated them with someone down the road. How they do their tie up, or fretting over having their skirt adjusted just the right way, or fluttering about excitedly in your room before your first day of school. It helps express so many different things without relying on the archetype or association of a character to do so. Plus, it just looks straight up beautiful, P.A is pulling a Cloverworks (and even a MAPPA?) with the clothing sakuga.

So how about something more oriented towards story? I'm certain I've droned on long enough in one go about the technical side. So, like I mentioned with the direction, Skip and Loafer as a story also thrives on that creativity and expectation subversion. Setting up for stereotypical pieces and skits, but either finding ways to reinvent them, or dancing past them. And in that, they create something that remains way more "in the moment".

Running barefoot to school to make it to your entrance ceremony just in time or a sudden change of pace to get home early to go to school tomorrow, these "in the moment" pieces give it a much more organic feeling. You're not left with characters stewing it over in a monologue or taking 3 episodes to make their impact. They think, and then they act, plain and simple.

Pairing that with the characters, who are by far the driving force, the flow of the episode is outstanding. Mitsumi might have snapped at Shima on the train earlier, but it's all washed away in the events of the day, neither thinks anything of it and instead reflect on how wonderful their first day was.

They chatter back in forth, get happy when seeing one another, and overall exemplify what they're going for as characters. Of course, that doesn't mean they're boxed in as their archetypes by any means. Shima is spacy and in with the popular crowd, but he has no issues with bein considerate or acting for his own sake. And Mitsumi may be a country bumpkin at heart, but her ability and will allows her to walk comfortably among her metropolitan peers as she recites her speech from memory or is the first to reach out to her classmates.

It produces something that feels incredibly organic without giving up on the parts that everyone guiltily enjoys so much from these youthful stories. The rose colored glasses are allowed to remain, but they are incredibly faint in comparison to some other pairs out there. There's awkwardness, oddity, and all manner of weird, but none of it gets in the way of allowing it to all be incredibly endearing. Not to repeat myself or talk in circles, but this sort of "wonderful reality" is only possible because of the characters, they all have something up with them, something that might not be considered a "perfect" trait. Something that allows them to be normal, so that outside of performances and perception, they can exist on a deeper level that allows things to stay just close enough to the ground.

Would I say it's the perfect high school slice of life anime? I mean, we're only one episode in so I'd never go that far, but I would say it's setting out to conquer a somewhat similar goal to Akebi's Sailor Uniform (though . That is, it wants to provide something beautiful and warm that shows the process of someone, who might be socially anxious or awkward, getting to enjoy their new station in life to the fullest. Getting to make friends and take part in all the things they dreamed of and make plenty of memories along the way.