#forever leaving and coming back

[wanderingmind867]

Fire Emblem Three Houses came out in 2019 (I don't know the month), so I probably got it either around Christmas of 2019 or Christmas of 2020. And it's 2025 now, and I still never completed all 4 routes. I completed azure moon and verdant wind, then I took a long break. Them I completed crimson flower and started silver snow, only to get bored and put it down. Now i've returned to it. So in total: this game has taken 5 years. Five sporadic years, in which i've collected almost 99% of all the support conversations. I have spent way too much time on this game. I haven't ever played three hopes, though. And I probably never will. Don't know if i'll play Fire Emblem: Engage, either. But three houses is a good game. I'll admit it has flaws, but if it got me to play on and off for five straight years, well... you're doing something right.

[lynxxpaw]

Today's the day he can get his revenge. Boop your local vessel.

[ryllen]

[ x . x . x ]

[remitro]

thinking abt cran revival.... Ya

[initialsaint]

Do you think after the electroshock to find out why amber was dying, when house was unconscious and they weren't sure he was going to wake up, wilson thought he might have just let his best friend kill himself to save her? And that now they were both gone, and he was going to be alone?

[ann-lol]

I get so shocked when I see a kotlc post anywhere, here, insta, pinterest- and there are people in the comments saying “Oh wow I remember loving this series so much as a kid!” Excuse me? You “remember” loving this series? I- how did you forget about the series?? How did you leave the series?? There’s an actual way to leave?? THAT’S POSSIBLE???

[aipurjopa]

nvm he’s growing on me

[rivvyribbons]

good morning. suffer. goodbye (pspspsp more info in tags)

[hana-bobo-finch]

i love making low effort shitposts instead of properly explaining my oc’s lore 🥰🥰

[seriouslycalamitous]

Imagine: Timeloop AU, except it's just Ramón using dragon magic to continuously loop the day before qFit disappears over and over again - because he's not strong enough to stop him from leaving, not strong enough to save him completely, but if they stay right here, like this, it's almost enough. Almost perfect.

[i-am-a-fan]

@fluffypotatey i uh. I got carried away with your request

[onesnoopyaday]

I AM AT MY LIMIT

Snoopy #90

30/12/2024

description under the cut

[description: a cartoon-style drawing of Snoopy's head. Snoopy is a white dog with black ears. His eyes are shut and his mouth is a horizontal line. There are two large blue teardrops, one under each eye. The text "I am at my limit" is handwritten across the top of the image.]

[spirkbitch]

y’all actually like these?

[polysyndetonaddictsupportgroup]

hello hello!! your fic pez dispenser debris brings me immense joy. and i wanna know if the other nejire and tamaki will be showing up. id love to see their reactions to fucking #leku. and i’d love to hear your thoughts on them in general if you have any to spare. the big three have such a fun dynamic to me.

Tamaki will appear. I’m not fully settled on Nejire. In my mind, she moved to Kyoto not long after she graduated but keeps in very close touch (if you read the battle of Yokohama posts, she was there during that fight because she was visiting Her Boys and insisted on a Big Three Sleep Over, which is why the three of them were together when Izuku called to begin with). They have a group chat that she started blowing up when the Leku news hit. All of them are painfully, violently aware of the fact Mirio is absolutely not dating Izuku and also of the fact that Mirio’s probably close to drowning himself at the mere thought.

I do really like the idea of the Big Three having been sort of outcasts before they were the big three, and I think canon supports this reading. They were all sort of the weird kids. They were each other’s only friends. After they started rising in the ranks, they became more popular, but they all consider the others their main people.

I also like the idea that they became the Big Three because of each other.

They were friends before they were the big three. And it’s not a coincidence that the big three were all already friends. They pushed each other to grow in their skills and surpass everyone else.

The reason why they haven’t been more present in pez is actually the same reason why I didn’t have them open a hero agency together: they all need to grow separately from the others for a bit.

Like. Here’s Mirio, with two very skilled and experienced heroes at his side, waiting for Izuku to graduate so he can start his agency. Why not go into business with the friends he’s already been fighting with for years?

I see the Big Three as people who all, for one reason or another, decided that they needed to learn how to be strong on their own at the start of their career.

Take Tamaki. He’s childhood friends with Mirio. He was briefly referenced in one of the tumblr posts as one of Mirio’s staunchest advocates after he lost his Quirk. So why isn’t he heroes with Mirio?

Well, he sort of is. He’s got a mutual support agreement with him.

Time to derail into my favorite topic: the economic models underpinning fictional societies. As you can probably guess I’m great at parties.

Mutual support agreements are contractual devices that I came up with in response to the convoluted economic structure of heroics compensation I discussed a few posts ago. In that post, I discussed independent/underground v. agency models with respect to public compensation and how I think that there’s an impossibly complicated matrix that grants heroes portions of the local budget based on their statistics. Briefly, I discussed how that calculation would cause conflict with big name heroes taking credit for their sidekicks’ work because agencies would necessarily need to be counted as one entity for the purposes of public funding.

What happens when multiple agencies are involved in the same incident?

As a reminder, the reason why they need to assign credit for a bust to one individual is because agencies are funded as a whole. This is a grant system that’s meant to be more than just about paying a salary—the government is providing funds meant to go towards an office space, supplies, everything. You could not give everyone in an agency public funding separate checks under that model. Public funding is made out to the agency as a whole and it’s up to the agency as to how to use it. But if you have six people from the same agency who all register the exact same take down because they all participated—well now you’ve got the one job reported six times over for the same filing entity. That’s going to horrifically skew the funding calculation. The government’s paying for the same bust six times over and you just incentivized hero agencies to send their people all to do the same job because it pays the same to have six guys stop one criminal as it does to have six guys stop six different criminals separately.

But hey—sometimes it’s a six guy job. That would more appropriately be considered an enhancement to a job’s relative difficulty than it would be to giving credit for a takedown. After all, the same job could require “six guys” or “one All Might.” If you focus on the number of heroes an agency uses in a job than you do on how difficult that job actually is, then you’re inadvertently penalizing better heroes because Mid Tier Agency needed six guys to handle what you did on your own, but since they needed six whole guys they get paid more for the same thing that you could do solo.

But the reason for this one man credit structure is because you’re getting one check for the government per agency. But what about when heroes from different agencies team up? Big Hero is not sharing a government funding check with Even Bigger Hero, and there’s absolutely no way that every single team up is just fucking pro bono for everyone but one guy. That’d make it impossible. So the same job would have to get counted multiple times when it involved different heroic entities.

The fact that you were teamed up instead of solo would go into the relative value calculation of each independent job. You get the full pot if you’re solo, but if you’re sharing the load, you’re sharing the credit. But at the same time, how much credit you get would also have to be determined on a case by case basis. Like. A hero that evacuated three civilians contributed to a fight, but they in no way should get equal credit and compensation to All Might, who fought the entire villain team solo.

So say Big Hero Agency and Bigger Hero Agency are doing a team up for the good of Japan. Big Hero Agency initiated the investigation, did most of the legwork, and invited Bigger Hero Agency onto the job. However, when it came to actually fighting, Bigger Hero Agency absolutely carried the day. Big Hero Agency would have been dust if Bigger Hero Agency hadn’t been there.

Who deserves more credit and compensation?

There is probably some kind of governmental dispute/appeal board to settle disputes about compensation, but like. As someone who does government work. The government’s absolute favorite thing to say is “we are not babysitting you, fucking figure it out like big boys.” They’ll have a way to resolve disputes, but they will also heavily incentivize voluntary agreement amongst the parties.

Planned team ups probably have legal working shit out ahead of time. Spontaneous team ups or heroes stealing each other’s fights a la Mount Lady and Kamui Woods in the pilot are probably the biggest headaches.

But what about heroes that are always teaming up? They’re your go to. Your homeboy. The daredevil to your Spider-Man. You don’t file your paperwork together, but you’re still always fighting side by side. Are you renegotiating who gets credit for what in every single little fight?

Fuck no. That’s a huge pain in the ass. Enter the mutual support agreement. It’s a contract that has a bunch of clauses meant to help streamline deciding who gets credit for what and resolve disputes before they happen.

You wouldn’t just want this for compensation purposes. Say Big Hero commits the hero equivalent of police brutality. Now he’s being sued. He’s apparently not that big of a hero as the name implies, because he’s got no fucking money. You want more money for your client, so you need a deeper pocket to pull from. At the time of the incident, he was working with Bigger Hero Agency. They’re not the same agency, but it was Bigger Heroes bust, and they work together all the time. Big Hero is basically one of Bigger Heroes employees hidden behind a different corporate structure. Should Bigger Hero be liable for Big Hero?

That’s a big fucking court case that can be headed off at the pass by the fact that Bigger Hero put indemnification and liability clauses in its mutual support agreement. There’s a lot of issues that would arise from the practice of heroics that you’d want to govern ahead of time with a contract. So you sign a mutual support agreement.

But the silly little fake tumblr post also said they weren’t popular and mostly agencies like Idaten used them. So why is that?

Frankly, because it’s not very worth agencies while to team up with other agencies on the regular. The system doesn’t incentivize it.

If you have all of your own sidekicks on a job, you can steal credit from them. The same is not true for heroes from other agencies. You get more public funding if you staff a job with all people from your agency instead of having part of the credit go to other agencies. And you get to stand in front of the cameras and say “Big Hero Has Saved The City Again” instead of having to say “Thank You To Our Dear Friends From Bigger Hero Agency Who Carried This Team.”

Idaten is the exception because, well. It doesn’t care. Idaten’s priority is cultivating the necessary talent and teamwork needed to get the job done. It doesn’t care if it has to go outside of the agency for that. Fuck, Tensei’s canonically willing to reach out to vigilantes. Its genuine focus is saving people, so it goes against the grain of what the system incentivizes.

Mirio and Tamaki have a mutual support agreement. They’re out working together so much that Fat Gum’s agency approved an overall disliked mechanism to facilitate their team ups. They are heroes together—so why aren’t they in an agency together?

I think Tamaki wanted to spend his first year in heroics forcing himself out of his comfort zone so he’d improve. Fat Gum will force him in front of the cameras. He’s focusing on learning how to communicate effectively with the public and with the media, and Fat Gum has the sort of resources and infrastructure where Tamaki can devote the time to learning that and improving. If he was in an agency with Mirio, he’d use Mirio as a crutch to hide from something he genuinely wants to improve in. Fat Gum forces him to grow.

Mirio himself sort of had to go independent. For one, he and Izuku decided to start their agency not too long after Mirio got his license. It was before Mirio debuted. Izuku had just finished his first year. No one knew who either of them were, and they had no clue just how famous they’d both become before Izuku graduated.

They both figured they’d be a couple of nobody heroes with a dinky little agency right out the gate of Izuku’s graduation and were sort of genuinely excited at the prospect. They’d just be heroes together, which is all they wanted. They’d figured no one would give a shit about them until well after they started their agency and started working and that Izuku would have 0 offers to work elsewhere because he wasn’t even going to apply to agencies. So Mirio decided he’d stay independent until Izuku graduated so he wouldn’t be tied up in an agency contracts and they could just start fresh.

The other reason is that most agencies wouldn’t touch Mirio with a ten foot pole because he was Quirkless, and even with the ones that would, he suspected they’d sideline or coddle him because he was Quirkless. Being independent meant he could do whatever the hell he pleased. So he bought the Mirio Mom Van and, for a brief, glorious moment, convinced All Might to supervise their bullshit so he could start going on jobs with Izuku (students have to be supervised by heroes with a teaching license, which he wouldn’t be eligible for for the first three years of his career, except in exigent circumstances. He couldn’t have Izuku as an intern himself but All Might sure could). For a few beautiful weeks it was just Mirio, Izuku, and fucking All Might in the Mirio Mom Van going on stakeouts, all wearing the world’s stupidest mustaches. The UA internship program revoked permission for this arrangement not long after it started formally out of concerns for the legality of this arrangement since All Might was no longer an active duty hero, informally because All Might, Izuku, and Mirio is the stupidest and most reckless combination fucking imaginable and they are killing Aizawa from the stress they are killing him. So now Mirio works alone while he waits for Izuku to be fully licensed.

Nejire I kind of see as someone who moved away from her hometown right out of the gate of graduation but visited home very frequently, which is why she moved to Kyoto after graduation but was having a fucking sleepover at Mirio’s place when Yokohama happened. She takes the bullet train back at least once a month and spends the weekend bumming on Mirio or Tamaki’s couch. I think she wanted to see who she was away from home and there’d never be a better time to do it. I also think she’ll move back so that way she can work more fully with Her Boys one day, but wanted to push herself out of the familiar first.

All of the trio’s reasons for not working together quite yet are mutable, to be clear. Tamaki just wanted the experience early in his career or he knew he’d never learn the public relation skills he wanted to get. Nejire also just wanted the experience somewhere else before she put down real roots somewhere and is liable to move back to be with her friends and family. And Mirio’s on the verge of opening his own agency, so he doesn’t have to worry about getting sidelined by his boss anymore or getting tied up in a bad contract.

[whatsjulietslastname]

DO NOT READ THIS IF YOU DON’T WANT TO READ LIFE IS STRANGE DOUBLE EXPOSURE SPOILERS STOP READING THIS JUST SCROLL DO NOT READ THIS CMON YOU KNOW YOU WANT TO PLAY THE GAME AND FIND OUT WHAT HAPPENS ON YOUR OWN SCROLL RIGHT NOW

so um. i am NOT buying this game. from the little i saw i can already tell how much of an out-of-character cash grab it is. also, pricefield broke up. i am SO done with this shit. they really should’ve left Max and Chloe’s story (because it’s THEIR story dude this whole thing is so dumb) alone. this is not respecting both endings. r.i.p. Chloe Price you would’ve hated this

[the--highlanders]

what do you think jamie does after he's sent back to scotland without his memories?

i think he's always been torn between loving his home, the house he grew up in and the river he played in as a child and the hills he knows like the back of his hand, and yet still deeply longing to leave his little world behind, because he never quite fit right. (and he did! he got out!) but then suddenly he's right back there. he goes back to his childhood home but it's not home anymore and he doesn't know why.

so would he stay and try to fit again, even though he's grown out of his place there? or would he leave, and go looking for whatever had changed him?

YESSS I am so 100% on board with everything you said here. jamie really feels to me like he's someone who's so deeply rooted in his place and his culture, and yet someone who's been battling off this sense of isolation his whole life, and it's all tangled up and complicated inside him. in part he knows his home like the back of his hand /because/ he was somewhat isolated and spent a bunch of time wandering around on his own, and connects to his culture so much because he was chasing a sense of belonging. and on the other hand he had friends and was probably well-liked! but the isolation is still there. maybe even worse for the fact that he wasn't entirely alone.

I do think the crucial point to what jamie does when he's back in scotland is. why exactly he stepped on board the tardis in the first place. which is something I still don't feel like I've fully been able to express even after literal years of trying, maybe because it works best as an impulse borne of him having a deeply traumatic turned deeply strange day. I hc that while jamie's father, brother, and best friend have now died, his mother is still alive and at home, along with other relatives and much of the rest of his community. he /has somewhere to go back to/. he chooses not to go to france and to try his luck with making it home instead, and then all of a sudden he's stepping onto the tardis. sure, he's somewhat confused, and certainly doesn't know what's happening or that he won't be able to get back - but he does still go with them. in that moment, some part of him wanted /out/. going with people he knew to france didn't tempt him, but running off with basically total strangers did. he wanted an entirely fresh start, a blank slate.

on the flip side, the jamie who gets sent back after the war games is /different/, even subconsciously. somewhere buried in there is a person who's more mature, has had three more years of experience, has dealt with so much more and stepped up in ways he probably couldn't have dreamt of when he first left scotland. he's dropped back on drumossie moor, apparently in daylight, presumably with something implanted in his head telling him that the doctor and ben and polly left, he waved them off and turned towards home. so I think that's what he'd do - he'd go home, and try to pick up the pieces as best he could.

at this point, and as he realises more and more that something's /not right/ and he's missing something, I think his sense of isolation is worse than ever. he's so, so close to snapping. but his whole world is holding on by a thread, now - his own family has been decimated, many others are in the same position, they're close enough to culloden and inverness to be subject to a few reprisals and raids from the government - and oddly enough I think that holds him together. he steps up, because somewhere deep inside he knows how to do that now. he's grown up. maybe everyone else just puts it down to the war. it's not like they know any better. and if we know anything about jamie, it's that he can hold himself together if someone else needs him. is it good for him? certainly not. but he's hanging in there.

in my timeline for things he does settle down somewhat once he starts to regain his memories and understand what's happened to him. it /is/ just another thing that sets him apart, and that always hurts, but he's also more confident and understands more about himself than he did growing up, so it rattles him less. he's probably easy to talk to and go to with problems, and friendly enough that you never really realise he doesn't open up about himself. he grows into a bit of a leadership position in his village, and it's good for him, in a way. he's also his own person, not his father's son, and I think that's a sick sort of relief for him. marrying kirsty also helps, because she's a fellow misfit and a great friend, and someone who he can share the truth with. their 'more children than there are days of the week' are lost and orphaned kids they collect, because he's not going to let anyone else grow up alone. it's a weird sort of limbo where he's waiting for the doctor but also has no certainty that he'll ever see him again, where he's made a life he's proud of with people he loves and yet there's always parts of him that are desperately unhappy - but he's getting by. he's good. he's got good things that get him through.

if he /didn't/ get his memories back, though, if he was just caught in that confusion forever... that's where I could really see him leaving. at some point he /does/ snap, and he just. heads off on his own, looking for something he can't remember. it feels good, to always be on the road, maybe to help people where he can as he passes through. he's not tied to anyone, doesn't have to be who anyone else wants him to be, and there's freedom in that. but he always feels like he /shouldn't/ be alone in this, that he should be wandering with someone.