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starcurtain · 4 months ago

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What do you think about Sunday and Aventurine? and their interaction in 2.1, I know Sunday did what he had to do but I just have a strong dislike for him ever since. He is an interesting character though.

I mentioned on a previous ask that I wanted to talk about narrative foils/character parallels, and that ask mentioned Aventurine being similar to Robin and a little to Sunday. But I thought I'd combine that character foils idea with this post about Sunday because...

Aventurine and Sunday are Near Perfect Character Parallels

(Also sorry to Youtuber Fayato who I screencapped this image from; I literally couldn't find a single other good image of Aventurine and Sunday in the same frame!)

In media, the concept of the narrative foil refers to a character who contrasts another character; by setting the two characters and their plots side by side, the audience is better able to understand the traits of the central character.

And by setting two surprisingly similar characters in opposition to each other, it becomes very clear how even those facing similar circumstances can take diametrically opposed paths in life.

First, let's start with the basics:

Aventurine and Sunday are both characters whose real fathers were never in the picture, and who lost their mothers right in front of their eyes to traumatizing events.

They both experienced the violent deaths ("death" in Sunday's case) of their sisters.

They both were "rescued" by people who intended to use them by growing them ("grooming them" in Sunday's case) into a figure of authority.

They were both told they were "chosen ones" growing up. And yet ultimately this status as the chosen one is in doubt: Aventurine isn't sure if his family's faith is real, while Gopher Wood tells Sunday that Penacony's chosen should have been Robin all along.

They both became self-sacrificial, Aventurine through his obvious willingness to throw his life away, and Sunday through his plan to remain outside the sweet dream to be its keeper while everyone else got to live in "paradise."

They both are trapped by their situations, Sunday by his inability to leave the cage, Aventurine by his inability to accept the life he isn't able to throw away.

They both became the "villain" of their respective patches and both faced "death."

Personality-wise, they both strongly favor being in control, to the point that their scene together is an aggressive power struggle over each other.

This is how the "future" Aventurine describes himself:

Does it sound familiar? It should, since that's exactly how people describe Sunday.

But they also both prioritize their families, and they are equally altruistic at the core while seemingly self-centered on the exterior.

They both, of course, have the blessing of an aeon.

And here's where I'm going to take a massive tangent, but it's important: I do tend to be among those who think there is at least some connection between Ena, the Order, and Gaiathra.

I've heard all sorts of reasons that they can't be two different concepts for the same being, from the whole "Gaiathra is a goddess of trickery and that's not related to order" to the whole "the Order's followers worship with song while Gaiathra's followers specifically don't," but I think something that has been missing from the discussion of Ena and Gaiathra's possible connection is that "Order" as a concept has entirely different definitions depending on which cultural context you approach it from.

The most mainstream modern concept of "Order" is something that is imposed: A power from on high descends to quell the chaos of the mortal world, to "bring order" through guidance to humanity. This is very Abrahamic, very modern Christian, and that is reflected in the imagery surrounding Sunday. Sunday, as a manifestation of the Order's power, believes he will be able to uplift Penacony from the mire, free people from their unfulfilled desires and confusion, and bring about perpetual peace by enforcing his understanding of harmony on the populace trapped in the dream.

Sunday's Order is not the natural state of the world but something that must be carefully cultivated and maintained, a constant battle against the chaotic forces of life and its temptations. This type of "Order" promises an idyllic future, but at the cost of the present freedom of everyone who submits to the law, who must surrender their original fate for a structured sweet dream.

We understand this concept of "Order" because at its core, it's the one that modern societies largely embrace--ruling authorities establish laws that must be followed at all costs, even when they risk the freedoms of individuals, because they ultimately (supposedly) support a greater good. A majority of society adheres to the laws handed down from on-high, and life functions relatively stably.

Yet this conception of "Order" is predicated on the idea that the course of people's lives is decided first and foremost by the people themselves--which is why they can make mistakes, go astray, and need to be shepherded in the first place.

Without imposing structure through authoritarian power, this type of "Order" will crumble away in an instant, because this view assumes that rightness can only created by humanity, and that chaos--not order--is the natural state of existence.

Ena, who holds worlds tidily contained in her hands, who is tangled in puppet strings, who wears a hood like a nun or the Virgin Mary, and who is haloed like a Christian angel, clearly represents this definition of "Order" to a T.

But... this is not how humanity has always defined "Order."

It was not always taken for granted that people had the power of self-determination, and in fact, for many centuries and across many cultures, the concept of "the order of the world" was tied directly to the concept of destiny. Whether a volcano would explode and destroy your entire civilization, whether floods would swallow your city, whether the crops would grow or fail all depended on the pre-made decisions of supernatural powers, who were in turn often personified concepts of the natural world itself. What happened to any given individual, what twists and turns their life would take, whether they would achieve their dreams or not--all these aspects were also predetermined, decided not by the actions of the individual but by fate itself.

Thus, the world and everything in it has a natural order. Things may seem chaotic, they may even seem unbelievably horrible, but all events in existence unfold as they should. We may not understand why, but everything occurs in due course, woven into an endlessly repeating pattern on the fates' loom--spring becomes summer, life becomes death, disasters happen and are healed from, children are born and grow old. If it is your fate to die, you will. If it is your fate to fight and live, you will. To reject this natural order would be as futile as telling the sun not to rise.

The words "order" and "ordained" have the same origin.

Enter Gaiathra. First of all, she is the Star Rail equivalent of a pagan goddess--her worship exists separate of the confirmed existence of aeons, by an uncontacted and non-space-faring race. Even her description, being triple-eyed, evokes other "triple goddess" figures across history, both in modern interpretations (the triple goddess of Neopaganism) and in ancient mythologies (the three fates of Greece, the Tridevi of Hindu culture, etc.).

She is strongly associated with the natural world: The planet of Sigonia is said to be a manifestation of her very body, the rain is her blessing and acknowledgment, and she goes through a yearly cycle of death and rebirth (calling the cycle of the seasons to mind). She is said to be a goddess of both fertility and travel (likely in the sense of nomadic wandering by the time Aventurine was born). Avgin worship of the goddess manifests in the form of sacrificial cyclic knots.

Which might call to mind another pagan culture well-known for their cyclic knots: the Celts, whose famous Celtic knots represent cycles of eternity, unity, and the interconnected nature of life itself.

The Avgin prayer to Gaiathra focuses on elements of a person's life that all might be determined by "fate"--will your blood keep flowing, will your journey be peaceful, will your schemes stay hidden? It hopes that things will be as they should, that the future ahead of you is predetermined to be a good one, and that the cycle of life decided by the goddess will be in one's favor.

But while the Avgin hope for good things, they also strongly espouse embracing the reality of one's life, with suffering and hardships seen as manifestations of fate that should be accepted as facts of life. It is said that any society blessed by the Order ultimately falls--is it not the natural fate of all societies to one day fall? For mankind to return to the dust and be reborn anew?

Whatever will be, will be.

There is a reason--a logic--an order--to everything that happens.

I hope you can see where I'm going with this: While Sunday and Ena represent the concept of "Order" as a result of self-determination, a power "the strong" can wield to overcome the inherent chaos of reality, Aventurine and Gaiathra represent a different, older concept of "Order" (I can't help but see the entirely separate eye lurking behind Ena?): existence is not inherently chaotic but instead is foreordained, following endless orderly cycles life and death, weal and woe, rise and fall.

PHEW! Okay, so all of that to say Aventurine and Sunday make perfect parallels through a mirror darkly, even when it comes to the blessings they've been granted: One imposes order from on high; one continually rolls the dice despite knowing the inevitable outcome.

Both of their stories are entirely intertwined with the concept of fate, whether by opposing it...

Or accepting it.

And even at the end of Penacony, we leave both Sunday and Aventurine in precarious positions. Aventurine, while ostensibly "victorious," faces another roll of the dice immediately after Penacony, when his future as a Stoneheart is called into question. Yet "fate" comes through for him again--his bet, as always, comes true. His future isn't in question--it is the question itself. What's next? He finally wants to live to find out.

Sunday, meanwhile, ends Penacony's arc in a truly difficult place. He's virtually exiled from the only home he's ever known, a flightless bird tossed out of his cage into cold hard reality. He has to find an entirely new way forward and may even be forced to reckon with an entirely new definition of "Order" itself.

The parallels between these two characters are entirely intentional and very, very blatant, and I am exceedingly interested in seeing whether their paths diverge or continue to reflect similar fates moving forward.

So uhhh... that's what I think of Sunday? 😂

#honkai star rail #aventurine #sunday hsr #gaiathra #ena the order #character analysis #hsr meta #listen #these two characters have so many parallels and obvious comparisons #like I didn't even bother to get into the bird imagery #Sunday is the Aventurine who didn't lose his sister #and didn't have to deal with the thought of being an entirely failed chosen one #until recently #AND NOW HE IS #because they're pretty much the same character into two different shades lol #which I do think is interesting #because people love and empathize with Aventurine so easily #while way more people struggle with seeing Sunday as a victim

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grimalkinmessor · 8 months ago

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The parallels between Tsubomi and Reigen drive me so fucking insane you have no idea like—that shit had to be at least SOMEWHAT intentional even if not in a specifically romantic way.

For one, Tsubomi and Reigen are two of the only few people that call Shigeo "Mob" consistently. (Yes Tome also calls him Mob eventually but she starts out calling him Kageyama-kun and likely picks up "Mob-kun" from Inukawa or Reigen later on). We don't know how Reigen started calling Shigeo "Mob", though we can assume that Tsubomi was likely part of the group of kids that originally misread Shigeo's name as Mobbu to begin with so she's less of a mystery on that front. Maybe Reigen saw it written on his backpack or his shirt tag and started calling him that too, or maybe Mob even just told him that that's what everyone else called him and was what he prefered to be called at the time. Either way, it's a little odd that Reigen's one of the only people who use that nickname when we don't really get a reason why beyond "it can also be read like this", especially since Reigen is a grown man with (presumably) full literacy of kanji and would know how to read it.

Then there's the other obvious parallel that's made in the show; how Tsubomi and Reigen treat Mob. How they see his powers. They're not special, they're just a part of him. Nothing to be scared of—even though they kind of,,,,are lmao. The fact that Tsubomi continues to sit in the park even though a literal hurricane is approaching because she thought Mob sounded upset on the phone happens at the same time Reigen goes sprinting full-tilt into said hurricane because Mob is in trouble always stands out to me. It's less obvious than Mob's own words: "She never treated me any differently because of my powers" "Master never treated me any differently..."—but it's still a pretty blatant parallel to me.

Not to mention that both Reigen and Tsubomi's personalities are actually very similar as well! They're both described as people that hide behind a mask, a facade, while still being brutally stubborn. If Tsubomi doesn't want to do something, she's not gonna do it. While Reigen is more laid back because he's used to getting his hands dirty for work (money), he's still very stubborn himself when he doesn't wanna do something. He'll find a way to wriggle out of it and talk circles around you if you let him. Dimple even says that Tsubomi is the type of person who can't be swayed by words or peer pressure. She and Reigen were actually, again, two of the only people brainwashed through airborne Vibes™ instead of through food like everyone else. The biggest difference between them on this is that while Reigen lies fairly blatantly, Tsubomi seems to only lie through omission. Tsubomi is more of an introvert too, compared to Reigen's extrovert (though you could argue that both of them are good with people, with the only difference being that Reigen enjoys being the center of attention while Tsubomi presumably does not).

Plus they're both pretty goofy too once you think about it lmao. They're both prideful and hate to be humiliated, but they also care a lot about their public image and how people perceive them. Every time the scene with Tsubomi and her friends outside cleaning up leaves comes up, her expressions and panic always remind me of Reigen. And then there's Mob, calm and unjudgemental, willing to help her with no questions asked. Mitigating her humiliation, just like he does for Reigen :)

Another thing that always strikes me is how Mezato says, "If you can accept her for who she really is..." followed by Reigen's echo during his confession: "This is who I really am". Mezato essentially tells Mob that Tsubomi isn't who she seems on the outside and that if he wants to be accepted by her, he needs to also be ready to accept her as well. Which, we don't get to see much of Tsubomi's life outside of Mob—wow just like Reigen—so we don't ever really know who she is beyond that outer mask, but we see her slowly opening up to Mob later, as a friend. But the fact that Reigen's own confession mirrors Mezato's words to Mob about him accepting Tsubomi always makes me vibrate in place a little like,,,Confession Arc my beloved 🙏

I don't know man, there's just so much there, it makes my head spin. I could go on and on about it but I better cut myself off because if I don't I'll start crawling on the walls going feral about it because what, what was the point of this if not to make it clear that the relationship between Mob and Reigen is supposed to parallel his relationship with Tsubomi like what do you MEAN—

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python-nebula · 2 months ago

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Uh. SAF lighting/staging(/whatever else happens to come up) analysis be upon ye. This is a very loose definition of 'analysis' and is more like 'I wrote this with the power of Autism, Being a Film Student, and 'Song 2' by Blur', enjoy :)

^ These are the images I'm gonna be referencing, but I'm talking about the scene in general too. I'm gonna keep the main body of the text in white and my notes in pink :)

Ough okay so. The staging + body language. Owen is specifically placed higher than Curt because in his eyes, he has the upper hand. The slight low angle also lends weight to this and aids in making him look powerful. Because of this, his gun arm isn't raised higher than his shoulder level as it doesn't need to be, giving him a casual air, along with his pulled-back, loose posture and his head lolling slightly to the side.

Despite his body language, we can see from his face and words that he is actually very tense internally. This is probably a very deliberate choice on the director's part, as it emphasises Owen's demeanour of laid-back power (or at least, that's what he tries to present himself as).

This all contrasts directly to Curt. His gun arm has to be at a very high angle because of his positioning in relation to Owen, meaning his posture is very tense and his head is held rigidly upwards. Owen has been planning this meeting for (presumably) years, but Curt obviously hasn't. This is reflected in how they stand (as just explained).

He looks up to Owen, both literally and metaphorically. When they were together, they looked up to each other, and therefore were on equal footing because of their mutual respect and love. But now that Owen feels betrayed and scorned, that resect and love has become one-sided (but half-buried by Curt).

(A detail I like is that even though both actors are (I assume bc it's more common) right-handed, Owen holds his gun in his left hand, meaning the guns are level with each other, creating nice symmetry).

LIGHTING TIME. Oh boy, the lighting. Owen stands not only shrouded in stage smoke (giving him an etherial appearance), but also severe white light. This separates him and Curt, showing the now-clear stark contrast between them (whereas before they were both in normal light levels together).

It also represents how Owen has essentially become a ghost; he doesn't exist in his own identity to anybody other than Curt now (and Tati but she isn't in this scene). He isn't part of this world anymore, and exists outside of ever being in Curt's life again.

The light from around Owen casts down on Curt, almost invoking religious imagery. From both perspectives, it represents Curt's adoration and idolisation for Owen (both from being in love with him and from building a version of Owen in his head for four years), and need to 'save' him (his quote unquote 'Messiah complex' that his mother describes).

From Curt's perspective, he is gazing up at Owen, and is bathed in some of his light (he moves closer to Owen later in the scene, more into his light, symbolising his resignation to, and acceptance of, the fact that he can't save Owen. He moves past his memory of, and built-up mental image of, Owen). Up the stairs is Owen, the man he loves, and the light. Back down the stairs is his life without him; darkness.

From Owen's perspective, he knows that Curt feels this way about him - hell, he probably felt the same way about Curt, before the accident - but he keeps his distance. The light, for him, isn't holy light, but a barrier he has put up. In the scene, he doesn't move closer to Curt, he stays high up where he doesn't have to face the man he loves (loved?) and see the pain on his face from up close, see the tears (of anger, or heartbreak? Both, I'd say) that are probably forming in his eyes. Does he feel guilty or regret it? Possibly, considering he apologises several times to Curt in 'One Step Ahead'.

Either way, the stark white light isn't healthy for either of them. So they leave the light, together, when the shot rings out and the stage falls into darkness.

Okay!! This has been my over-the-top, unhinged, accidentally-a-character-study ''''analysis'''' of a single fucking scene from a spy musical that I've been a fan of for a grand total of 24 hours!! :D Please let me know if I made any mistakes, I'm not as knowledgeable about staging as I'd like to be, and as said, I also haven't been a fan for very long.

(I'm gonna post this now and stop adding more to it lmao)

Tagging @kairithemang0 @venomousray @consumingthecheese

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vingler-mirror · 3 months ago

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So let's talk about the lyrics Isolde and Kakania were singing at the end of "Through the Glass"!

As the story described, Isolde was singing a part of the opera "Tristan und Isolde," specifically the part where Isolde is waiting for her rendezvous with Tristan.

In this part, Isolde ignores the calling of horns that signals the arrival of King Marke—the king she's supposed to marry—, insisting that it's just the rustling of the wind or the trickling of the stream, even though her maid tells her over and over that it IS the sound of the horns and the king is nearby.

In our Isolde case, I think we can interpret the call of horns as symbolizing the reality that Isolde doesn't hear—or rather, doesn't want to hear. Because "the calling of horns does not sound so sweet" compared to "the silence of the night" (the peaceful dream she doesn't want to wake up from), and the promise of meeting with "He who is waiting for me in the silence of the night," which—I think we can agree—is Kakania in her dream.

And unlike the "run away with me, Cavaradossi" scene, this time Kakania responded with her part!

Or at least... in the loose sense of it, because the part Kakania chose to sing skipped a lot of events ahead from Isolde's part, which is very interesting! Isolde's lines are from Act 2, while Kakania's are from Act 3: after the king catches Tristan and Isolde in the middle of their rendezveous, Tristan gets stabbed by his betraying friend, and he wakes up with a severe injury that will kill him very soon.

I think this might be intentional—to symbolize that Isolde is stuck in the past, in the happiest moments of her life, while Kakania is facing the reality of the present, in the aftermath of everything that has happened to them.

Unlike Isolde, who sang her part faithfully to the opera, Kakania took the full creative liberty of only singing a few lines from Tristan's part and straight up skipping the rest of it. Which is a bit disappointing at first (the time she actually played along with the opera act and she didn't even do it properly, smh), but this means that every single line she sang was deliberately chosen to convey what she wanted to say to Isolde!

I interpreted the first part of the lines as her expressing how lost she felt after the Storm washed away their era. She fully expected to get reversed by the Storm to atone for her sins, and now that she's left as the only survivor, she has no place nor people to return to. Her life, her purpose, the dream she worked on all her life, and the people she strived that dream for... all gone. She no longer knows where she's standing in the world and what lies ahead for her.

We can also interpret this as Kakania responding to Isolde, who was singing and waiting for Kakania as her "Tristan," saying that she can't meet her in fear of triggering Isolde's trauma and making her condition worse.

And the second part... is Kakania's resolve, that even if everything has changed, even if she's stranded with no era to return to, she will still stay on her path of striving to the betterment of the world, of trying to fix "the cracked mirror" no matter how fragile and broken it is. Back then, by fighting for the rights of arcanists and the other "outsiders" in Vienna, and now by doing all she can to help with the Storm.

...and this also means goodbye. Because Isolde chose to stay in the past, and Kakania, who took a different path, respected Isolde's wish and headed on alone into the future.

But goodbyes don't always last forever. And as Kakania said at the end of her story:

#I just realized that the first two images make them look like 'can we pretend that airplanes in the night sky' meme and now I can't unsee it #reverse 1999 #isolde #kakania #isokania #reverse 1999 spoilers #vereinsamt #r1999💫#this has been sitting so long in my drafts that I started to hate it #so I have to quickly release it to the world before I'm deleting everything #also this is just my personal interpretation!! and this is based on a quick research about 'Tristan und Isolde'#I don't know much about 'Tristan und Isolde' and operas in general. so there might be some nuances I'm missing here #I'm curious about what others think about this scene. so feel free to add in and share your thoughts!#through the glass spoilers #now presenting vingler's mirror #r1999🏛

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suzuran777 · 2 months ago

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Review: Ooe -Zenpen- (Adelta)

The first part of Adelta's new BL visual novel "Ooe" was finally released on the 25th last month! The second part is scheduled to be released in winter, but the first part was already so good I highly recommend playing it. I’ve been waiting for this game for a long time and also wrote some general information/theories about the game on this blog some years ago, as well as a review of the trial version. I won't mention any big plot-related spoilers, so if you’re waiting for an English version or are just curious what the game is about, you can still check it out!

Synopsis 30th year of the Showa era (1955), our protagonist Oosaki works for a small detective agency and one day receives a strange request from a client. He's asked to attend a memorial service on behalf of his client, which will be held on the remote island of Ooejima. During his stay on the island, a series of strange events happen, and the ship that was supposed to pick them up never arrives. The organizer who invited them is not there, and shortly afterwards they also lose all contact with the outside world. Stranded on this ominous island, ten people unravel the mystery of their shared pasts and the death of the actress An Ooe.

This version of the game focuses on three different routes, Ariake, Shimbashi and Aomi. Similar to previous Adelta games, you play all of the routes in a pre-decided route order, and with each route you finish, a new choice will show up allowing you to proceed to the next route. As I mentioned in one of my previous blog posts, each character was assigned one earthly desire/mental factor that kind of describes the character, so I will also include this again below. Now I've played the game I know that these factors are definitely not their only personality trait, but some parts of it definitely show up in the story eventually.

Ariake - Disregard (Anapatrapya 無愧): A mortician who likes helping out those in need. After injuring his dominant hand, he has been receiving a lot of help from others. He's immediately very fond of Oosaki and wants to follow him everywhere. His mental factor pretty much indicates that he doesn't consider his own actions 'bad'.

Shimbashi - Stinginess (Mātsarya 慳): A screenwriter who speakes in a rather strange way, combining overly-polite speach and insults. When he first meets Oosaki, he doesn't seem to trust him at all and doesn't want to tell him anything. His mental factor refers to him only wanting to satisfy his own desires, and doesn't intend to share anything with others.

Aomi - Envy (Īrṣyā 嫉): A quiet music teacher who doesn’t talk a lot, and when he does speak, it’s limited to short sentences only. He doesn't like small talk and sometimes when Oosaki asks him something Aomi simply ignores him. His mental factor doesn't need much explanation, but even though it's envy I must say that he's not the overly-jealous type (?). It kind of refers to something more specific in his route which I can't really mention without spoiling.

I don't think you really need a guide for this game as it's pretty obvious when new choices unlock, just start a new game after finishing the first route and you'll see! Ariake does have an alternative ending scene, so during your second playthrough don’t immediately pick the choice that leads to Shimbashi’s route, and return to Ariake’s route one more time. Afterwards you can proceed as usual. Sometimes a few choices pop up, but selecting the wrong choice has no consequences and you’ll just be re-directed to the choice menu. The wind chime sound effect indicates which one is the correct choice, but I kind of enjoyed seeing everyone’s nervous reactions while falsely accusing them of something, so I recommend that too since there really are no consequences. By the way, important items are easy to notice because of their red color, like the record in the record player you can see below. Same goes for any text written in red, it might become relevant later (maybe even in part 2).

Introduction to the story Oosaki lives in a boarding house in Suga, a short walk from Hiratsuka station near Kamakura. His boss Shinkiba, who runs the detective agency, informs him about a request he received from a client. The client, a man who calls himself Shizuma Daiba, asks Oosaki to attend the memorial service of actress An Ooe on his behalf. According to Daiba, it was his father who received the invitation, however he fell ill shortly afterwards. Oosaki assumes that the person who invited him is a relative of the actress. Even though Oosaki never met her, he remembers reading news about her death. which shocked him because she was quite young and died by setting herself on fire. Even though it's a rather strange request and Shinkiba warns Oosaki, he still decides to travel to Ooejima. The island belongs to the Izu Island group and is located near Hachijojima. Originally, it was used as a military base during the Second World War, however after this it became uninhabited. Even though he has never been there, Oosaki knows about the island because his grandma who raised him was originally from this island, and he always felt like he'd travel to the island some day.

On his way to the island, he meets one of the other main characters in this game, Ariake, who’s also travelling to Ooejima for the memorial service. He’s surprised to find out Ariake’s grandmother is also from the island. After arriving at the Mikazuki inn, he receives a warm welcome from a trembling man with a knife (??), who later introduces himself as Funeno. He also meets Shimbashi who's staying at the same inn. The other characters are all staying at a different inn, but Oosaki meets them pretty soon too (Takeshiba, Shijoumae, Hinode, Aomi and Shiodome). The final character, Toyosu, appears a bit later and mentions he's in charge of the memorial service because the individual who invited them all (who nobody seems to know) couldn't come after all, which leaves everyone confused.

Since this is mentioned in the promotional material and also happens in the trial version, I think it's not really a spoiler to mention that Funeno is the first character who gets killed shortly after this. They decide to perform a ritual to put his spirit to rest, which involves burning a straw figure, though when they finally burn it they discover someone swapped the straw figure with Funeno's body and they end up burning his body instead... Afterwards, Shiodome reveals that they didn't just receive invitation letters, but they also got a letter describing the crimes one of the other attendees committed. They were all swapped, so everyone has a letter that belongs to someone else and knows about their crimes. The orders is as follows: Funeno > Daiba > ??? > Shimbashi > Takeshiba > Aomi > Toyosu > Hinode > Shijoumae > Ariake > Shiodome > Funeno. I guess now we know why Funeno acted so nervous around Oosaki, as he introduced himself as ''Daiba'' and Funeno got Daiba's letter...

Oosaki didn't receive any of these letters from Daiba though, so after they all return the letters to each other, Shimbashi is the only one who doesn't get his own letter, and let's just say he's not too happy about that. This also means that characters who had each other's letters know about their crimes, which is why some of them seem to be rather uncomfortable around each other. Most of the routes branch off a little bit after the scene where the trial version ends, and then the real murder mystery story starts in which they try to figure out who killed Funeno. Someone also destroyed the phone, so now there's no way to contact anyone anymore. At this point Oosaki's of course also suspicious of his client Daiba, because it's clear he was hiding something from him and sent Oosaki to the island without telling him important information.

Personal thoughts Since it’s a murder mystery game you never know which characters to trust, and because characters do die and will be absent throughout the entire route, it was a really suspenseful experience. I was interested in the story from start to finish, which is why I finished it so fast... I can't explain the feeling of dread every time one of the characters announced that something bad had happened, and you're wondering how bad it could really be. Even though the game doesn't show any super gory CGs (the most they'll show is blood), the descriptions are very detailed, so I think even without that it's easy to understand what happened to them. I also liked how the characters who die and survive are different depending on which route you play, so the game really stays interesting in all three routes.

Even though we know a second part of the game is coming, part 1 doesn't feel incomplete at all and the routes work very well on their own! So if you can read Japanese or want to use translation tools, I highly recommend playing this. It took me over 30 hours to finish the game, including the common route which is about 5 hours long, but I do play pretty fast and am already replaying some scenes, so it might be even longer. Also according to a message that came with the game, part 2's data will be free for everyone who buys part 1, so you don't need to buy them separately. I do want the physical version of the game, but I don't mind spending a bit more because the game's only 4400 yen (unlike most VNs which are about 8000-9000 yen).

My personal favorite character is Shimbashi because of his cat-like characteristics and short temper, I guess he's a bit of a tsundere now I think about it, but I also really like the abnormal way he speaks... he's super polite and extremely rude at the same time and I am curious how this would get translated in the English version. My second favorite is probably Ariake, and because he was the first route I expected his route to be good too, since it's the first experience anyone will have with this game after all. The final route is Aomi, who I was pretty neutral about when they showed him in the promotional material, but I really liked him... I should really not underestimate any character in this game because they will prove me wrong, and so far I really like everyone. I suddenly remember when the game was announced they said all the characters are ''straight'' lol, but as expected, so far it just means they haven't been together with another man before. They do not seem to care about Oosaki's gender at all and don't make it a big deal (I also like how there's multiple lines in this game acknowledging other gender identities btw... it's mentioned out of nowhere but I love to see it). If you didn't know btw, the protag of this game is a top, all of the previous Adelta game protagonists were bottoms.

I've always liked the Adelta game artstyle and character designs, but somehow the art in this game looks even better. Every CG in Ooe just looks so beautiful and I can't stop opening the CG gallery to look at it over and over again. As for the eye color... I also have my theories because in previous games this was an important plot element, and even by just looking at the promotional material, it's clear that those with ties to Ooejima are the only characters who have red eyes, so maybe that will be mentioned in the next part? Also every character has their own ending song, similar to what they did with Uuultra C. The game actually has no opening song/movie, but they might be saving that for part 2. The ending songs are so good though at this point I will not even complain.

The references to existing literature in this game are also comparible to the older Adelta titles, for example the caves on the island kind of remind me of the novel "Kotou no Oni" and the game sometimes references Agatha Christie’s "And Then There Were None" too, with Oosaki even owning a copy of the book, and eventually comparing the people on the island to characters in the book. As I mentioned in my first blog post about this game, some of the characters' first names also reference other novel characters. For example, Shiodome’s name is Michio, which is also an important character in "Kotou no Oni", Daiba’s name is Shizuma, which seems to be referencing a character in "Inugami-ke no Ichizoku" or "The Inugami Family" (this applies to the names of his brother and father too), and Funeno’s first name is Kureichirou, which is the name of one of the main characters in "Dogra Magra". In part 1, we learn the first names of a couple of other characters too for the first time, and I do have some theories what these could be referencing, especially Takeshiba's... I also want to know more about Shiodome because I mean, from the beginning it's clear the way he behaves isn't exactly what one would consider "normal", so I wonder how he would interact with Oosaki... Cool-B did preview one of his 18+ scenes and I have many questions. Then of course there's Daiba... he's so suspicious and the promotional material keeps referring to him as a ''side character'' even though he was literally on the cover of Cool-B magazine combined with Oosaki and Ariake, so I have my doubts about that.

Honestly there's so many things I could write about but at this point I might be theorizing too much and not actually reviewing the game, but I really don't want to spoil, so I think that's it for now! Part 2 is scheduled to be released in winter, though I'm not sure if that means December, January or later. You can buy part 1 here though! Please support them. It was mentioned that they are planning to release an English and Chinese version, though any information about that will have to wait until the release of part 2. When part 2 is released I'll write a review about that too!

#blvnreview #blreview #ooe #adelta #review #visualnovel

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aziraphales-library · 5 months ago

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Lost Fic #195

1. Hello! I’m hoping you can help me find a fic, or fics as it was a series. In Eden Aziraphale’s wings got clipped because he failed to protect the tree, or he took the blame for the other three guards, and now he’s unable to fly. In the second part Aziraphale has to survive the flood while he’s still unable to fly and at the end a ladder is let down for him and he climbs back up to heaven. That’s so far as I got, but I would really appreciate the help! - @writerosaur

2. Hi! Thank you for all the amazing work you do. I was hoping to look for body swap fic a read a few years back, where crowley finds a tiny Aziraphale particle in his essence and flips out. And turns out Aziraphale also had a lil crowley particle with him. Thanks again! - anon

3. Hello. I'm looking for a fic, it's set during world war 2, Crowley is working for the British government with an alias, it's told from an outsider pov. I forgot to save it while I was reading it and now I can't find it anywhere. Thanks!! - @myspecialhell

4. hello hello hello happy holidays everyone I hope you’re all doing well and thank you so much for everything!!! I am looking for a fic: A/C, might be explicit, and I think the description was kind of magic themed (more specifically sleight of hand), w Crowley’s internal monologue describing his relationship w Az as a coin that u flip between ur fingers "now you see it" "now you don't" (bc sometimes u can see under the Layers bc they falter and then they cover it up again) i think az was running him a bath after the church scene? the fic was longer than that tho… i hope it didn't get deleted, it was p popular iirc and i loved it sm!! thanks in advance i hope u have a wonderful day!!! - anon

5. OH and there’s another fic i lost but that was forever ago (like 2019-2020 probably) it was very popular but i only remember 1 tiny little detail 😭 basically az had just found out/understood that Crowley Loves him (I think) and Crowley was very anxious abt it and they were in the bookshop and he was anxiously pressing the same key/button/numbrr on the telephone/bell or smth I think it was going ding ding ding lol anyway then az came up to him and soothed him I think but anyway maybe it wasn’t a confession and maybe it was just bc they were back in the bookshop after the fire I’m not quite sure anymore. I think it was rated T and it was in the first few pages on ao3 in 2019-2020! I hope this is enough hahah no worries if u can’t find it tho! Hope it wasn’t deleted it was v sweet anyway have a wonderful evening!!!! - anon

If you know any of these fics please include the number in your reply! Thank you :)

- Mod D

#good omens #lost fic #ineffable husbands #mod d

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chynandri · 4 months ago

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My Thoughts on Ratchet After 14 Years

This is nearly 5000 words of my analysis and impressions of Ratchet as a character (...there are pictures, at least 😃). I can't say I've been interested in any other character for this amount of time so - he truly is special to me. I wanted to externalize all I love and see in him in one post, more for myself than anything as I've held so many thoughts in my head for so long.

This is largely based on my own inferences. I won't bother to make proper citation or anything, it's more of a huge ramble based on me rewatching basically all cutscenes, the movie, and rereading the comics. Almost every year I do a big Ratchet and Clank marathon like this, but I might get some things wrong or skip over some things as I'm focusing on articulating my thoughts rather than being completely comprehensive.

Ratchet's Beginnings

Ratchet’s background is pretty fundamental to all this so let’s establish that first.

I will be basing this post on Ratchet as he is in the original games, but I do want to say that I like movie Ratchet too! I don't think it completely cancels out all my thoughts because imo they captured all the main traits of Ratchet. In one scene he says he wishes to 'matter'... to others, as a person, to the universe? Maybe all three. And that is truly the most concise way to describe what drives Ratchet the most.

But for now all we can do is infer on his life prior to Ratchet and Clank 1. I think it’s not too hard to make some assumptions based on the circumstances or a few lines:

1. Ratchet seems to have fended for himself/lived alone.

2. He is likely self taught on rocket mechanics and general machinery. He has an intuitive understanding of how machines generally work and wings it.

3. He has been on Veldin the whole time and never had the chance to go anywhere else. He also could not afford many things.

4. TV (or Holovision) is the most accessible form of media and likely what Ratchet grew up with, as he is aware of and looked up to heroes like Qwark and Ace Hardlight.

Given these inferences let’s look at how Ratchet behaves in 1. He awkwardly addresses authority figures, is rude to Clank and others - he’s just very blunt and critical of people’s intelligence. And why is that? Thinking of how he had to probably rely on himself first and foremost, having street smarts and situational awareness must be important to him. And that he’s likely not had friends before Clank - he’s not gonna know how to act lol. Besides that, he’s honestly just a Guy and a teenage Guy at that. This is his Very First Time outside of the backwater planet he’s been ‘stuck on’ (his words) and it’s extremely exciting for him. And what is the thing that consistently gets him excited and motivated to do things? Fame.

He loves the idea of being famous, like the celebrities he’s seen on TV and the ones he meets while on this adventure. And while this is a pretty common desire for kids, let’s think about why this is for Ratchet specifically.

We inferred that he probably has been alone up to this point. This means: no friends, no family (the movie also makes Ratchet explicitly say how he had absolutely nothing to his name.) Family as we know becomes a huge part of Ratchet’s character arc later on. No friends or family means no support system: no attention, love, or validation. You see what I’m getting at. Ratchet always responds with pride and excitement when others praise and recognize his actions - puffs up his chest and grins, it’s very goofy and all. But you have to consider how he likely just did not receive this validation much prior to 1. Now he’s doing all this stuff and getting recognition. This is how he ends up acting very selfish and self absorbed, the most prominent character flaw of his. In his eyes, Clank’s insistence on him seeing the bigger picture is just not as important as all this sudden attention and new experiences that finally validate his pretty lonely and insignificant existence.

And let’s consider that Ratchet and Clank are not even really friends until the end of the game. For the most part, they are useful to each other in their goals. When Clank claims that it ‘isn’t like Ratchet’ to not care about what’s at stake, Ratchet responds with ‘and what do you know about me?!’ - and it’s true, what DOES Clank know about Ratchet, or Ratchet know about Clank? Clank, too, hasn’t had a long time to exist yet and this is his very first friend. But he does have a natural charisma and strong sense of morality - which leads me into some more core aspects of Ratchet’s character and inner conflict.

Ratchet's Struggles

In the first game and onwards, Ratchet and Clank are kind of like rivals in certain things often for a gag. To put it simply - Ratchet has no rizz or game. Clank often catches the affections of both robot and squishy people. He DOES always know what to say without even trying. Clank always does the right thing. And that’s the thing… in these same situations of talking to girls, or making a speech or commercial - Ratchet tries too hard.

Consistently, when put on the spot, Ratchet freezes up and all his bravado is gone. He stutters and stumbles and is just a mess and Clank has to speak for them. Ratchet visibly shows how frustrating it is that Clank has more rizz than him. He’s clearly jealous of how Clank always knows what to say and do and people just seem to like him more. And his pal is the star of a TV show while he’s the bumbling side character who gets fired anyway. Not only is Clank ‘better’ than him, Clank is getting more validation and attention than Ratchet is - the one thing Ratchet has lacked in his life.

But let’s consider the first time a girl DOES actively like and pursue Ratchet - Sasha. The first time they speak is cringe but cute. Sasha is describing the state of the art gaming console on the Phoenix and Ratchet is so impressed he says in a daze ‘will you marry me? 😍’ AND IMMEDIATELY SLAPS HIS FACE cuz he really was just NOT THINKING. But Sasha doesn’t seem to mind, she goes along with it! I think she can tell he didn’t mean to. And although it’s not been long since they met, her father tells Ratchet ‘she’s said a lot about him’. And… when Ratchet is recounting his fight with the Teranoids, she’s giggling along and very engaged with how he’s acting out his story like the silly guy he is.

And although the first 3 games occasionally emphasize how heterosexually interested in girls Ratchet and Clank are based on Ratchet’s comments about girls - when Sasha kissed him he’s just… quiet and bashful and has no smartass ‘cool guy who likes girls’ comments. He obviously has no experience or idea of what really goes on with girls or relationships lol. If you think about it - has he even really tried to like… flirt? He’s all talk about it, but doesn’t seem to put it much into action. He also associates popularity with girls as a part of fame.

But - he pulled a girl without even leaning into status or fame. What I’m getting at here is: Ratchet didn’t try hard in front of Sasha and she was so endeared to him. She LIKES how goofy and cringe and, in a way, how pure he is. She was probably like ‘can you believe he wanted to marry me just because we got a PS5? Hehehe’ at her dad. He was just his cringe, rizzless self and talked to her like she’s anyone else. We can infer that Sasha, as the daughter of the President, is not used to that and likes it.

But let’s think about why Ratchet feels he’s suddenly got to be a different person when on the spot? He tries to sound cooler and more well spoken (like Clank, Qwark… people on TV!) but he’s no good without a script. In Deadlocked, he even felt like he had to rehearse a bit before calling Sasha (this is why Ratchet’s characterization there is a bit weird to me, when they’re supposed to be more comfortable around each other).

This is all indicative of how Ratchet is not confident in his sense of self - and where do we get a confident sense of identity from? Our friends, family, culture, community. Things Ratchet did not have a lot of before meeting Clank. Ratchet may have asked what Clank knows about him in the first game. But what does Ratchet even know about himself? What consistently gets Ratchet angry and protective is when Veldin ends up in danger. Veldin was really all Ratchet knew for a long time, and we can assume he sees it as part of himself. But beyond that…

This is why Clank is so… so… SO… important to Ratchet and why he could literally be nothing without Clank. Despite Ratchet being mad at Clank’s uselessness and stupidity in the first game, Ratchet is genuinely upset at the idea of losing Clank when lightning strikes him. He awkwardly suggests that he and Clank stick together at the end of the game without directly saying so. It’s his first time having a friend and wanting someone to stick around. In the end… he’s not as independent or self assured as he thought he was.

Size Matters may be a weird spin off game but it did have a pretty important line: after fighting the Ratchet clones, Ratchet tells Clank that these clones weren’t that powerful because ‘I’m not half as good without you.’ It’s a really significant thing to say, and this sentiment echoes all across the games. After all, without Clank’s robot ignition system - who knew how long it would take for Ratchet to get out of Veldin, if at all? Would Ratchet have gotten as far as he has now as a person without Clank?

It’s an admittance of how much Ratchet truly depends on Clank for self worth even if he feels inferior to him - Clank consistently supports, loves, and believes in him despite his flaws. He basically never had this presence in his life. Clank is like his whole support system while at the same time, a source of his feelings of inferiority and jealousy. Although as time goes on Ratchet does thankfully make more friends along the way. Even though Qwark is nothing but trouble to them, I suppose Ratchet still bothers with the guy cuz he’s just that loyal to the few people consistently in his life in some way.

Ratchet's Home

And this leads me to another point. Ratchet’s lack of belonging, identity, and validation ends up having him go from occupation to occupation, world ending situation to world ending situation. In the second game he is markedly different now that he’s got military training and surprisingly (to me) doesn’t question Fizzwidget that much (though the goofy rough parts of his personality still shine through while out in the field). Then he’s the captain of the Phoenix for a while. But overall he’s just kinda unemployed until he’s gotta shoot people and save the world. When given a sense of purpose and belonging he seems serious about it, though how long he has a purpose and group to belong to is relatively inconsistent.

Aside from the meta circumstance that the Ratchet and Clank games needed a new plot, it’s in the Future trilogy where Ratchet started thinking deeper about his origins. As we often have new revelations or thoughts about ourselves and past as we get older, I think Ratchet finally started to realize… there’s quite a big thing missing from his life - which to him was his ‘normal’. Why IS he one of the few lombaxes in the universe? Why did they leave HIM behind? You can imagine the amount of sad thoughts from just asking that question, when coupled with his already shaky sense of self worth.

The way Ratchet acts in Tools of Destruction is interesting. Although he could hardly be qualified as an expert on his own species cuz he’s never even been a part of lombax society - this is something Talwyn does not hesitate to tease him about, which he seems to not take so well. Yeah he gets it, he’s a disappointing representation of his people. And for some reason he acts like the spokesperson for lombaxes when they come under fire by Tachyon. He takes it all SO personally, as if he invented the dimensionator himself. Which then really becomes all about how he’s invented a series of not too successful inventions and sees Clank as someone who doesn’t support him enough. He uses the lombaxes as a way to validate himself: ‘oh, so a lombax can’t invent anything useful?’ he says derisively at Clank and you know it’s not JUST about the lombaxes as a group. Here he is finally finding the reason for why he is the way he is and that his inherited inventive spirit just isn’t appreciated enough. With the way this games story makes Ratchet feel stupid and inadequate at every turn for his lack of connection to the lombaxes, I can see why his worst personality traits jumped out with all his insecurities.

I think Ratchet wanted to lift himself up by association with the lombaxes, to say he IS lombax enough and he knows what it means to be one! Which then made him lose sight of what really mattered - destroying the dimensionator before it breaks the universe and no one is safe. And ironically, when Ratchet realizes this and refuses Tachyon’s offer to see his family, Ratchet embodied the heroism of lombaxes more than when he was trying too hard to prove he was one.

Now put into perspective how Clank fully finds HIS own purpose and origins in this trilogy. I read an interesting YouTube comment on a Size Matters cutscene video that said something like ‘Ratchet is so against the idea of technomites and the Zoni being real, because he always had a feeling Clank was meant for something more and admitting they were real is like losing his friend.’ I thought this was so profound because Clank truly is all he has and could leave him when he’s found his own purpose and family.

Especially since for a while, Ratchet was prepared to do so himself after learning that there is a chance to save his family with the Great Clock. Even if it meant not ever meeting or remembering Clank, the biggest person in his life. But Ratchet's character truly reaches its most mature in ACiT. Instead of reacting negatively to Clank finding his own home and family while having a possible means of fulfilling Ratchet and Alister's desires - Ratchet is supportive and willing to let go of Clank. Because after all, they have to be their own people and Clank has supported him long enough. Just because Clank has found where he belongs, doesn't give Ratchet any right to selfishly keep Clank to himself. I feel so proud of Ratchet in ACiT, as it was clearly hard for him to let go of such an important person in his life. But the combination of what he learned in ToD and from Alister's own life led him to be at his best in this game.

(But come on they're so inseparable there’s no way Clank would be happy without Ratchet either. Because that’s HIS very first friend in the whole universe that gave HIM a place to call home even if it’s just the two of them in a small garage. It’s RATCHET who decided that he wanted to actually be friends with Clank, beyond fulfilling their goals, at the end of the first game. They’re… each other’s home 😭)

Alister represented a major turning point in Ratchet's own definition of himself. And in the end he chose not to be like Alister, to not let his identity as a lombax control his life. Unlike Alister, Ratchet isn't bound to a childhood of belonging to lombax culture and society. And though Ratchet shared Alister's goal for some time, the way Ratchet goes back to rescue Alister when he was captured just goes to show that Ratchet won't think like him. It's just not in Ratchet's character as we know it to forsake the present when up to now he has always, always been about loving and enjoying the present moment and all he could do in it. From Ratchet chastising Clank for not being able to have fun, to being a guardian of all that he loves in the present... it is a beautiful progression of Ratchet's character.

Ratchet so far has been given two chances to finally reach what he thinks should validate his own existence. But he chose to protect the present, the universe he lives in, the people who already give him a sense of self - most importantly, he chose self-determination.

However, he didn't know he would lose Alister with this choice. But it was out of his control, as Alister was too far gone and would act regardless of what Ratchet said. The shock of not only losing someone like family to him, but the sole link to his past and family sends Ratchet into depression and grief. His choice to own his life is not made with triumph as it should've been, but with deep regret and fear. From this point on he truly has a different vibe to him. His energy is dimmed, he gets down on himself more easily. He had his fill of the validation of being a hero, and with Clank choosing to remain with him he's content to retire from it all and try to go back to the things that defined him from the very beginning.

And exactly so as in the comics he went back to Veldin and being a mechanic. Though Ratchet seems his usual, careless self the comics reveal the huge amount of underlying emotions Ratchet has been struggling with in the aftermath of ACiT. The comics have Ratchet going through an utterly terrible time, as someone whose mental health is already fragile: Veldin is in danger once again, Clank recklessly kills himself for an hour, and he nearly lost Talwyn for good. Ratchet almost loses the three crucial things that defined him. Talwyn, Clank, and Sasha help Ratchet work through his guilt over what happened and taking time for himself, while also making a point of how self-isolation isn't healthy for him.

And eventually, Ratchet does get back on his feet and involved with his friends again - but not unscathed, as one major issue would still affect him. The pain of loss leaves Ratchet with a deep fear of experiencing, or being the cause of it, again. And this wound would be reopened too soon with Into the Nexus where we see him struggle to cope with losing Cronk and Zephyr on his watch - if the events of the comics weren't enough...

Watching the scene with him hiding in the crate and refusing to come out, the distance between the goofy and prideful kid we used to know and Ratchet as he is now has not felt more evident. Into the Nexus really highlights how Ratchet at this point just wants a secure and permanent place to belong to. Tal is so important because she may really be one of the few people who could understand and relate to Ratchet. Her family is missing too, she’s been lonely her whole life too. She is a link to lombax culture. She was there for him when he lost Clank. They see themselves in each other, and I think the opening scene of this game speaks a lot to how comfortable and perhaps emotionally reliant they are on each other.

It‘s understandable that Ratchet would let go of the pursuit of finding the lombaxes for someone who not only needs him, loves and supports him just as he is - but also someone he almost lost for good. She is also home and his family, even when or if Clank chooses to go back to his Clock duties. Ratchet just doesn’t want to lose anyone else, can’t handle the possibility of losing one more person - so he finally decides to end his eternal search for purpose, belonging, and validation and cling onto his sources of such things that were in front of him the whole time.

But as fate would have it, Insomniac really will drag out this whole finding the lombaxes thing even longer lol. This is the logical conclusion to the Ratchet and Clank story as of now, so Ratchet isn’t allowed to give up just yet.

Ratchet's Heart

WHY I started thinking so deeply about Ratchet’s character is because of how he is in Rift Apart. I LOVE Ratchet and Kit’s friendship so much because it highlights and reveals so much about each other!!! There’s probably a reason why Kit and Ratchet share a colour palette, and it’s because they’re kinda parallels:

1. They’ve let bad experiences in the past control their present and future - but it limits their world as a result. (Interestingly, Alister also let the past rule his life. But he was so obsessed with righting the past that he would endanger the present. Ratchet learned what not to do from Alister, but he kinda ended up being a different version of him.)

2. They’re both afraid of getting hurt and causing hurt - so they avoid it. They both have a tendency to hide away when feeling bad about themselves. They’re both seen as cowardly for this (Vendra and Rivet judging Ratchet for being too scared to find the lombaxes).

3. Ratchet’s advice to Kit when it comes to socializing is ‘don’t overthink it.’ I’d love to make a connection here to how Ratchet would overthink what to say on the spot or overcompensate for himself in the past.

Kit is potentially dangerous and doesn’t know how to be a friend. She’s caused real hurt before. But Ratchet accepts and believes in her, and is adamant about expanding her world, seeing all the good in her, and encouraging her to grow. Ratchet knows what it’s like to not be perfect, to be stuck somewhere, to make mistakes, and be rough around the edges. I believe this is why he is so kind to Kit, providing the validation and belonging and opportunity he would’ve wanted for himself.

And it’s to Kit that he opens up about his anxieties. Ratchet’s true feelings about finding the lombaxes… he’s so… defeated, unsure and doesn’t think much of himself anymore. This was also evident in how anxious he was about the parade celebrating them at the beginning of the game. Yet another indicator of how different Ratchet is now - younger him would’ve loved all the attention even if ‘unearned’ (cuz they haven’t been a hero for a few years). It’s crazy because he’s done SO MUCH and yet - from the way he talks to Kit he still doesn’t feel like he measures up to how great the lombaxes are. Or his parents, judging by his apologetic tone when he explains that his dad tried so hard to keep the dimensionator safe.

And let’s think on this idea of not measuring up - his self worth issues, he’s not exactly a successful inventor, overall flawed and clumsy personality, seems to only be useful for shooting some bad guys, plus not being able to prevent the deaths of some people very important to him - it becomes clear why he thinks so little of himself in comparison to the lombaxes legacy of being brilliant heroes and creators. Beyond the misfortunes that seem to happen around the dimensionator, Ratchet’s problems stem far deeper into his sense of self. So he tells Kit that even if the lombaxes are the perfect family - would they be disappointed in him, or he disappointed in them? He also doesn’t want to lose the life he has now, not when it has finally given him some stability.

But it is Ratchet’s very own kindness and faith in her that allows Kit to turn this issue on its head and address the crux of the problem and reveal the precious thing that ultimately defines Ratchet and his identity - perhaps more than wanting to matter and belong, what he had almost lost over the course of his life up to now.

I would like to say that in a word, Rift Apart is about possibilities. The alternate counterparts of Ratchet’s world and all the implications of it exemplify this.* The Clank sections directly use this word I believe, as he helps Gary fix the dimensions.

*(I don't know where else to fit this observation, but the ways Rivet and Ratchet contrast are somewhat relevant. Rivet, unlike Ratchet, has friends and a group to belong to earlier on in her story - so she doesn't end up falling into the same character pitfalls of being selfish or self absorbed. She and Clank share that big picture awareness. But she's lonely in a different way: having to be strong for herself and everyone else, she's a Ratchet that doesn't know how to be open and vulnerable. I just wanted to point out how cool it is that they considered all this as a 'counterpart' to Ratchet.)

‘Possibility’ is also probably�� at the very heart of Ratchet’s character.

One of Ratchet’s defining character traits is his recklessness. He risks too much, takes too many shortcuts, doesn’t think enough when he should. But this is precisely why Ratchet is amazing at the same time. Of course it’s good he grew more careful as he got older. But the big thing to take away from his anxiety about finding the lombaxes and him wanting to stay safe and content with what he has is that - he’s almost lost that crazy and beautiful ability to risk it all and take a chance. Namely, on himself. And it’s ironic because he convinced Kit to risk it all and be friends with him, to go out into the world she’s so afraid of! And this is exactly what Kit points out to him, and expresses her belief that finding the lombaxes will turn out alright for him - even if he still struggles to believe so.

In the way he loves living in the moment, pushing himself to the limits, making weird inventions, pulling off unsafe stunts, throwing together scraps to fix and modify things against better judgement, trying to beat the odds, befriends strange little robots that are just as odd as him - Ratchet thoroughly, intrinsically embodies possibility. If you have nothing to define you, then you have so much freedom to define yourself. And that has been Ratchet’s whole life. Being able to not only think of all that’s possible, but being brave and silly enough to try to achieve them - that in itself, is an extremely valuable gift.

Ratchet is just not the same anymore because he is scared to be and act on what is the most natural and fundamental to him as a person - lest it lead to immense pain and loss. And as I have established multiple times in this post: Ratchet is at his best when he allows himself to just be… himself without pretense. Perhaps Clank knows or doesn’t know this, but he took it upon himself to try to help Ratchet find what makes him whole and himself again. Because the people around Ratchet can see that him completely giving up on what is in his heart would be truly sad and a loss to the universe he loves so much.

Ratchet and Clank were always meant to keep expanding their universe and themselves! That is the very spirit that propels this franchise. And by the end of Rift Apart, and even if Ratchet is still scared - he’s going to find the lombaxes, scared. He’s not going to give up on himself anymore: just as he didn’t want Kit to give up on herself, didn’t want Rivet to give up on Kit, and how Clank never ever gave up on him, believing in the possibility of him being a good and worthwhile person from the very start.

I feel really optimistic for Ratchet and wonder how they will (possibly?) end his character arc in the next game. I’m deeply grateful that Insomniac still cares about this franchise, and cares about Ratchet as a character so much. It truly is a unique privilege, I think, to see one character’s story develop and grow and change over a decade. I love Ratchet and all he is and represents so, so much.

#ratchet and clank #chyna writes too #it’s been such an emotional journey rewatching all r&c stuff this time #i dont know if this is well written or cohesive but it's what's in my brain and in my heart 👊😔#if anyone DOES read all 4882 words - CONGRATS AND THANKS????

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elainsgirl · 24 days ago

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Whats the weirdest argument against Elain or elriel you have heard?

I think this is oen of them (I cant believe its still here after all these years): Elain doesn't belong in the Night Court because CASSIAN THOUGHT she looked bad in an unflattering black dress when the IC had to make the famously beautiful elain unflattering so Eris would focus on Nesta. There's a very clear reason cassian said elain looked unflattering, so readers could understand what the IC was up to, manipulating Eris to their wishes. Which Elain was an important part of.

Never mind it's never once even implied you have to wear black in the Night court. Rhysands first and second, Mor and Amren, dont. But GA/EL have special rules for elain! Otherwise everyone knows she will most definitely jump the bones of her favorite bat boy and he will be very very VERY happy about that. We can't have that! Need her gone!

And it's so funny that it is because of one of the scenes where Elain chooses to work for the IC that they claim she doesn't belong there. Its so backwards and ANYTHING Elain does is disregarded in favor of the words of a male. But GA/EL are entirely focused on the males so I guess it's no surprise.

They have been too locked up in their bubbles, their ridiculous ideas have moved further and further from the books and then become so ingrained. Like a house of cards built on fanon. So fragile the tiny puff of wind from turning a page in one of the actual books is enough for it to crash.

GA/EL need Elain to leave the night Court because they know she can't be kept in the same place as azriel because everyone knows elriel is canon and Elain almost climbed azriel like a tree when they were alone, while Az worshipped her like a damned goddess. With Lulu sleeping upstairs. That must have been like reading pure horror for GA/EL. I guess it makes sense they are grasping at straws. But the straws they are grasping at are laughable.

Hey anon 🫶

The whole “elain looks bad in black” arguement is so hilariously funny. That scene was clearly set up to make elain look unflattering when compared to Nesta - but antis hate the theory because they don’t believe Elain is capable of doing anything complex. They don’t want to acknowledge that Elain Archeron - the very character they call weak and boring- can pull of such a plan. That or they want to stick her to the whole “she’s a feminine girl who likes to throw balls and gardens” and not let her grow outside of that image (idk if that makes sense). Elain - who grew up as a socialite- would obviously have been taught by their mother what colours are flattering on her, the dress shape and size that suits her, which makeup would go with which look etc. She would have known she looked “washed” out in black. She would have known the dress was unflattering. Not only that, she had the twins, feyre, Mor etc all to tell her she looked terrible but no one did. The scene of Elain in Hewn, her dress specifically was described exactly as void fabric which we met in acofas with Feyre and? Elain Archeron. Besides all of that: They’d rather take Cassian’s opinion seriously instead of Elains own words. Which is kind of the point when it comes to Elains character how no one rlly takes her seriously or looks past the surface which her antis including elucien stans do. They take her character surface level when it suits them.

I’ve come across such BS takes, from Elain being a cheater, someone who self h4rms, evil, manipulater to elriel being toxic, rebounds etc but if I had to choose one for Elain and one for Elriel:

Elain: Eluciens calling Elain a cheater. When they started yapping about this, it confirmed for me that eluciens do not love Elain. Im not making the bold statement that “all eluciens hate elain” - that would be mean and immature of me. However, I am in the firm camp elucien Stans like elain but love Lucien more which is why they’re always coming up with HCs where elain is the bad guy that will grovel for Lucien.

Elriel: That Elain and Azriel’s relationship is not important and can be concluded within a paragraph as the bonus already ended elriel. This has to be the most biased take. Just because YOU do not like elriels dynamic and dismiss their scenes as unimportant doesn’t mean everyone else does. There is literally a reason why Sjm had Feyre - her main character- stare at Elriel and wonder why they’re not mates. I have seen an anti today talk about how the foreshadowing/buildup in acowar/acofas isn’t as important as acosf. That alone tells you everything you need to know. Antis will use Sjms words when it suits them and dismiss her words when it doesn’t. Also - ACOSF, where we learn that Az has moved on from Mor, is staying at H.O.W bcs of how strong he feels for elain, Nesta realising Az likes Elain, Elriel literally left off on a charged glance, Azriel being incorporated into the prison plot which we know will go to Elain etc. I think its just becoming clear that antis are grasping at straws to justify shipping Gwynriel/Elucien and “debunking” elriel.

No author ends a couple in a bonus. Sjm does not end her couples’ the way she ended elriel. I think as time is growing closer and especially now that we have an idea at which time the announcement will come - antis are rlly scrambling to proves their ships but its just looking ridiculous. When you’ve created a bubble for yourself filled with people in the same camp as you that will believe anything, it’s easier to remain in the bubble.

Their bubble is going to pop when Sjm announces it is in fact Elains book next.

#elriel #pro elriel

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cornchrunchie · 1 year ago

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Okay, at this point, I'm not even sure what to think of my own theories anymore and if this makes any sense AT ALL but WHAT IF

What if Aziraphale not only was very aware of how much the words “I forgive you” after the kiss would hurt Crowley but WANTED his words to hurt Crowley – to make it easier for both of them to leave.

Let me elaborate. Gifs inclusive!

I was just listening to the song “Hot Mess” by dodie and one part of the chorus especially struck me:

Make it ugly, put on a show Hack it that I hate you so that I can let go

Essentially, it’s about how the narrative voice of the song is trying to hate their partner in order to let them go. The idea behind this is that if the breakup is worse than it needs to be – i.e. if one person is being tricked into hating the other person – it’s easier for them to stop loving them.

What if Aziraphale is doing this to his relationship with Crowley?

We know (thanks to Rob Wilkins) that, after the kiss, Aziraphale is trying to comprehend what's happening and that he wants Crowley to do it again.

But he doesn't say any of that.

In this 10-second-long eternity after the kiss, Aziraphale is clearly struggling for words. He is not even looking at Crowley but focused on an undefined point in front of him as if he can't bear to meet his gaze just yet. He is completely overwhelmed.

When he dares to look up, he takes one deep breath. Of course, we can only speculate what is going through his mind. For the sake of this meta, I'm going to propose the theory that at this moment, Aziraphale realizes how hopeless their situation actually is.

Their love for each other is undeniable. Both of them said that they wanted to be together, even if they used different words to describe their desire. But while Crowley wants to fight their battle against Armageddon from the outside, Aziraphale wants to change Heaven's system from the inside. And behind these approaches lie such deep-rooted beliefs about, well, everything, that they pose an obstacle they can't overcome. Not yet. Not through running off together. Not even if their love is 6000 years deep. It's the epitome of tragedy, really.

Aziraphale knows this. He knows that in this situation, this will only hurt more the further they go. So he takes a deep breath. And he decides to do the excruciating thing neither of them wants to do but that needs to be done:

He ends it.

Aziraphale knows about the harmfulness of his words – these specific words of all the things he could have said or done. Even as he is saying them, he looks as if it physically hurts him to do so. His eyes seem to be full of pain, maybe even regret. But how else will he convince Crowley to do what he can't, how else will he make him let go?

When Crowley leaves, Aziraphale doesn't attempt to stop him again. No matter how plainly this breaks his heart, no matter how he's barely holding himself together. He lets him go.

In German, there is a saying that could literally be translated to: It's better to have an end with terror than to have terror without an end (Besser ein Ende mit Schrecken als ein Schrecken ohne Ende). I think it fits this particular reading of the scene quite well. In Aziraphale's mind, their relationship would result in such agony that they would hurt even more. By ending their relationship before it has even begun, he is trying to protect both of them – making the pain great but definite instead of ongoing.

Does that sound plausible to anyone?

I myself am still quite unsure how to feel about this interpretation of Aziraphale's reaction, so I would love to hear some thoughts on it! <3

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fallingtowers · 5 months ago

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so i'm watching dollhouse currently, and watching a non-buffyverse whedon joint has got me thinking about the phenomenon of whedonspeak. it's fascinating to me, because there have been plenty of moments in dollhouse where a character has said something patently whedonesque and i've been like :/ ahh yeah i see why people can't stand this style of writing. but on btvs, where the dialogue is generally a lot more heightened than on dollhouse, it really doesn't bother me at all (outside of a handful of really egregious examples).

the big reason for this, i think, and the one i always bring up when i'm defending the dialogue on btvs, is that on btvs it always felt like a tool of characterization. at first blush it may seem like e.g. buffy and willow have very similar voices, but the truth is it's all stylized, but in different ways. and btvs is so good at characterization (a lot better, i would argue, than dollhouse) that by the end of the show you know the characters' voices so well that you can clock it instantly when a line isn't 100% in character. it helps, i think, that btvs is patient zero for this kind of dialogue -- it became an established style of the show, but it wasn't yet an established style of writing in general (note that before it was known as whedonspeak, it used to be called "buffyspeak"). it works well because it's tailored to the tonal sensibilities of btvs, whereas if you just slap it onto any old story it's bound to feel incongruous and grating.

(also, as a sidenote, by and large, btvs knew exactly when to drop the banter. that's another thing -- these days whedonspeak as a concept is so bound up in people's minds [and with good reason!] with that particular brand of annoying mcu-ass ironic storytelling that has to mock itself at every turn for fear of coming across as self-serious. but btvs is a very heartfelt work of art! it [not always, but often] takes the emotions of its characters seriously! when buffy comes home and finds her mom dead on the couch, she doesn't go "well that just happened." you hit a certain threshold of dramatic weight and the whedonspeak falls away.)

there's another reason it's become so pervasive, though, i think, and it's one i kind of sympathize with. it's got to do with the demands of television as a medium. i think modern tv and film is the form of storytelling that has the biggest gulf between Showing and Telling. like, in a novel or a comic or whatever, you can just use narration to shed light on a character's thoughts or plans or whatever, but on screen you don't have that luxury, and these days voiceovers and flashbacks and stuff are generally regarded as being kind of graceless. so you've got Showing, which always runs the risk of being too vague and confusing, and you've got Telling -- and dialogue is really your only method of Telling -- which comes with a whole host of potential pitfalls. it might feel too on-the-nose, or too stiff and contrived. or it might commit the cardinal sin of 21st century entertainment: being Boring.

that's the thing, right. screenwriters are always trying to figure out how to do good exposition. one instance of dialogue i found grating on dollhouse is a scene where echo is dreaming, and the audience needs to be told she understands she's dreaming. so what do you do? in writing, you'd just describe her moment of realization, but on tv you can't do that. so instead, they have echo go, "oookay... i think we can all agree this isn't real." which like, if we view it as an attempt to content with the limitations of the medium, it makes sense! she's alone, so she has no reason to say "this is a dream," so we solve that problem by having her make a little joke to herself. but in practice, it just kind of falls flat.

in conclusion, the art of writing dialogue is one thing and the art of writing exposition is another, and neither is at all easy, and in screenwriting specifically they often dovetail in a particularly torturous way. we're still gonna be trying to figure this out when the sun burns out probably. i certainly don't have an answer. i do have a piece of advice though: watch buffy the vampire slayer. it's really good, and the dialogue is only a little annoying

#buffyposting #there's a separate but related sin that btvs and dollhouse both commit #namely the way they write Nerd Characters #a lot of dollhouse's worst dialogue comes from topher and it's strictly not because it's whedonspeak #it's because he'll say some shit that will make me instinctively go SHUT UP ABOUT STAR WARS #and i like season 6 of btvs mostly but god some of the trio's scenes are fucking unwatchable #and don't even get me started on season 7.#why did they bring andrew back.

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kaibutsushidousha · 1 month ago

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If you're not yet bored of getting questions on Samurai Remnant, what are you thoughts on Yasuhiro and Hieda-no-Are? They are characters that totally passed by the fandom, so I would be grateful if you have any insights on them, and whether they could benefit from more screentime in FGO or somewhere else.

Two Are questions in the same day is a curious coincidence. Yasuhiro is covered here and Are is semi-covered here like one of the anons mentioned, but let's talk about him for real now.

Are in Samurai Remnant is very much just a personal obstacle for Takeru, so he doesn't get much in terms of characterization beyond being a prideful jerk with a low opinion of everyone he meets. The bare minimum we get of backstory is his goal of becoming an eternal recorder, and the fact that this desire comes from a drive to substantiate his dubious existence. Very bare-bones stuff.

His Reality Marble is interesting, I'll give him that. It reframes his concept of records from something about what happened in the past to something about the proper shape of Human Order. Are knows for a fact magecraft exists, even if he didn't in life, he has to as a Servant, but fantasy does not belong in the Age of Man. Puppet Playground is the power to enforce the agenda of Human Order for as long as he can force himself to keep the charade going. His weakness is Yamato Takeru, someone he can't deny without thinking he sounds really stupid. I love this gimmick and the spam of "As far I know, [most blatantly false statement you've ever heard]" that comes with it.

I do feel like Are has a lot of potential for comedy. His obstinate, short-fused nitpicker personality can derive a lot of funny frustration as he's force to contrast his vision of a correct history from Age of Man's perspective vs the reality of the Age of Gods. I need him to pass out on the spot because Greek Gods are spaceships. And even without that, he gets to be really funny in the DLC by predicting and foreshadowing future scenes in order to drop the smuggest "told you so".

But really, what he really needs is an expansion to his backstory. Why does he care so much about his records? Why is he so proud of his work? Why is he not historically recorded? Why is he so opinionated about magecraft not belonging in the Age of Man? Those are all questions that would benefit his character a lot if answered.

Now for my previous claim that I'd have done differently. When Fate/ doesn't tell us something about a Servant's backstory, we're supposed to look for it in the myths and history. But if we look at Are's history, the answers we get to the questions above don't gel well with his characterization. The last question is something super specific to Type-Moon's universe, so I won't include in the scope of this thought experiment, but otherwise, here's what we know about historical Hieda no Are.

The preface of the Kojiki tells the story of two men who worked together to compile the historical records: Hieda no Are and Oo no Yasumaro. Yasumaro is a well-documented noble, but this preface is the only primary source we have on Are. The preface narrates that Emperor Tenmu was very impressed with his personal manservant, the 28-year-old Hieda no Are, due to Are's perfect memory and talent for verbally describing what he saw. To put his amazing servant's talent to good use, he made Are memorize the imperial genealogy and the stories of past generations of multiple major clans, each of which that its own version that contradicted others and it was up to Are to sort out the facts and find a believable interpretation. Next, the emperor ordered the notorious writer Oo no Yasumaro to put all of Are's oral tellings to paper. And that's all we really know.

FSR puts weight to idea that Are's historicity is dubious, so we gotta address why some historians believe Hieda no Are wasn't a real person. One reason is obviously the lack of mentions of him outside the book credited to his authorship, but there's another major argument against him having existed. In 670 and 690, Japan conducted its first two census registers, which assigned a surname and a surname-associated social rank to every family in the Kinai region, except for a negligible percentage of the slaves. Hieda, however, is not a listed surname and Are's signature in the Kojiki doesn't mention his social rank. This suggests either Hieda no Are is a fake name or Hieda no Are was a lowest-rank slave, which feels unnatural when contrasted to his intellectual prowess and his job as a servant who works in close quarters with the emperor.

And believe or not, the Kojiki's two signatures are also an extremely valuable element of characterization for these historical figures. I'd go as far to say this one detail single-handedly gave me a completely different idea of how FSR should have interpreted and portrayed Are's character.

One of the Kojiki's two signatures reads "Senior 5th rank official, 5 times awarded, Courtier Oo Ason no Yasumaro", and the other reads "Hieda no Are". There are multiple theories for what happened here. It could be that the two authors personally signed however they wanted. It could be that the actual writer Yasumaro put down both names but never bothered to ask Are's rank and merits. It could be that Are really was just a slave with nothing to add to his name, but Yasumaro decided to bloat his signature anyway despite the eyebrow-raising contrast it created. Many possibilities exist, and all of them make Yasumaro look like a self-absorbed asshole. I'd even go as far to say the exact type of self-absorbed asshole FSR portrays Are as.

To me, the right call was to make the Kojiki's authors into two people in one Servant. The knowledgeable, creative, insightful, but completely submissive Are, and a Yasumaro with canon Are's entire personality. There are 3 angles where I think his character would benefit a lot from this arrangement.

Puppet Playground genuinely makes more sense as a shared Noble Phantasm to me, Are creating the space and Yasumaro dispensing the debuffs. The Reality Marble continues to be a symbol of Are's perfect memory and mission to sort out historical contradictions, but spam of blatantly false statements is resignified as Yasumaro making historical fact out of everything Are says to him regardless of what he previously believed. It'd become, in a sense, the power of trust between coworkers.

If canon Are was actually Yasumaro, his wish to historically validate Are would be a lot more sympathetic, as his goal would become to give what he considers well-earned dignity to a partner who would essentially serve as the only person respected by the character who spends all of his dialogue disrespecting others. And there's an additional element of likability to how everyone Yasumaro dismisses throughout the game are really important people while the one person he respects is just a remarkably talented slave.

As an extension of the idea of Are being the only person Yasumaro respects, the twist of Yasumaro's wish would cause a similar character reframing to what Iori and Chiemon get throughout the game. Yasumaro's gratuitously demeaning personality and Are's servile submissiveness combined can cause people to assume Yasumaro mistreats Are, but context of their ultimate twist invites the player to notice that Yasumaro actually never was disrespectful to Are even once.

#type moon #fate samurai remnant #hieda no are #oo no yasumaro

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deltaruminations · 3 months ago

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quick breakdown of what i think The Legend (as told to us by ralsei) might be communicating, since i don't think i've actually laid out my thoughts on this before

Once upon a time, a LEGEND was whispered among shadows. It was a LEGEND of HOPE. It was a LEGEND of DREAMS. It was a LEGEND of LIGHT. It was a LEGEND of DARK. This is the legend of DELTA RUNE

this first section is just serving to establish broad themes and symbols relevant to the story. it's scene-setting, and suggests an origin for the legend ("whispered among shadows").

For millenia, LIGHT and DARK have lived in balance, Bringing peace to the WORLD. But if this harmony were to shatter... a terrible calamity would occur. The sky will run black with terror And the land will crack with fear. Then, her heart pounding... The EARTH will draw her final breath.

we know as of chapter 2 that this part describes the Roaring, and vaguely gestures at its cause (the "harmony" between light and dark being "shattered"). in a normal RPG "prophecy," this would be describing the Terrible Outcome that the heroes are destined to prevent.

the part that confounds theorists is how it seems to contradict the next bit, which more or less directly states that the three heroes of legend won't even arrive until after the Earth has died. what this implies is that the Roaring already happened before the game even started. if we're doomed from the start, then what's the point?

if we say that this is a "second take" of the world, then this is actually internally consistent. the Roaring did, in fact, already happen in a different "session" or instance of deltarune's story -- maybe it happened in this timeline, and the timeline was recently reset, or maybe it was a different timeline from which this one was spun off. either way, the world was given a second chance to stop the Roaring, but this only became possible after it had already happened (at least) once.

if we put stock in the idea that gaster wrote the Legend (as it's told by ralsei), we could speculate that this part of the Legend isn't actually prophetic, but rather based on some kind of prior experience, whether because he saw it from the outside or experienced it first-hand.

Only then, shining with hope... Three HEROES appear at WORLDS' edge. A HUMAN, A MONSTER, And a PRINCE FROM THE DARK. Only they can seal the fountains And banish the ANGEL'S HEAVEN. Only then will balance be restored, And the WORLD saved from destruction.

this is, of course, setting the scene for our current "session" and laying out the basic goals for the rest of our journey (or at least, what those goals are *supposed* to be).

under the "take 2" interpretation, this is the section describing the world's second chance. the Roaring is fated to happen, and indeed already has, in a different "session." without intervention, the Roaring WILL happen, by default. so the Legend hasn't simply tasked the heroes with preventing a calamity that theoretically COULD occur, but rather with changing the very fate of a world that is supposed to be DESTINED for that calamity.

"Angel's Heaven" could be referring to some end-state of a Roaring'd world, but it might refer to something else, depending on who or what we think this "Angel" actually is. if we consider the Angel some kind of demiurge, creator figure, or even author stand-in, then "heaven" could even refer to the story itself, whereby the narrative described in the previous section -- the one that prescribes a "fated" Bad End -- might itself be the Angel's "Heaven." it's a world of the Angel's design, that follows Its will; "heaven" in this sense might not refer to the specific quality of someone's Happy or Good Place, but more generally to the Angel's holy domain -- Its sphere of control, or maybe Its sandbox. to prevent the Roaring and change the story's ending is, in a way, to "banish" that story and replace it with a story that the Angel didn't design and can't control -- a story of profane (or perhaps "hellish") origin, which happens to be consistent with gaster's roles as both Actual Satan and the possible orchestrator of the current "session."

Today, the FOUNTAIN OF DARKNESS- The geyser that gives this land form- Stands tall at the center of the kingdom. But recently, another fountain has appeared on the horizon... And with it, the balance of LIGHT and DARK begins to shift...

and of course this is just setting up chapter 1 lol

anyway that's all. thanks. bye

#$ 420 non gaster lore hell #deltarune theory

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plan-3-tmars · 1 year ago

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"You're Just Sitting On The Train" - Double MV Analysis

There's a conversation between the two main character's in a podcast I love called Red Valley which reminds me of the imagery in Double.

"You know when you're on a train, and it's held up, and you're just stuck in the middle of a field while they get the leaves off the line or whatever, and you're going to be hopelessly late, there might be awful consequences to get stressed about but... there's literally nothing you can do about it. It's not your fault. Hopefully you've got a book or something. You're just sitting on the train."

The conversation in context with the scene is about being able to put your problems and stresses, like being late for work, on someone else's shoulders. Let them take responsibility for what's going on so you can feel some relief. It got me thinking about Mikoto and Orekoto (who I'm just going to call John thanks to Neoplasm) and I want to talk about what I think the meaning of it is!!

Trains have many, many different meanings - like almost a ridiculous amount of different interpretations can be made - but I think the meanings that are the most important while talking about Mikoto are trains representing the passage of time, destiny and loneliness.

Loneliness:

While on a train, or waiting for one, you are surrounded by people. However as shown here, most keep their head down and don't speak unless spoken too. It gives a sense of loneliness, you are surrounded by people yet completely alone.

I think this could apply to Mikoto's situation and was possibly a stress factor for him. It is implied from his T1 interrogation questions that Mikoto was popular enough, knowing a lot of people either now or back in high school, but he doesn't seem to open up to any of them. He's alone in the big city with nobody to talk to. He lies to his mother that everything's okay in their phone call and bottles up his stress. Because of this he is dependant on John to function : "But if you persist, I guess it's my job to keep things on an even keel."

The Passage of Time:

This shot showcases how long the train actually is, it flies through each carriage insanely fast, blurring slightly from the speed alone.

It's been extremely clear since T1 that Mikoto suffers heavily from dissociative amnesia, something that is a very common symptom of DID, and I think the fact this shot blurs could be representing that.

Trains representing time and how humans view the passage of time is probably one of the most popular ways they appear, we tend to think of time as one thing that moves forward constantly in a straight line, similar to an uninterrupted train on a train track, but for Mikoto (and John) time is blurry, hazy. It may seem like things move too fast to keep track of (pun not intended) or individuals with DID can sometimes describe it as feeling like you're missing hours, fronting in a place or room you know you weren't in before and being unaware of the events that led up to you getting to this point.

This feeling of missing hours is relevant to this specific scene as after the camera moves through the train the first person we see is Mikoto - not John, who was in the doorway.

Destiny:

Trains are always headed to a specific location so they can also be associated with life's journey, or in other words, fate and destiny.

Both Mikoto and John are shown as the passengers on their train, not the conductor. They are not in control over life's events, just sitting on the train and this is extremely stressing - especially for Mikoto. John says things like : "another day with that hardly barely there of a smile // You're going to break // You're overdoing it, you're already broken". Mikoto seems to find it hard to deal with life's events, aka the train ride, and perhaps feels like the end destination is unattainable at times of stress.

This point is stressed further imo by the fact that we can't see outside. The windows of the train are either white or black for the majority of the MV, sometimes light or 1 image makes itself known but never a full image of what's actually outside.

Bonus: The Train's Maps!

The map's of the train are shown glitched out, also possibly hinting to the feeling of the train's final destination being unattainable, or could also be referencing hazy memories, but I think this specific detail is about John.

We see the maps glitching out when John sings the lyric : "I don't even know the reason why I'm here." [Future Mars I now know this was Mikoto singing but um.. my overall point still stands.] I think the maps glitching could represent the feeling of the loss of purpose.

John was 'born' in order to protect Mikoto, to help carry the burden of whatever is stressing him so much, yet instead of helping Mikoto he ended up being scared of him ("hey, now I saved you right? So why in the hell are you crying?") and it was John's actions that landed them in Milgram - an environment that Mikoto finds extremely stressing, to the point of there being a chance he goes dormant in T3.

Trains are created to arrive at a certain destination, so a train with no idea where it's going (glitchy maps) has lost its purpose.

Despite being an alter 'born' to protect, John has accidently caused Mikoto more harm when he tries, so he questions his role in the system.

Edit: Journey into the Subconscious

After staring at the MV a couple more times I think there's one more train theme I forgot to mention that fits here too, which is that trains can sometimes represent a journey into the mind.

I think there's a chance that the train could represent the system as a whole, or more specifically headspace. The only people on the train are John and Mikoto and the fact we never see what's outside gives a sort of surreal, dream like atmosphere, almost as if this was happening in an environment with no psychical appearance.

The lyrics sung in Double seem to be more directed at Mikoto than the actual audience, and from the last line "I'm so sorry" we can deduce that this song is something of an apology and explanation of John's actions that he wants Mikoto to hear.

#im not rlly 100% certain on any of these points but i wanted to throw them out here to see what others think #also just wanted to write atleast 1 thing on Double because god damn it was SO COOL #also i am in no way an expert on DID - any info here is based on my own research so if there are any inaccuracies pls lmk!!#also yes thats another podcast referance in my milgram analysis. i like sprinkling them in when i find the excuse to talk about them #also sorry for calling orekoto john but im sticking with it cuz that reminds me of john doe from the malevolent podcast #and he is my blorbo #milgram #mikoto kayano #red valley pod

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rorykillmore · 9 months ago

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if you have been as intrigued as i am by oz perkins' LONGLEGS (2024), here is a very preliminary shot by shot breakdown of its teaser trailer! will we discover anything profound? probably not, but there are some spoilers and speculation/potential spoilers under the cut, so if you want to go in completely blind, be mindful

maika monroe herself in our opening shot, standing in front of her crime board. which seems to mostly feature a cipher (one of what appears to be several that this movie and its marketing are using).

are we to assume that something Bad is happening in this car? probably.

next shot is cut as though this little girl is reacting to whatever is happening outside. i was squinting at whatever is on her desk because i have a feeling it may be important (for reasons mentioned later) but it is difficult to tell.

someone (maika monroe?) is doing research on what appears to be demonology or something related to it. titles of the books are 'a guide to the nine circles of hell' and 'the dark lord's hand' (both books were presumably created for the movie as they don't come up in any searches). beneath the books are notebooks in which she seems to be attempting to decode that cipher (maybe the killer is leaving our protagonist coded hints)

this opening of the book is intercut with a shot i did not include (to save space/because i had little to say about it individually) of the investigators opening a door to a dark room (murder scene?), which is a cool thematic thing. it also precedes...

also this shot is more heavily featured in this teaser with a cipher that when translated reads "hail satan" (check out the decoding work this person has done). well! if we had any doubt that these killings have some kind of religious motivation.

this is the 'guide to the nine circles of hell' book, but i can't make out the text with any clarity. to the right, perhaps another decoding effort is happening -- but i actually think this is maika trying to figure something out about the victims here. the order in which they're going to die, maybe? their locations/how they are chosen? there's a list of people's names beside a field of numbers, and she's drawing a line through some of the numbers.

starting to notice something odd with the aspect ratio - pay attention to how it swaps between standard widescreen and this more voyeuristic type of shot (you also saw this earlier, in the winter shots of the car and the girl), and we'll see if there seems to be any logic to that.

our first look at nic cage! is it scenes involving him/related to him specifically which are shot differently? maybe to induce said voyeuristic quality surrounding him and his kills? regardless: he's busy in his little workshop here. there's a nic cage interview floating around that seems to indicate that his character kills via creating cursed dolls or puppets which drive families insane in a sinister-esque fashion, which would check out here

something wicked is afoot in this hardware store (?) (i can't actually tell what is being sold here)

in presumably the same store, we see an unknown figure offer this girl some kind of small figurine (???). possibly nic cage planting one of his dolls (this is also why i was paying attention to the other girl's desk in the earlier shots, to see if she had anything similar). does he work here? (worth noting however that this is shot in the regular widescreen aspect ratio)

maika is finished with her triangle recreation.... but perhaps she is not alone

few interesting things to note here. 1) woman is getting hit in the back with an axe (in her own home, seemingly not expecting it, lending credence to the killer's MO). her murderer (husband? unsure) appears to be covered in blood. 2) she bears a resemblance to this woman, from a promotional poster and the setting looks as though it's the same one from this teaser. (cipher reads: "stood upon the sand of the sea", referring to a quote from the book of revelation describing a HYDRA, hmm)

3) a change of aspect ratio again, which immediately intercuts with....

maika flinching backwards as though bearing witness to this. could be just some misleading trailer editing, but the implication here is that she is 'seeing' these murders take place somehow. actually, maybe THAT explains the change of aspect ratio? it happens when we're seeing her "visions"?

gonna cover these quicker shots a few at a time: a shadow stumbling/dragging itself through a house as though wounded (not sure if it's the axe-in-the-back woman, because the house looks a little more modern, plus - different aspect ratio), an eerie figure in the woods (feels strangely out of place), another shot of nic cage in his workshop(?) (again with the aspect ratio switch - so if we follow the theory that these are maika monroe's visions, she definitely has some kind of direct connection TO him and not just a voyeuristic connection to his victims).

a person (i initially thought a woman, but that could actually very well be nic cage with his long, scraggly hair) slamming their head into a desk. the shot has interrogation room vibes (to me) but is too bare bones to make out for sure. maika is either... watching/interviewing (that's a camera beside her?) or this is another intercut reaction shot implying their connection.

(i didn't capture it but these shots are also intercut with images of red, gurgling blood, which seems a bit more deliberate than just an edgy choice - if there is a ritualistic element to these murders, perhaps it has something to do with blood)

i think this is nic cage again, but why is he upside down? interesting. unless i AM wrong, they actually show him a lot more in this trailer than initially assumed.

we're in maika-vision (calling it that until further notice) here again, this time to look at some kind of demonic entity (the same one we saw in that earlier shot of the woods?). this calls into question the objectivity of this voyeurism-whatever-it-is, although... obviously this film does have very clear supernatural elements, so hell, maybe nic cage IS being instructed by a demon.

another very clear intercut between maika and nic cage. is that nic cage?! it REALLY does not look like him from this profile angle, but it is possible that they've done some prosthetic work on his face (which they have been very careful not to show in full quite yet - nor do i think they should, since he is such a well known guy. you don't want your audience getting comfortable with him in this role before they actually see him.)

but i digress: another moment where the editing is implying an important connection or parallel (maika seems to be losing it a little - which i would too if i could no longer separate my identity from a killer's and/or their victims)

going forward i would pay attention to how promotional material for this movie is edited In General because they are using it as a very deliberate communicative tool at least in this teaser!

another couple of notable shots. in the first one, a woman (a nun? she seems to be wearing a habit, similar to another woman we will see later) fires a rifle into what seems to be an already blood-splattered car. then (which i didn't include) we see Maika With A Gun (hi maika), and what appears to be a car chase.

in maika-vision again, a man who has seemingly just got done slaughtering all of his cows. probably safe to call an animal harm content warning for this one, pals

ah! that WAS nic cage in the car paralleled to maika -- look at how he's dressed here. yet again they are deliberately hiding his face (also note the background - it would seem that yes, he is working at some kind of paint/hardware store).

two more maika vision shots. the first is the woman we see featured in this poster. the second is a small child who is closing a door to avoid watching whatever they're looking at. neither is having a good day!

there is a targeted amount of religious violence here, which makes sense if our killer is demonically motivated

and last but not least, nic cage murdering a guy (gender neutral) (interesting though because i hadn't assumed him to be the hands-on type given his rather indirect MO).

anyway: that's the longlegs trailer! the most telling takeaway here, in my opinion, is: how much it does actually focus on this sort of duality between maika monroe and nicolas cage and some apparent connection between them. my instinct is that that's going to be the meat of the story (although there is clearly a deeper mythology to explore too -- the cipher, the demon, the nature of the kilings).

one more thing to note: this movie seems to take place over the span of several decades. the teaser posters/captions released by neon are dated by year and reflect as much, and if you're looking for it you can see the aesthetics shift around a bit in the trailer as well.

send me your theories/observations! eager to see if anyone puts some pieces together that i might have missed.

#longlegs #longlegs movie #horror

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