#i judge a character for their consistency and role in the story

[set-wingedwarrior]

I need to talk about Adam Taurus and James Ironwood, and why they are good characters deserving of apreciation.

You see, as much as it's true that a lot of fans of their are crazy stans who see them as men who did no wrong, I don't think it's fair to get mad and attack all the people who enjoy their characters. I do enjoy them for example.

Yes, they are terrible people, but that's what makes them good characters! I love them for playing their role well, not because I condone their actions or think they are in the right!

Let's take Adam for example. I hate him as a person, while watching the show i wanted to beat the shit out of him, and that's precisely why I love his character! He gave me emotions, and played his villain role in Blake and Yang's story arcs masterfully! It's partially thanks to him and the way he played his role that their relationship got to shine this way! He is part of why I love bumbleby so much, and I can't just ignore that.

He's the victim that turned into a monster (even if we find out specifically about that very far in his story), the wronged person who took that in the worst possible way (the fact that you got influcted pain doesn't give you the right to inflict it to others). A boy who had no control over his life that decided to get revenge and control everybody else instead. It's tragic when you think about it this way, and I love that!

Or, even more clearly, Ironwood. From the beginning we see good intentions and terrible actions, that later on, under so much stress and pressure and ptsd, just made him go down. All of his faults come from a place of untrust toward others and the idea that only he could know the best course of actions, never taking into account other people and ideas. This obsession and hero complex is what leads to his and Atlas' fall and, again, even if I really wanted to bash his head for all the stupid things he did (or wanted to do), I still loved watching him play this part and fall deeper down every episode. Again, it's sad and tragic and I love it!

This isn't meant to be a full blown analysis of the characters, but I just wanted to point out that it's unfair to be authomatically hostile towards anyone who likes their characters. I understand that so many of them are people defending their actions, and it is very frustrating (and sometimes worrying) when very clear evil actions get misinterpreted or justified by someone, but it's not like everyone is like this.

They are characters, vessels to tell a story, and people aren't just allowed to enjoy a well played part, but it's actually good being able to apreciate the executions and characterization of villains! Both understanding their roles on a "technical" level, but also understanding their characterization and why they do what they do.

I love when it makes all sense, when I completely see how a character is reasoning and it's consistent with everything else around them! It's part of what I enjoy in stories, and the fact that I do have a good time watching, analyzing and understanding them, doesn't mean I am condoning their actions. Understanding and justifying are two very different things.

So, take this post as a little show of love and apreciation for Adam Taurus and James Ironwood: you are two assholes, but you are so good at that, entertaining and you played your roles well; thank you for your service in the story!

[evie-doesnt-write]

My unpopular opinion is that TGCF is the weakest out of all MXTX books (maybe because she didn’t get to edit it until recently unlike the other two). I still love it and it’s an amazing piece of work but as a narrative, its structure is not as strong as the other two (though I think TGCF is stronger in other regards)

[raven-at-the-writing-desk]

Just like how kalim embodies scarabia's mindfulness in his own way, how do you think other boys embodies their respective dorms spirit?

For the sake of ease and consistency, I will be using the official TWST localization's terms for each dorm's core value.

Please note: these are my personal interpretations; even the definitions of each dorm’s “spirit” is not explicitly defined within official TWST materials, so I’ll be running with my own definitions before covering each NRC student. Additionally, since I’ll be covering 22 characters in this post I may not have time to get into painstaking detail for each one.

***Main story spoilers (including late book 7) below the cut!!***

The Queen of Hearts' Spirit of Strictness

Literally speaking, strictness refers to following rules or beliefs exactly. There is rigid enforcement of these rules or beliefs, and very few, if any, exceptions or mercy granted.

Right off the bat, it’s easy to see how Riddle aligns with the spirit of strictness. He is the embodiment the law in Heartslabyul, serving as both judge and executioner to his students. Riddle insists that the rules—no matter how nonsensical—be followed, and he does not hesitate to unleash his wrath and collar those who step out of line. He is strictness itself. Beyond book 1, we do see Riddle trying to be more patient and flexible—however, the fact remains that he upholds rules and continues to have trouble with circumstances where he has to think independently or without a set of instructions to refer to.

Trey is known for frequently indulging others and behaving in a manner which some may call kind. The twist here is that Trey’s strictness is present in the “big brother” role he adopts when dealing with his peers. He’s generally more lenient than Riddle, but Trey often alludes to the fact that he shouldn’t be underestimated or thought of as a nice guy. There are moments when Trey gives others their comeuppance for misbehaving (such as in his dorm uniform vignettes, where he deprives first years of cake for complaining about his same-y baked goods). The thing is, most don’t see it coming because he’s typically so… nice. When he wants to be stern and put his foot down, he certainly can—it just isn’t something that happens a lot, since he’s more mild-mannered than his classmates.

Cater is strict with his public image, specifically how his peers view him. This is most obviously seen in his obsession with social media. He's constantly taking pictures and posting, being heavily involved on Magicam—a space where he can control the narrative about the type of person he is and the life he has. Cater keeps up this front in real life as well, acting cheery and sociable with his classmates while masking a far less motivated and sad side to his character. (This is implied in his Lab Wear vignettes, where a mandrake he infuses with his own magic becomes gloomy and huddles into itself.) There are occasions when Cater expresses that he is lonely or that he wishes he had more friends growing up, but he never fully opens up about his true nature. He strictly keeps that part of himself locked up tight and is seemingly afraid of what others would think of that persona.

Like Cater, Deuce is strict with himself. In Deuce's case, this arises from a past of delinquency and the desire to reform and to be an honors student that his mom can be proud of. Because of these goals, Deuce tries very hard to excel in class (but often falls short) and to behave in a way that he believes honors students would. This means changing the way he looks (he let his natural hair color come back in; it used to be bleached blonde), the way he speaks (not using foul language), the way he dresses, and, most importantly, the way he acts. Of course, his temper gets the best of him at times and his delinquent self bubbles back up (like in book 1 when the eggs were ruined), and Deuce is currently working on better repressing that.

Ace is probably the most carefree and the least stereotypically "strict" of the Heartslabyul group. Instead of having a focus on enforcing rules, Ace is usually the one breaking or defying them. How, then, does he embody the Queen of Hearts' spirit of strictness? I believe it comes through in some of Ace's most iconic scenes: the ones where he is calling others out on their bull crap. Time and time again, it's Ace that is bluntly telling others what they're doing or saying is hypocritical or wrong, or that they haven't truly taken accountability. He does this no matter who he is facing, be that his own dorm leader (book 1), an undead bride (Ghost Marriage), or Malleus Draconia himself (Endless Halloween Night). Ace has his own set of morals and beliefs, and he speaks them loud and clear without imposing as harshly as Riddle does.

The King of Beasts' Spirit of Persistence

Persistence is when one continues their course of action in spite of difficulty or opposition. In other words, there is an obstacle in the way of achieving a goal, and one persists in the face of that obstacle.

Leona is a somewhat strange case to make for persistence because initially he comes off as a very lazy character. We quickly learn that though he appears unmotivated, he’s comfortable scheming and thinking multiple steps ahead to cut out difficult or unnecessary work. There’s no doubt that Leona has had a challenging childhood, feeling like he was always being compared to his brother and never recognized for his own talents. We feel the effects of Leona losing this hope as late as book 6, when Leona says that Jamil is capable of change, unlike himself. Some fans even speculate that Leona’s dialogue implies he has fallen into depression as a result of frequently being dismissed and put down in spite of his efforts to be seen. Even when Leona is dealing with such trauma, he cooks up a plot to return his dorm to glory and to support its future. He, the lowly second born prince, wants to prove himself and his team of misfits, as being worthy of respect and admiration. When the plans fall through, Leona is quick to give up (which seems to go against the idea of Savanaclaw’s persistence). However, I would say this is part of his character growth in book 2. Later in the main story, Leona also throws in the towel quickly—but it doesn’t contradict his development; he knows when to strategically retreat in book 6.

Ruggie comes from an extremely impoverished background. He has had perhaps the least “cushy” life out of the entire NRC cast. Even so, Ruggie was able to study and work hard enough to earn decent grades, get multiple part-time jobs, and pick up many useful survival skills. He’s street smart and knows that what he lacks in strength he can make up for by sticking to someone who is strong (Leona). (Their relationship is mutually beneficial!!) Ruggie knows that just having money isn’t sustainable in the long run, so he’s hauling ass now to make something of not only himself, but also for all the people in the slums.

Jack embodies persistence through the events of book 2. At first, Jack tries to get Leona to see reason by letting him know that he genuinely is a figure Jack admires. He’s put in a moral dilemma when Leona argues that even if they play dirty, he has good intentions. If Jack interferes, he is messing with the future job prospects of his dorm members. Jack wrestles with the question before ultimately coming to the conclusion that he has to tell others about it—and, what’s more, put his own pride as a lone wolf aside to confront Leona and stop to his machinations.

The Sea Witch's Spirit of Benevolence

Benevolence may refer to meaning well or general kindness and compassion. It involves a willingness to help others and caring for them.

Azul, being at the head of the operations at Octavinelle, passes himself off as a benevolent man who will listen to your woes and grant your wishes. In fact, he does—but at a price. The shady ring he’s running is NOT wholly benevolent; the deals can definitely come across as malevolent in book 3 (when Azul wrote the contracts in such a way that the loopholes could fuck clients over). The deals themselves (assuming no foul play), however, are neutral since both parties agree to the terms. Contracts are written with the idea that they will benefit the clients. And Azul is, of course, also seeking out benefits for himself, as that is the nature of business dealings.

Jade represents a kind of benevolence associated with acts of service. He’s Azul’s right-hand man and information broker—furthermore, much of how Jade presents himself alludes to being a butler or some other supportive role. Jade just generally behaves in a way which benefits others. He acts demure and servile, then uses the trust he has gained through service to ply what he wants out of others. Jade does it so sweetly and so expertly that his prey don’t usually notice, or willfully overlook it, being far too impressed by his abilities to fixate on his ulterior motives. This strategy works even on notoriously stern individuals such as Vil (Jade Dorm Uniform vignettes).

Floyd gives “free hugs” :) is… well, ironically, the “kindest” of the trio in a weird way. While this is highly dependent on his mood, the fact of the matter is that Floyd is the easiest to read in terms of “telegraphing” his actions. If he’s in a bad mood, he usually will not hide it. You know what you’re signing up for as soon as you see him. He also typically doesn’t put forth an effort to manipulate or to scheme like Azul or Jade would; Floyd would prefer to be direct and get it over with already. That, in a sense, is the mercy that he offers: something swift and plain to see.

The Sorcerer of the Sands' Spirit of Mindfulness

Mindfulness is a state of being aware of oneself and the present moment. A mindful individual can aknowledge and accept one’s feelings, thoughts, and bodily sensations. Mindfulness may also extend to being aware of others and perceiving their own states of being.

Kalim is not viewed as the most intelligent or crafty of leaders, but where he shines is in his ability to welcome and to bond with his dorm mates. His emotional intelligence is extremely high, which proves itself to be a useful skill in getting to know others and to earn their trust. Kalim has made a name for himself in Scarabia because he is always there to listen and lend a helping hand to his dormmates. He is unabashedly open about his own emotions too, crying when he is sad and trying hard when he is frustrated or dissatisfied. He often asks to know what is wrong when he senses upset within his classmates and wants to do what he can to rectify those situations. This is peak mindfulness--not only is Kalim acutely aware of his own emotional state, but he's also pretty consistent with sensing those in others (the one big exception here, of course, is Jamil). Sometimes Kalim can be blindsided by his own blind faith in others or his overeagerness causing him to blurt things out unintentionally. He's definitely not perfect in this regard--however, there's plenty of room and willingness to grow and to learn (something which Kalim has expressed both in book 5 and in birthday vignettes).

Jamil more readily fits in with a less savory interpretation of mindfulness. He thinks ahead and uses what he knows of others to manipulate them or put himself in an advantageous position. This notably occurs in book 4 (when Jamil plans to use the feedback of Yuu and the Scarabia members to dethrone Kalim), as well as in events (like Beans Day, where he plans to entrap Kalim when Kalim cooks a fragrant lunch that Jamil purposefully packed for him). He uses what he notices or knows about others (Azul’s shadiness, rumors about Lilia being a bad cook) to avoid interactions which could be less than beneficial to him. Jamil’s main fault is that he fails to recognize people’s strengths (something which Leona calls him out for in book 6), and instead focuses mainly on their weaknesses, shortcomings, and how those could be exploited (mostly because he’s in a position where he cannot outright act in certain ways without suffering some consequences). Jamil is aware of these potential consequences and finds or plans workarounds for them. However, he is also mindful in a more conventional sense too. He’s usually the competent one in Scarabia’s leadership and fulfills the organizational tasks that Kalim doesn’t. The duo is like sun and moon; they balance each other out.

The Beautiful Queen's Spirit of Tenacity

Simply put, tenacity is determination and endurance. One is persistent in maintaining, adhering to, or seeking something valued or desired. Each of the members of Pomefiore knows what they want, and they are stubborn in their pursuit of it.

Vil makes it clear in book 5 that he wants to win VDC/SDC, thereby proving to himself and to the world that he is capable of more than playing the part of a “villain”. He already had high standards for himself prior to book 5 (exercising, doing skincare, maintaining a healthy diet, etc.), but you can see how single minded Vil is toward this one goal. He drives his team members hard and even cancels a major job offer from his manager so he can dedicate all his time and energy into seizing the win. And how many times has Vil lost in the past??? Countless, I bet. Yet here he is, trying again and again, even when he knows that happy endings aren’t guaranteed and his efforts may not bear fruit after all.

Rook pursues any and all things beautiful!! He used to just be content admiring beauty, but with Vil’s prompting, Rook soon also found value in beautifying himself. It means Rook can also put beauty out into the world, and helps him better appreciate other works of art. This man is infamous around campus for his… admittedly creepy and unnerving habits. He follows people around, documents them in photographs, memorizes their personal details, etc. His keen eye has also earned him praise though—Vil can comfortably rely on him for honest feedback, and Neige recognizes him as a dedicated member of his fan club. Rook is nothing if not determined and dedicated to his craft.

Epel is tenacious too, but in a way that Vil would not approve of in all circumstances. Epel is stubborn in his thinking and refuses to let go of his hometown roots. He’s very proud of where he comes from, so he puts up a fight with Vil when Vil demands that Epel address his upperclassmen more politely. Epel sees the command as a threat to himself, and a challenge to the hometown he loves. Additionally, it takes Epel a while to reevaluate his deeply ingrained views on gender norms. He’s all-around very strong-headed!

The King of the Underworld's Spirit of Diligence

Diligence is when one is involved in careful and persistent work or effort. This principle generally governs all of STYX, the blot research organization operated by the Shroud family. Their job is a thankless one—they do such important work, yet it isn’t recognized by the general public due to STYX’s secretive nature.

Idia, as the temporary acting director of STYX in book 6, gets involved in their research. There’s many Phantoms kept in the STYX facility, so there are many safety precautions in place and care taken to ensure no one is harmed. (Ironically, it was Idia’s lack of diligence that led to Ortho’s passing.) Outside of book 6, one can say that Idia has a diligent personality, at least when it comes to his hyperfixations. He becomes dedicated to media that captures his interests to the point where it actually incentivizes him to leave his room (Ghost Marriage) and overcome his meek stutter to speak confidently and lecture people (first Halloween event, his Dorm Uniform vignettes, etc.).

I believe Ortho is diligent in being Idia’s emotional support both before and after Ortho is officially recognized as a separate student. He cheers Idia on and encourages him to touch grass socialize, wishing nothing but the best for his big brother! Ortho wasn’t always like this either; he used to be quite stiff and monotone, and had to learn how to emulate emotions by carefully observing and absorbing media. His motivation in book 6 is also fueled by diligence—Ortho worries about what he can do to support Idia’s wishes, and this is ultimately what drives him to taking over STYX and unleashing the Phantoms. Then, in Fairy Gala: What If, Ortho stubbornly tries to come up with his own ideas regarding the theme of evolution rather than rely on others for answers. He works hard to developing his own concept and is able to put on a show-stopping performance with it!

The Thorn Fairy's Spirit of Nobility

To be noble can refer to strength of character, mind, and/or literal position, birth, rank, or social status. No matter which definition you go with, I think they could all apply to the members of Diasomnia.

Regarding noble status, Malleus and Silver are both princes. Lilia and Sebek may not be nobles themselves, but they (in addition to Silver) serve royalty and have close personal connections to people in high places, be it via friends or via family. Diasomnia is very well-connected.

Beyond superficial nobility, one can say that those in Diasomnia are noble in character as well. To begin with, Lilia has sacrificed himself for his country on multiple occasions. This isn’t limited to going to battle, but also ferrying his princess’s egg to safety, traveling the world for knowledge on dragon eggs, and going so far as to give up his own life force to hatch Malleus. And what does Lilia get for all of this? Banished from the capital, screamed at, shunned—all because he is a nobody, a bat of no status. Despite this, Lilia does not become bitter nor hateful, he instead opens his heart and mind to the world and seeks to instill others with the same wisdom. Through all the tragedies he suffered, Lilia rose stronger than ever rather than sinking to the same levels as the narrow minded senators that rebuked him.

Silver is, perhaps, the most overtly noble in character. He extols the virtues of listening and getting along with others, often serving as the peacemaker between parties (typically between Sebek and their peers, but we’ve also seen Silver smoothing things out between all of NRC and diurnal fae). He also assumes the best of others and is ready to leap into action to protect them at a moment’s notice. His kind and gentle nature attracts many forest animals to him, who can likely sense the purity of Silver’s heart.

Sebek’s brand of nobility isn’t geared at others in general but rather is pinpointed on one person (that being Malleus). He is noble in the sense that he dedicates himself to his prince. It’s no secret that practically everything Sebek does is to “live up” to perceived standards so as to not shame Malleus or the Draconia royal family—from doing well academically to dressing neatly and throwing himself into training… Sebek’s passion and eagerness is what makes him stand out. It could also be said that he fiercely defends his friends and those who have earned his respect (albeit maybe not worded in the most tactful ways). That, too, in a sense, is honorable.

Finally, we have Malleus. What can be said about him that hasn���t already been said? He is the prince of a nation, so there are many people looking to him for leadership. As such, Malleus must always conduct himself in a manner that puts his country’s best face forward and expects the same of others. Indeed, he reprimands Sebek for behaving in poor taste and instructs him to apologize to Leona, the prince of another nation. However, what is most telling about Malleus is his impetus for Overblotting. He deludes himself into thinking “this is what is best for everyone”. In his mind, he frames forcing everyone into dream states so they can stay forever and have their happily ever afters as the “good” and “noble” thing to do. He’s definitely not doing this for himself, he argues, it’s a gift for everyone. And throughout book 7, Malleus tries to gaslight others into this belief too 💀 when bro’s already convinced himself of this and refuses to see otherwise—

[blossomthepinkbunny]

Poor rendition of queer characters in HH and HB

Here I am again talking about queer representation in Hazbin Hotel and Helluva Boss, this time just more generally. Because it's always a little weird to me when people claim HH/HB to have good queer representation, when in actuality most of the queer characters are either just blatant stereotypes or get mishandled somehow. And with Helluva Boss recently winning the Queertys - Web series reward I think that this is probably a pretty good time to acknowledge that kind of stuff (as people have done before).

TW: Sexual assault, R@pe (when referring to the actions of characters)

Blitzø (Pansexual): is very sexual and seen on screen multiple times either having sex or just having had sex. Pretty much fits the general stereotype of queer men always being sexual and also the stereotype of pansexuals just sleeping with everybody. Like, he literally screwed the mutual Ex of his coworkers even though he knew how much that guy hurt them.

Stolas (Gay): also mostly sexual (from how he was introduced) and he is in a pretty terrible "relationship" with Blitzø, which includes coercion, SA, Power dynamics and fetishization. Another very sex-driven queer man. Also just great proof for the people assuming that queer relationships are inherently predatory, unhealthy and never work out.

Moxxie (Bisexual): is often forced into a very feminine role because even in relationships with women, queer men always have to be pointed out to be feminine and putting a guy in a dress is funny I guess.

Fizzarolli & Asmodeus (Queer): they're actually better than a lot of the other characters here but there is still some of that uneven power dynamic going on with them and there are obvious issues with their relationship. Overall they aren't too bad though. They didn't get that much sexual focus and what they got is kinda warranted since Ozzie is the Lust demon. But there is that one scene with Fizz stepping out of his car with Dildo confetti canons (I think) and that was sorta weird, since in an episode before that they presented Crimson as being homophobic and stereotypical for assuming queer men are all obsessed with dicks. Which is just interesting because thats most of the queer men in Vivzepops stories.

Chaz (Queer): just a sexually abusive asshole because we definitely needed more predatory queer men in this show.

Sally May (Trans mtf): basically the single recognized trans character in both shows and she only had one line. After that they made fan merch for her which consisted of her in a bikini with her bulge being drawn pretty visibly (multiple times). Of course there's nothing wrong with Trans people who don't have surgery but it's just a tiny bit weird to me that fanservice merchandise is what she got reduced to, when something like that wasn't even the joke of the only line she had in the show and because she hasn't recieved any kind of focus after that.

Angel Dust (Gay): now there is a lot of stuff that could be said about Angel. On one hand he is another very sexual gay man whose screentime often just consists of sex jokes and references. On the other hand that's a big point for his character. How he tries to act confident in his sexuality when in reality it's the main source of his problems. Though he does often harass other men in the show and that's just so unnecessary. Talking about Angel mostly leads into discussing if he is good representation for SA victims or not, which is something I don't want to talk about that much because I feel like it's not my place to judge that as someone who never has experienced SA. I'm gonna say that I do find Viv's treatment of him outside of the show insensitive (with the pro-shipping, diminishing Valentino as an Abuser and general sexualization of the characters) but as far as the portrayal of him in the show goes I've heard different opinions and you should read the discussion's of actual r@pe survivors about this topic if you want to know about more about it.

Husk (Queer): I don't have anything to say about Husk. He is a very refreshing queer man in these show's and there is nothing bad about him I could think of right now.

Valentino (Queer): for him I mostly want to talk about how he is treated outside of the show which doesn't sit right with me. He is a villian in HH so it's understandable that he is gonna do effed up stuff. I also like that the show tries to make a point about how men get sexually assaulted too (wether they succeeded in that inside the show I'm not gonna judge too hard like I said). But there are a lot of people who not only sexualize him, but also his actions and his relationship to Angel and from what I know Viv never really spoke out against that. She actually interacts with people who do that stuff and I it's just kinda gross.

Vox (Queer): I also don't have a lot to say about him. He and Val are a couple so he is dating a r@pist but he is also a villain so you can't really expect more from him. Especially since he would still be interacting with a r@pist even if they weren't dating.

Alastor (Aromantic, Asexual): is obviously not interested in relationships or sex but his identity is pretty much ignored by a huge amount of the fandom. Vivzepop never say's anything about people blatantly invalidating him like that. It seems to me like she doesn't care about characters who can't be involved in shipping but still wanted to have more diversity in her show so she just called him AroAce. In Hazbin Hotel he isn't bad representation though. His sexuality is never the focus but thats fine, it's mostly just the treatment he gets outside of HH which I don't like.

Charlie (Bisexual): doesn't have a lot to her sexuality. This is something I talked about pretty lengthy in my other post, specifically about the lack of Sapphic content in both shows, so I won't go into too much detail here. Her relationship with Vaggie would probably be the best in both shows if it wasn't for the fact that they both never get the real spotlight as a couple. And there is that thing in Vivzepops stories where the women are pretty much sexless without men and that's obviously something that is generally an issue when talking about the lack of Sapphic representation (which is also a topic heavily tied to sexism). Charlie's portrayal isn't necessarily stereotypical but that's just because there is nothing to her identity in the show.

Vaggie (Lesbian): like I said I already talked about the Chaggie relationship so now I wanna focus on something I didn't even mention in that post. Her name literally being Vagina and that's apparently funny because she is a Lesbian so she obviously likes Vagina. That's just incredibly stereotypical and also excludes Trans Lesbians and Asexual Lesbians who don't want sex. The whole joke was that Adam named her that because he is obsessed with sex and he's a jerk. But her name was always Vagina even in the pilot (from what I know Adam wasn't conceived then and neither was the idea that Vaggie even is a former exterminator).

That's all the queer characters I could think of. I hope I didn't miss any.

I thought about including Millie here too. But she was also already included in my other discussion post and I still don't know if she is canonically Bisexual of if that is just a headcannon so I didn't put her here.

I'm just gonna say that i don't have a problem with queer men being sexual (or any queer person in that regard). But it's pretty much every one of her queer male characters. This is especially bad when a lot of the relationships are toxic as well.

I just think too many characters fit stereotypes and to me that isn't good queer representation. If you like the depiction of queer characters in HH or HB that's good for you and you don't have to agree with me. But you also can't really deny a lot of this stuff and you can't expect others to just be fine with bland, hurtful and sometimes even toxic representation like there is in these shows.

[monkey-network]

The Beauty of 12 Angry Men

I remembered in 6th grade lit reading Franz Kafka's The Trial, a story about everything judicial being set in stone for someone completely out of the loop. The bureaucracy behind Josef K.'s fate is never given a cause, no method helps him, and after a year he's at the mercy of a situation nobody said would be fair to him. It was a striking story to me, and lead me into recognizing Sidney Lumet and Reginald Rose's 12 Angry Men as a similar yet antithetical story. The film keeps everything in the dark except for the titular jurors trying to piece the case together for a boy expected to get the death penalty. The matter though, is that the defendant's fate was clear from the start and the journey is about getting to that thread's end. What follows is one of the most well written, performed, and staged movies I watched in my entire life and I just wanted to finally talk about it. So, let's talk.

Setting the Stage

It takes three minutes almost exactly for the title to appear. You get the mission statement from the judge, a good scan of the main characters, and a single moment of the defendant's face, basically the only time you ever get to see said defendant for the whole movie. After that, we the audience are locked in the deliberation room where the film starts to shine after the credits role.

For the longest time watching movies, I was so used to big colorful settings, the characters going places even if it's just another place to talk, where it's a gamble if you can memorize those places. Oppenheimer last year became the widely regarded movie that consisted of next to nothing but conferencing in rooms. Even in older movies, things were never shot in the same spot for long. This film was the first instance where they stripped everything and worked with bare bones staging. All it is are the men in that one room. No flashbacks, no cuts to anything beyond the group speaking. The only other places you get are the adjacent men's restroom and the courthouse steps at the film's very end, scenes of which add to less than 4 minutes. And you would think it gets boring, but 'focus' is the keyword behind everything. The fact there's next to no music adds to it having an actually engaging script that doesn't manipulate or go to unnecessary places to get the point across.

12 Angry Men is what I'd call a "dynamic stage play" where you could imagine yourself seeing this in a live theater, but it wouldn't have worked as well without the secret main character that is the camera. This film knows how to prevent things from getting too static; the cinematography is... well-paced in laments terms. Again, in that one room, you're engaged in where it's focused, how it moves with the characters, when it cuts especially when it closes in on the jurors at their most serious. From a technical perspective, it's immersive at its simplest. No juror feels left out even when out of frame and nothing distracts you from the brilliant acting everyone brings to the literal table. After seeing this, I felt like this was the kind of movie I'd want to make. One that can work with so little but feel as tightly coordinated as any other similar to this. Then again, I wouldn't have concerned about this movie on technicalities alone. Let's get to the story.

The Stakes of Uncertainty

The trial is a first degree murder charge where if unanimously found guilty, the defendant would be sentenced to the electric chair. Everything surrounding this film hinges on the one person who votes not guilty, juror 8. Number Eight makes it clear that his vote is not about bias, there's never a hint at him or anyone having a relation to the defendant outside the case. His vote is the biggest gamble dependent of everyone retracing their steps of the details surrounding the trial, and what I love most about this is the fairness.

Eight doesn't know if the boy's not guilty, he never forces anybody to side with him, but recognizes that the defendant's life is a serious matter and shouldn't be as open shut as everyone else makes it in the beginning. The film shows within reason that the trial wasn't as clean cut as it seemed. And I know the movie isn't judicially accurate and everything's circumstantial, assumptive, and so on. If there's any real issue the film has for me is that they never indict Eight for sneaking in the switchblade even though that scene is still a goddamn show stealer.

Henry Fonda excellently portrayed a man who knew how to play the cards right

Then again, the increased flimsiness of the trial made with the uncertainty of the outcome is the point. We never get the sentencing after the men leave that room, it's all about Eight showing the others that the boy's life deserved more deliberation than the others were willing to give him. Hell, it discusses that trials like this can and have existed where measures of the outcome are made beyond the defendant's control. Breaking through the easy decision every other juror had was more valuable, and Juror 8 did that responsibly while never trying to be above anyone. That in turn is what makes this ensemble cast nearly flawless.

The Angry Men

Before ever seeing it, I've seen a couple jokes of this movie's premise of how it was nothing but said 12 men who sure were angry. Having now seen it myself, it's amazing how much we get to know about the jurors yet only two are ever given names. You'd think the film would give them simple archetypes and gimmicks, but even if you disregarded the acting chops everyone brings, the writing was able to balance who they each are relative to the case and each other. You can memorize which juror is which yet that never makes them just a number on the table.

To me, the best part about this film is how the group is able to collectively debate about the trial with individual motives and understandings. Jurors Eight and Three are the focal characters, they're the most opposing, but I don't consider them the main characters. A Youtube video I watched explores this better than I ever could, but everyone is in this together, regardless of how present they are in the movie and you notice this in their behavior. The character writing made with the simple staging does so much while explaining so little.

Juror Four, who reveals himself to be a stock broker, is the most clinical about the details. He does his best in retracing the trial as factual as possible, discussing the evidence in a way not even Eight is able to fight. What makes him crack though is when it came to jurors Eight, Five, and Nine bringing up certain conditions of the defendant and witnesses that he didn't care to notice. Juror Nine is the opposite, concerning about the witnesses' conditions and probable influences which helped reveal factual doubts in their testimonies.

Juror Seven from the getgo is made the most detached of the group. By the way he's dressed, constantly checking the time, while capable of paying attention Seven is the most dismissive of the case for the simple reason of just wanting to leave for baseball. This is where he comes into conflict with jurors Two and Eleven especially. Eleven is expressively respectful toward the judicial due process, mentioning himself being an immigrant, which makes him eventually fed up with Seven's disinterest. He's not somebody who changed his vote easily nor adds a lot to the debate himself, but recognizes Eight's efforts of a fair discussion and naturally confronts Seven about his constant snide attitude towards the case.

One of the film's strongest moments, where the build up was genuine even if you felt it was unexpected

Everyone makes sense with is established about them in the beginning and I could go on about the little things. Juror Nine, being the first to switch his vote, is the only one who meets with Eight outside in the film's end. You can tell by Juror Twelve fiddling with his glasses and concerned of having the info laid out sequentially is the most flippant about his vote. Juror Five being more likely to change his vote out of sympathy, having grown up and is more knowledgeable of the slums given that's the defendant's home. Nothing about this movie or ensemble is complicated, but the through-line behind everyone's choices in this gets to be more complex than realized. Everything about this is encapsulated in my favorite scene of the whole movie.

Pulling It All Back

Juror Ten is the most openly bigoted of the ensemble. From the start he is racially motivated in his vote, but that's not expressed until a little later. Of that point, he's certain of himself like juror Three about the vote being clear while scoffing at Eight's opposition. When the cracks of the case start to show, Ten's arrogance starts to show and his words become charged. He becomes the most hostile toward everyone and especially gets a rise out of Juror Five when talking about "these people". Everything comes to ahead when the vote is 9 to 3 for not guilty. Ten finally has his outburst, his racial rant unspecified but striking all the checkmarks of a man that stuck in his ways. Then it happens.

Everyone put up with his remarks up to that point, but here they finally step away and we get the most striking moment of a man finally alone with his thoughts. After Juror Four tells him off, Ten goes to the corner desk and basically shuts down for the remainder of the movie. This was the film's strongest payoff in every sense. It wouldn't have worked without the buildup just as much as the civility that came with everyone involved. Nobody had to throw a punch or challenge his beliefs, you never know if this changed Ten as a person, all that matters was that Ten knew he exasperated any goodwill from the jury and finally checked out the conversation. 12 Angry Men knew how to make the characters see their errors naturally, never feeling like they played up the drama for everyone to get their moment.

Conclusion

To me, I'm reminded of when in 6th grade, my literature teacher would have these Socratic seminars discussing the books we'd read. You could say it was the most involved I was in that class. This film knew how to capture that feeling, how towrite a roundtable where the stakes are high from the start but doesn't make it sanctimonious. Again, Juror Eight doesn't force or manipulate the others to see things his way. They try to convince him initially, adding up to a tangled but mutual engagement and it always feels like you're with them in the moment. You feel Eight's uncertainty is as sincere as his conviction, the same going for everyone else involved. The fact they're all sitting in sequential, helping you naturally follow who is who, is the cherry on top.

Before watching this, I didn't presume much beyond a simple courtroom drama which I enjoy ever since Ace Attorney. What followed after was just being more than impressed by how concise and thoughtful this was made. No second felt wasted, no detail felt trivial, ALL THIS and not even mentioning it being like a "bottle episode". Believe me, this post is long enough fanboying about a film from the 50s. It earned being the most ergonomic and engaging movies I've ever seen. If this essay wasn't enough, I recommend it at least once in your life as it's free to watch. What else is there to say?

It's the Best

[dr-spectre]

I’ve been seeing a lot of people in the Splatoon community say that Splatoon 3 ROTM will be the last time we will see the New Squidbeak Splatoon which includes Callie and Marie, but like… no?! Nintendo hasn’t outright said “hey y'all, you like the Squid Sisters and wanna see them continue to grow and develop? TOO BAD BITCH!! THEY AIN'T COMING BACK AFTER THIS GAME HA HA! IT'S JUST OFF THE PEAK AND DEEP PEAK NOW BUDDY! ENJOY!!”

When that person said in the Splatoon 3 direct “witness the finale of the Splatoon Saga” she meant the finale of the trilogy set up from Splatoon 1, the story of the New Squidbeak Splatoon vs the Octarians. The Splatoon games up until this point have always had a consistent throughline of developing the Octarians and giving more insight into the conflict between them and the Inklings. Octo Expansion was about diving deeper into the Octolings, them reaching the surface and living with the Inklings. In Splatoon 3, it seems like the Inklings have accepted the Octolings and are living peacefully alongside them. (Or they are just really dumb and still don't realize that Octolings aren't just Inklings with weird hairstyles.) 

Splatoon 3 ROTM marks the finale of the New Squidbeak Splatoon vs Octarians storyline as DJ Octavio’s entire army literally got turned into mindless furries and he became allies with the New Squidbeak Splatoon at the end of the game. Whether he’ll stay as a good guy remains to be seen but by judging Smollusk’s dialogue in Side Order where he says that Octavio is just flying around in his new machine nowadays, he’s probably gonna stay at the very least neutral to the Squidbeak Splatoon. His mission to save his race is basically over now, Octolings are living on the surface and his army is a bunch of furries. We will most likely never see the Octarians as enemies ever again in the series and the developers will move on to different threats never seen before and start a new storyline, or maybe they’ll focus on the Salmonids for Splatoon 4 but we’ll have to wait and see. 

Now I wanna roll back to the Squid Sisters, listen, aside from the Inklings, Callie and Marie are the most iconic characters in the entire franchise. If you tell a random person “do you know Splatoon?” They are probably gonna think of the Inklings, the unique gameplay and then the Squid Sisters. The only other characters that rivals their popularity are arguably Off the Hook, Deep Cut are still recognizable but they aren’t on the same level of popularity as those two groups in my opinion. 

It would genuinely be a bad financial and story mistake to never ever bring back Callie and Marie for Splatoon 4 and onwards, they are extremely iconic and profitable characters that people LOVE and wanna see more and continue having brand new adventures. Now, do I think they are gonna have the same role as before? No, I think they may take a break or step back from the Squidbeak Splatoon and let Captain 3 take control over Agent 4, Neo Agent 3, etc.

For Splatoon 4, I am guessing they are still gonna perform as the Squid Sisters, but in the main story mode or dlc I'm hoping that the developers take an Octo Expansion/Side Order route with the Squid Sisters where you get to hang out with them and learn more about them. How are they doing currently? What was it like for them at the start of their careers? Some more info about how they were as kids? How do Callie and Marie look back on the events of Splatoon 2? How do they feel about the other Idols and characters? 

There’s still so much left for these girls and just never seeing them again after Splatoon 3 would be a massive mistake and destroy all that interesting potential and lore. 

Also, the way that the Splatoon world works is that it’s an ever evolving world that follows our time, meaning that the characters age and go on new journeys as the years go by in our world. We see updates on past characters and are shown where they are at, the only times when that doesn't happen is when a character is fucking dead (Commander Tartar and the Octoweapons except for Octostomp) or they are in a location that isn’t the focus of what the writers wanna tell (C.Q. Cumber), heck even a character like Iso Padre who was a small side character in Octo Expansion managed to make an appearance in Splatoon 3 and show that he actually made it to the surface! 

Callie and Marie are not going anywhere, you can rest easy. The credits song "Wave Goodbye" is not called that in Japanese, it's called "Star of the Sea Breeze" and we all know that the localization team can make some pretty bad mistakes....

[alicefromwhichplanet]

I’m going to voice my opinions on G1 Elita One here for a reader asked me this on ao3 at my fic Heroic Nonsense. I want to keep a record here as well for my future references and maybe find someone with similar ideas. So I still decided to use tags for content classification. Anyone who might feel irritated about me deconstructing this character may leave. But if you resonate with me or are interested in my analysis feel free to discuss.

I guess my view on G1 Elita One is basically negative, both in terms of her characterization and her representation of women.

If we genuinely talk about characterization, I think G1 Elita One is a very one-dimensional and uninteresting character. Because: 1) She doesn’t have a consistent personality or motivation of doing things. Of course you can say that her motivation is to save her boyfriend and lead the “femme bots”, but these don’t look natural, with the lack of a background story. She looks like a puppet squeezed into the show to be the protagonist’s girlfriend.

2) Also about her role. I feel that Hasbro made Elita One a shadow of Optimus Prime, giving her exactly the same position and constantly stressing her importance, when actually she contributes zero to the overall plot development. The “femme bot squad” in the show is an awkward duplicate of the male team, with every femme bot assigned to the male bot at the same position as their girlfriend/love interest(Elita One—Optimus Prime-leader, Chromia— Ironhide-second in command). I do not know the reason why “femme bots” in the play need to fight alone, and I do not know why Elita One is the leader except the fact that she is Optimus’s girlfriend. So what is the play implying by making such a character? Honestly I think this is even worse than having no female characters in the play.

3)Her plot is totally predictable. It’s a classic Hollywood hero-saves-damsel in distress story. From the moment when Alpha Trion asked her to go on a mission on her own (for what? Why? Till today I still think Alpha Trion is doing this simply because he is an avatar of the playwright) I know she will be caught and rescued by Optimus Prime. Such stories are easily guessed and easily forgotten.

If we talk about gender representation, I have to say Elita One hardly represents any pioneering thoughts of feminism or gender equality. To begin with, I want to clarify that feminism/gender equality aims to question and overthrow patriarchy system, which includes breaking the gender stereotypes and challenging fixed gender roles, heteronormative relationships included. Unfortunately Elita One just repeated/ reinforced the stereotypes/ the fixed model of heterosexuality. She is in bright pink, an assigned color to represent females. She is abruptly introduced as Optimus’s girlfriend, without any background information (how they fell in love, why Optimus chose to have a relationship with her in particular, without the biological need to reproduce, what kind of person she is before she met Optimus). It feels like the playwright cannot bear an action hero not being able to “win over” some pretty chicks. She is made/resurrected by Optimus’s parts, which is just like Adam and Eve and confirms her position as “the second sex”. All of her plots are rigid and boring and she lives like a duplicate, or a moon revolving around Optimus. What’s worse, in her very short debut she is still portrayed as “sweet, understanding, and loves her boyfriend so much that she becomes irrational when he is in danger”, the most typical stereotype of a hero’s wife under male gaze.

Judged from my analysis, I think she is basically a functional character. This means she is created to fulfill a purpose in another character’s characterization, rather than existing on her own. In particular, the purpose of her creation is to add a girlfriend to Optimus Prime, so that he fulfills some people’s fantasy of a “normal” male action hero. With this function as the very beginning of her characterization, the playwright will not be able to make her a round character, or give her any believable motivations. Nor does the playwright actually care.

Now that I think about it, this kind of character may work for some people, because they genuinely believe it is necessary for heroes to be paired up with an opposite sex, or like to imagine themselves as “the lucky chosen girl” through this character (this might be harsh). But I just want to say, it doesn’t work for me. In years of reading and using feminist criticism, it has become harder and harder for me not to be picky about characters, or not to be sensitive about gender issues in any show. Repulsion is not the only way I feel about her. She is my least favorite character.

[dailydemonspotlight]

Datsue-Ba - Day 134

Race: Femme Alignment: Neutral-Chaos October 23rd, 2024

In several underworlds in many mythologies throughout the world, there are more figures than just the god of the dead, his companions, and the souls of the damned. Of course, demons come to mind to many, and they are the namesake of basically every monster in the SMT series, but even outside of the circles of Abrahamic belief there lie many creatures that haunt the hallowed halls of the dead. Today, we're turning back immediately to Yomi, however, as another figure that lies in the Buddhist underworld is today's Demon of the Day- Datsue-Ba, literally meaning "Old woman who strips clothes." Yep, it's gonna be a weird one, so sit tight.

Datsue-Ba are well established in Buddhist literature, appearing first all the way back during 11th century Japan, with our first concrete source being in the traditional Buddhist text the Hokke Genki, a story dating back all the way to the 1040's! Among the many tales consisting of the collection, Datsue-Ba appears in the story 'Renshū Hōshi,' wherein the titular monk Renshu ends up dying of an illness and meets a Datsue-Ba at the banks of the river to cross into the realm of the dead. She speaks to him, saying,

“Know this! This [place] is the Sanzu River 三途河 (Three Ford River) and I am an old lady of the Sanzu River. Take off your clothes, and I will let you cross.”

However, upon realizing that the monk had a devote connection to the Lotus Sutra, also known as the most foundational text to Buddhist belief overall, she bows in respect to the man and he returns to life. However, this is far from her only appearance, as the Datsue-Ba appears reoccurringly throughout several other pieces of Buddhist literature. She also appears in the text 'Jizō Jūō Kyō', though I admittedly can't find much about this text itself. In the text, Datsue-Ba is mentioned yet again, however, in much the same role as mentioned in the Hokke Genki, being a hag who sits by the waterside in the underworld and who steals something from someone as they pass by. The text also, interestingly, puts her under the reign of the Ten Kings... who I'll probably have to talk about someday, huh.

Curiously, now in her more important role, she steals things from the dead specifically in relation to how much they stole in their life. To quote the text's translation,

"Under the tree, two demons live. One of them is Datsueba, the other Keneō 懸衣翁. The hag demon breaks the fingers of both hands [of the dead] in reproof of the theft that [he or she] committed [when alive]. [...] All the dead are gathered under the tree. The hag demon strips away their clothes, and the male demon hangs the clothes on the tree branches. [By doing so, both demons] expose the gravity of [the sinners’] crimes and transfer them to the court of the next king."

This specific role of judging sinners is carried over to many future interpretations of the character, wherein she serves as a sort of moral judge to those who have passed, specifically in the way that she steals their clothes. Her generally agreed upon appearance is also somewhat similar to her design in SMT, though it differs in a few key aspects; agreed upon designs paint her as a withered old hag with exposed ribs, likely pulling from her more traditionally monstrous design in some traditional Buddhist texts, such as the Shiwang Jing scripture which depicts her as an ogre alongside the male demon she works with. Later depictions, influenced by the Jizō Jūō Kyō, paint her as a decrepit demon with sagging breasts.

This clearly influenced the SMT design for the demon, as Datsue-Ba in the series is a withered old woman surrounded by white, long hair. Her blindfold may be a connection to the idea of justice being blind, as the Datsue-Ba does enforce justice, in a way. I'm not sure what the giant paddle on her head says or represents, though, so if anyone can translate it, I'd be so glad. Still, the Datsue-Ba is an incredibly interesting demon and one that I wish we saw more in the series, as she only appears in Nocturne to my knowledge.

[wazzappp]

You write fanfics, right? Would you mind giving a newbie a few tips for writing their very first fanfiction ??? 🥺

FIRST OF ALL WOAH. IM HONORED YOU WOULD ASK ME FOR ADVICE AND SECOND OF ALL AKAKKFJGKHKHSKSGG I uhhhhh. Kind of????? Write?? I make plans and then I draw comics I'm actually trying to WRITE write something right now (key word being 'trying') but INEXPERIENCE ASIDE I guess I can try to tell you about some stuff I like to think about when planning a comic?

I like to start by knowing both where everyone is starting out and where everyone is going to end up. It's also helpful to know what everyone WANTS. I make sure to separate those two because they aren't necessarily the same thing. It's good to know both before you get to the details. If you don't know where you're going, you cant have fun getting there!

When I'm planning something out I like to start with the big parts as bullet points and then fill in the gaps. That way, if you realize one point doesn't flow into the other the right way, you can rearrange things before you're 5 hours deep and realize 3 hours worth of it doesn't work.

Try to think up multiple different ways a scene/situation could go! I replay something in my head a dozen times in a dozen different ways until I land on one I like. If you have something solid its totally cool to stick with it, but it's also fun to explore possibilities in your head before committing. That way you can pick out what the most impactful version is and go with that.

TALK!!! TO YOURSELF!!! FOR DIALOGUE!!! Find somewhere private where you wont be judged or interrupted and just go for it (my personal favorite is in the car on my drive to work but don't do that if you think it will get you into an accident lol). Try and get into each characters headspace and think about how it feels to say the things you're saying. Does it make you feel sick? Choked up? Tense? Notice it and think about how it will change their body language and how other people perceive them.

Know what your characters flaws are! Perfect people are BORING. Not to mention unrealistic. Also its really important for how people interact with each other! If someone is distrustful, judgemental, naive, defensive, blunt LITERALLY ANY CHARACTER FLAW it will play a role in how they deal with both people and problems.

Working on biographies + character designs (if you draw) for characters to make sure you understand them as well as possible is really helpful. I do it for almost all of my AU's that I make. But also I'm incredibly detail oriented so yk. Take that bit of advice with a grain of salt. I like picking my favorite little guys apart with a scalpel but if you find that demotivating don't worry about it too much.

If you're following along with a game or a movie, it's good to know ahead of time how closely you are sticking to the established story and universe. Keep track of any new rules you make. Working within a set of constraints helps to get both you and the character to think more creatively, and keeping those rules consistent makes the world feel more real. In a way, setting limits makes your world bigger!

Its also worth mentioning that I like to pay attention to what I enjoy reading when I'm figuring out a story. What pacing do you like? What level of description? Do you like things phrased more straightforwards or more poetic? I'm not suggesting you copy people of course. Just know what you like and try to apply it to yourself!

Damn that was way more than I thought I had to say lol. I'm going to also tag @moosemonstrous @rokhal @kermit-coded @cannibal-wings sin case they might have some tips to add because they are all absolutely exemplary in their craft (bring out the FANCY words today just for you) and I HIGHLY suggest looking at their works.

<3 Thanks for your ask!! I cant wait to see what you make!

[jedimasterbailey]

Heyyy babe 😘 for the Choose Violence ask game: 1, 2, 9, 15, 16, 17

YESSSSSS I GET TO CHOOSE VIOLENCE TODAY 😁 Thanks dearest 💚💙

Link to original Star Wars Violence Questions linked below!

1.) Give me a compelling argument for why your fav would never top or bottom.

Luminara Unduli would never be a bottom because she definitely that bitch who is ALWAYS in charge. With all the bullshit she has to put up with in both the canon and in the fanon, that woman would have all the pent up feeling to go on all night or go full blown domantrix on whoever that lucky bottom would be (I would personally volunteer my services). No matter where she is and what she’s doing, Luminara gets shit done and that is that. Via osmosis, Barriss Offee is most likely a top too since her mother has taught her how to be a bad bitch like her 💙💚

2.) What character did you begin to hate not because of canon but because of how the fandom acts about them?

Grogu. Like he’s literally just a baby but my God judging from all the mass excessive merchandising you would think that at one point in time Grogu was the only Star Wars character that existed and that’s not necessarily his fault by the annoying group of people who literally only watched Mando just for Grogu and Grogu only. There are so many people out there who will never watch a Star Wars movie or anything else that isn’t Mando just because Grogu isn’t in it and again it’s insane because again he’s just a literal baby. If the show was exclusively about him, it would have been a boring show. If I wanted to look at something cute, I can just go look at puppies or some shit. I don’t need to watch a show for that.

9.) You’re mad/ashamed/horrified you actually kind of like…

I honestly don’t have an answer for this sorry 🤣

15.) Opinion of Anakin’s characterization (I.e the broification of Anakin Skywalker).

This is a very loaded question because I don’t really swing either way with this topic (as in I don’t love or hate it). Like on the one hand, I like how in the CW show they made Anakin more with it and mature when the situation calls for it which makes sense considering he has Ahsoka to consider and he has to be a good role model for her. I also appreciate how in the show Anakin isn’t just bitching about Obi-Wan or obsessing over Padme all the time or being pissy with his other Jedi colleagues. I love seeing Anakin actually being a model Jedi and actually showing that he truly does love and respect Obi-Wan, Ahsoka, etc. However Anakin is seen as more sensitive in the movies and doesn’t always respond with such rage all the time like he does in CW show. Like bro Anakin’s anger goes from 0-1,000 in seconds to the point where he’s just destroying gadgets, kicking Clovis ass, etc. So in short, in some ways I personally think they did a good job expanding on Anakin’s character in the CW however there is no denying there is a huge distinction between Matt Lanter Anakin and Hayden Anakin. They most likely went the bro route because toxic masculinity is in.

16.) Best written female character in Star Wars.

Leia hands down. Her character is one of the very few Star Wars characters that is consistent and true in every single project we see with her in it. And like I’ve never met a Leia hater in my whole life and if I did I would question that person’s character because Leia is a badass that holds everything together when no one else will or when people leave her. She honestly deserves her own show.

17.) What event is Anakin’s point of no return in his fall to the Dark Side?

Shmi’s death. Had that never happened Anakin probably would not have taken those visions of Padme dying in childbirth or Palpatine’s bullshit stories seriously. It was only because Anakin lost his mother that he was insistent on keeping his wife and children safe at all costs because he did not want to endure that kind of pain ever again.

Original Ask Game Questions

[hs-loner2006]

When it comes to critique of Tears of the kingdom’s gameplay and especially it’s story, I think a lot of people focus too much on what could’ve been, and don’t take the time to fairly judge what the game does have and whether or not it executes it’s ideas, mechanics, setting or themes well.

The gameplay and themes that the game and it’s story portray is consistent throughout and don’t go against what it established. The prologue sets everything up perfectly, we’re introduced to the Zonai, and the Imprisoning War and as we progress, we’ll gradually learn more and more of what we need to in order to keep both the story and gameplay engaging throughout, whether it’s through item descriptions, in game books you can read, stone slabs/tablets, the whole 9 yards.

Darker and edgier isn’t always better for a story, you have to work with the themes, characters and concepts that the story established and keep it consistent throughout. Core themes of Tears of the Kingdom is unity, love and second chances, Link losing his arm, The regional phenomena plaguing the world, the Master Sword’s corruption, and Zelda’s draconification is meant to seem irreversible, cause that’s how both we the players and Link initially see it as first. What the game teaches both the age demographic for the game and older players who don’t have it so easy in life, is that there will be always second chances, one mistake doesn’t mean the end of the world, and that it will always be possible to get through hardship with the help of individuals you trust, no matter how impossible the odds may seem, there will always be a possibility that you’ll get through it all, thanks to the help of another individual or even a whole group of individuals you trust.

As for Love, Zelda bonds strongly with her ancestors, Rauru and Sonia, they’re practically the parental figures needed, but never had during the forthcoming of the Calamity from Breath of the Wild, they supported Zelda’s strengths and didn’t chastise her for her weaknesses and didn’t force her to do anything she didn’t want to do. With Mineru, though we don’t see her and Zelda bonding in cutscenes like with Rauru and Sonia, we know from the star-shaped sky islands that Zelda bonded with Mineru over scientific stuff and even helped Mineru build a construct once, and when Zelda tells Mineru about the decision she’s about to make for the greater good, Mineru panics and she fears so much for Zelda in that moment, as she knows just how badly a critical decision such as draconification could affect Zelda, another example of an ancestor of Zelda’s not forcing anything onto her, and this moment would play a key part in Mineru’s role in the epilogue.

With Zelda, even after she sacrificed her own memories, her unwavering love for Link in the form of her last will right before and right after swallowing her sacred tear, is why she lets him claim the Master Sword once more and why she saves him from Ganondorf.

As for Link, Sonia and Rauru coming together to reverse Zelda’s draconification, it isn’t a case of bad writing, cause it’s thematically consistent with the rest of the game about second chances and love, Rauru and Sonia made a promise to Zelda to get her back to her home to put Link’s mind at ease, by choosing the individual closest to Zelda and who knows her more than anyone else to channel their powers through, which is Link, they help him bring Zelda back and they fulfill the promise they made in the end, their own deaths not stopping them from that, something that is thematically consistent with the rest of the game. The prologue showed Link not being to catch Zelda with his mangled arm after the first Ganondorf, this is important as it sets up a parallel in the ending where Link is able to catch Zelda with his restored arm after Ganondorf has finally died, again, something that is thematically consistent with the rest of the game about 2nd chances and love. You may make the argument that there was no lasting consequences, but to me, the very likely mental trauma that the whole thing took on both Link and Zelda are the consequences, they both went through utter hell and were just barely able to save each other in the end.

Furthermore, Zelda’s restoration in the ending and what she does in the epilogue is consistent to her character growth from the end of Breath of the Wild, where she learns to live with the loss and trauma of her past and decides to grow into the individual she wants to be. Her recalling the memory of the ancient sages, her and Mineru all making their vows to Rauru exemplifies the realization of how she wants to rule for the rest of her lifetime. Mineru’s departure also hits hard for Zelda, as it’s for the first time (aside from maybe her biological mother) that she gets to give a proper goodbye to one of her parental figures, knowing this is the last time she’ll ever see one of them again. Zelda’s line “My friends, with all your strength, stand with me.” conveys that she’s ready to take on a role as big as leadership alongside Link and the sages, effectively completing her story and character arc for good.

It’s fine to have headcanons or generally be unsatisfied with the game’s story and it’s ending, I just tried creating a post that judges the story for what it is and don’t try to take into account my own preferences when discussing what it does have, there are some valid objective criticisms for the story, but as a whole, it did it’s job for what it was going for.

[illmetkismet]

Do you think Leon managed to at least move on and let go of his past a bit after rescuing Ashley? Game seems to imply heavily the whole metaphor//theme about redemption loss and moving on and also the credits song too

curious to know what you think?

I really hope so!! On the one hand, the way they handled the end of the game is very different from the OG: like you said, they really paid off the theme of things being different this time, and Leon gets that cathartic smile with the sunrise on his face. On the other hand, as far as we know, Vendetta is still canon.... It's hard to know what Capcom has in store for Leon, how much they want to deviate from the established continuity, and judging from what they did with Chris in Village, I'm a little worried...

I do think Capcom has a huge tone problem, where there are so many different hands in the Resident Evil pot that it's hard to get a single coherent and definitive image of who their characters are supposed to be. Remake Leon is very different from Vendetta Leon and Death Island Leon and even Infinite Darkness Leon, which was made so close to the remakes that you'd think the two would give us a consistent characterization, but I don't think they do.

So who knows where they take him from here! I'm happy to continue thinking of the different versions of Leon kind of as separate characters, despite what Capcom might have to say about that, and if they take remake Leon in a direction that doesn't feel true to his arc so far, I'll happily fork his story into yet another version in my head.

I've said this before, but it's hard for me to imagine Leon getting a canonical happy ending I'd be satisfied with, and I've made my peace with that. I think if that's what you're hoping for too, we're just gonna have to roll up our sleeves and envision a future for him where he does move on and let go and reconcile with the past in a satisfying way (and not in the flippant Death Island 'it's a living' way...).

So I guess that's my answer - personally, and going off what they've done with the remakes so far, I do think that post re4r Leon is in a much better place than he was going into it. I like to think of it as like.... He's gone on so many horrible missions, both before and after Ashley, right? So why are we coming along with him on this one, in particular? Because, I think, this was his 'dark night of the soul', so to speak. He went into this mission at the end of his rope with it all - the pain, the loss, the sheer senseless of all the violence he'd witnessed - and he came out the other side with a little bit of hope and a clearer view of the path out of his suffering: trusting people, being able to rely on others, not giving into hopelessness.

It's so interesting to me when people say Saddler wasn't a compelling villain in the remake, because what was so menacing about him was deliciously metatextual to me. Yeah, he had his plan with Ashley and las plagas, but throughout the game his main role was to keep trying to convince Leon to give in, to submit and let go of fear. He was offering Leon a way out of his despair: a nothingness, a numbness, and that's what Leon was fighting against the whole game! He needed to face the source of his pain head on and arrive in a place of hope, instead of continuing to ineffectually push it all down, to numb himself.

I think at the end of re4r he did just that. He stood at a fork in the road and he chose hope over despair. So ok, I'll do the same, and allow myself to hope that his story keeps going down that road!

Thanks for the ask, and sorry for the goddamn journey my answer became lol....

[furbyobsessedpup]

hello saw your invitation to infodump about ocs and. 👁️👁️ I have been waiting for an invitation to ramble about my sillies ongod I don't usually share them with people cause I get self conscious abt them but also I want ppl to know of their existence cause they occupy too much space in my brain lmaoooo (quick cw tho before all that I'll probably talk about religious trauma quite a bit cause that's one of the biggest themes in their lore but it won't be anything too deep :) also one near death experience but again like very briefly mentioned once)

I have a tendency to get off topic and ramble Too Much so I'll try and summarise butttt :3 the story is split into two parts, see you in hell (suih) and Sacreligium with the same characters but just small differences (Sacreligium takes place like 6ish years post suih and Dahlia who is one of Sacreligiums main protags isn't in suih and more details but I can't go on about it or we'll be here forever ajdjwjjd)

But basically my Main Silly if you will is called Wren and he's just a lil guy he's like 12 when suih takes place so like proper lil guy and he gets into an accident which results in a very close brush with death, leaving him recovering from his physical trauma while also trying to cope with the very sudden realisation of his own mortality, plus the fact that during this recovery period he ends up slipping in and out of a sort of purgatory called limbo, in which three deities/religious figures (one of them isnt a deity but ill get to that in a sec) are consistently taunting him and judging him, trying to cleanse him of whatever trivial sins hes commited in his almost 13 years of life :) this all sounds very dark but honestly it's silly the three religious figures i was on about are also in a poly marriage so slay for them, they're all kinda confused on why Wren is even in limbo when hes technically not dead, and Wren and one deity in particular, Darcy, have the dynamic of like. Enemies but they can do stupid bickering sometimes if it's for comedic purposes 💀

Anyway this is obviously a fake religion I've come up with but still don't have a name for yet, but it takes the same sort of format as deity work/hellenism but was originally more heavily based on catholicism, specifically surrounding religious guilt and like cleansing of sins and purgatory and all that sort of thing. The polycule consists of Darcy as mentioned who's like. The babygirl ever picture a twink with too much power on his hands that's Darcy, and he's the one who's most out for Wren if that makes sense. Then there's Seraphim his loving husband who is the odd one out of the three because he is actually an angel :) or angel adjacent I haven't figured that one out yet, and finally the goddess Marigold (Mari), who also doesn't get much of a spotlight in suih but she plays a huge role in Sacreligium so all is good. There is so much more I could say on these characters and their story and I've not even scratched the surface for suih let alone Sacreligium but I'm just happy to share my oc lore with someone ajdjwjjdhwb so thank you dear friend who I've never spoken to before but we are dear friends now I have just shared some of my most beloved sillies with you :)/lh

OMG THE SILLIES!!!!! i'm honored to be one of the people getting to hear about them ^^ OMG I love the poly deities poking at wren like a lab rat lmao also MARI MENTIONED!!!! OMORI REFERENCE /lh

im super invested!!!! you should. cough. tell me more /nf PLEASE

[kitkatopinions]

Do you think Glynda would have been the only one to side with Ozpin, or at least not hold much of a grudge against him, treating him empathy, after his big secret reveal in V6? She's already displayed a great deal of uncond trust towards him when she talked with Ironwood about him having doubts about Ozpin

Honestly, if the only thing that changed was Glynda's inclusion and the same writers were still doing the same things... I don't think Glynda would've sided with Ozpin at all, because the writers love to write "and then RWBYJNOR think blah blah blah," or "and then RWBYJNORQ want XYZ." They struggle to do plotlines where people can disagree without being framed as One Hundred Percent Bad In The Wrong Needs To Change Might Be Evil. I feel like if they had Glynda be a more prominent role and involved in the story up to V6, they would've had her also be so furious and disappointed in and angry at Ozpin just like Qrow, even if it didn't make any sense.

Logically though, what I think would happen if the writers cared about consistency and making their characters have an original thought, I think that Glynda would be the most on board with Ozpin and have the least problems with him out of anyone.

I think Qrow should've sided with Ozpin, but been personally very hurt by Ozpin's lack of trust in him, creating conflict for them to work through later. I think Yang should've been against Ozpin, resolving that he can't be trusted because he lied to them and (however temporarily) icing him out and not looking to him as a leader. I think Weiss should've been mostly on Yang's side, albeit with a bit more sympathy towards Oz, sort of in the camp of "I get where he's coming from but clearly we can't trust him to be honest or to always have our best interests at heart." I think Blake should've actually taken the stance of "you guys don't know what it's like, maybe he should've told the truth, but it's easier to say 'you should trust us' than it is to actually trust people after you've been hurt so many times, I've been there and I get it" and she should've been way more sympathetic towards Ozpin because of her backstory. I think once Jaune heard about it later, he should've had problems too and been willing to work with Ozpin, but hesitant with him and frequently doubting the legitimacy of his claims and tending to rely on himself and Ruby and not really think of Ozpin as any sort of reliable guide to be consulted in plans. Ren should take kind of the same stance as Jaune, albeit with a more logical thought process of "we should only do what he says if we think he's right, everything else doesn't matter as much." And I actually think Nora should've been fully on board with Ozpin, easily assuming that he only lied to them and/or didn't trust them because he'd been hurt in the past, and that she doesn't really care and still likes him. And I think that Ironwood should've - when he eventually heard - been somewhat hurt as well, but understand the logic of it, but also just resolve to work all the harder himself, knowing that Ozpin is not always a safety net and knowing that Ozpin doesn't always share everything important. And Glynda would fully on Ozpin's side except unlike Qrow (who I feel has a very emotional and personal connection to Ozpin and would fall back on believing in Ozpin because he loves him more than because it logically makes sense) and Nora (who I honestly think is just a very loyal follower with strong intuition and a good judge of character but doesn't really have much logic behind 100% trusting Oz,) Glynda would instead completely get where Oz is coming from, completely understand why he did the things he did, completely agree with them, and just keep trusting him completely. As for Ruby (who is the most important person here,) I think that she should've been kind of in-between and not sure what to think, feeling confused on how she's supposed to react, trying to make everyone happy at once, and be understanding but also a good strong leader herself, and tries to rely more on herself instead of others in the wake of what happened.

Basically, if I was the RWBY writer, I think Glynda would side with Ozpin because that's what I think makes the most sense for her character. Everyone should be having different reactions because what Ozpin did is nuanced, not just pure evil, and I think that with what Glynda was like in V1-3, the natural thing and what would make the most sense would be her understanding and supporting Ozpin. However, I think if the writers included her, she wouldn't side with Ozpin at all, because they didn't want it to be a nuanced conversation and a chance to show the range of their characters where some people agreed with Ozpin, some people didn't, and some people were kind of in-between. They just wanted to say 'Ozpin is bad and dumb and we should all be against him,' and so they couldn't have Glynda do anything but agree with Team RWBY... Unless they made her into one of those characters that temporarily disagrees with Team RWBY so they can all be like 😮🫢😞😠 and then they either take it back later of become an antagonist.

[thelazyhermits]

Y'all know how I've mentioned before that I like playing otome games? Well one of the games I played last month has been on my mind cause I keep thinking of how I could incorporate Yuu and some of the TWST boys into the story of that game.

I have no idea why my brain suddenly started doing this, but I figured I'd go ahead and make a post about it cause why not? 😂

Okay, so first off, the otome game that I'll be talking about is Winter’s Wish: Spirits of Edo, which I would recommend to anyone who likes otome games. While I wouldn't go so far as to say it's a favorite of mine since I didn't get super attached to any particular LI, I still enjoyed the game and thought it was really cute ^^

Anyway, this game takes place in Japan during the Kyoha era, and it involves these monsters called blightfall that are created thanks to people's negative emotions. They've been wreaking havoc in the town of Edo for a while now.

There's a special task force established by the shogunate called the Oniwaban, which is in charge of fighting these monsters that most people don't know anything about since blightfall mostly appear at night, and this is just something they try to keep the public from having to know about.

The Oniwaban mostly consist of individuals called vessels, which are formfolk that have had their memories and hearts sealed. In exchange, they're given the power called Snow Sacrament which allows them to defeat blightfall when they engage them in battle.

Formfolk are human-like figures that are born when an item receives enough love from its owner and is given a name. The main difference between them and humans is that they can change their appearance at will, and they can be killed if you destroy the items they were born from. They also have wooden name tags, which can also be targeted, so they have two weaknesses.

Moving on, the heroine of the game has the ability to see threads that no one else can see, and by looking at these threads, which are attached to everyone's, except for vessels, necks, she can tell what a person is truly feeling, ergo she can see their emotions. These threads can also tell her when a blightfall is about to appear since they're the product of negative emotions.

That's why the shogunate summons her and has her join the Oniwaban in hopes that she'll be able to help them stop the outbreak of blightfall that has been going on for the last several years.

The reason I started thinking of Yuu in this setting is because in the game the poor heroine is ostracized/exiled by the village she grew up in because she could see things they couldn't and she could tell when someone was gonna die from looking at their threads which led them to believe she was the reason those people died.

The heroine lived in the village with her father, but as soon as he passed away, she was forced to live up on the mountain away from the village. Thankfully, because her father was so well-respected by the village, they send her provisions, so she is still technically provided for, even though that obviously doesn't make her situation any less horrible.

It's just really easy for me to imagine Yuu in that kinda character role, because of the kinda luck she has, so my brain just rolled with the idea lol

I could easily picture poor Yuu being misunderstood for powers only she has, and as a result, she's only close to her father, whom thankfully loves her very much and takes good care of her up until his passing.

Because she wants to be useful to her hardworking father, Yuu learns at a young age how to cook and clean despite him telling her she doesn't have to. Plus, she prefers remaining indoors practicing these skills anyway since indoors she won't have to deal with any judging looks or people whispering about her.

However, Yuu does venture outside whenever she wants fresh air. She just typically heads outside of the village, although she doesn't go too far since she doesn't want to scare/worry her father.

It's during one such outing that an eight-year old Yuu happens to find a young wolf that's injured and has an infected wound. The poor thing was abandoned by its pack and left to die since it was in such bad shape.

Yuu couldn't bear to abandon the animal, which was too weak to do anything but quietly growl at her, so she did what she could to treat its wound with the first aid supplies she likes to always carry around with her.

Despite her young age, she's rather good at first aid, because she has a lot of experience practicing it due all the injuries she'd get when the kids in the village would bully her. She learned how to tend to her own injuries so her father wouldn't have to and she had hoped this would make him less worried about her.

However, after she finishes tending to the wolf, Yuu still thinks her father should personally check on the wolf since she's obviously no doctor and is just a kid, and thankfully, when he hears about the wolf, her father agrees to look it over after she begs and pleads for his help.

Since the villagers wouldn't be pleased about a potentially dangerous wild animal being brought to the village, Yuu's father decides to bring the wolf to the old house up on the mountain that's not being used by anyone.

For the next several days, Yuu and her father tend to the wolf, constantly taking care of its injury and offering it food to help it regain its strength.

Yuu spends almost all of her time with the wolf and only leaves its side whenever her father says its time for her to come home at the end of the day.

Thanks to Yuu and her father's dutiful care, the wolf survives its injury and manages to make a full recovery, much to their great relief.

Once the wolf eventually recovers, they expect it to leave and return to the wild, although Yuu hates the idea of having to part with it, but to their great surprise, the wolf decides to remain in the area.

Naturally, that's partially because it has nowhere else to go but mostly because it wants to remain with the people that nursed it back to health since it feels indebted to them and has become attached to them.

Yuu is delighted about this since this means she now has a friend, and she pays the wolf, which she names Jack after a storybook character she likes, visits all the time since she loves hanging out with him.

For a while, time passes like this until a very surprising turn of events occurs that involves a sad, nine-year old Yuu visiting Jack after having escaped her bullies.

While she's not normally one to cry since she thinks she should be strong in order to avoid worrying her father, Yuu is crying when she comes to visit Jack, who becomes worried about her since he's never seen in her in a state like this before.

Jack wants to know why Yuu's crying, but obviously, he can't ask since he can't speak like a human. He wishes he could, though, since he really wants to help her so she'll smile for him again.

As of late, Jack has been having these kinda thoughts where he wished he was more than just a wolf so he could become even closer to Yuu and better support her since there's only so much he can do with a form like this.

Much to his and Yuu's surprise, this strong desire to talk to Yuu and become closer to her leads to Jack turning into a Beastman, which is something that's not in the game so it's an original idea.

Just like how items can turn into formfolk, I thought it'd be neat if something similar could happen to animals when they receive enough love/feel enough love toward a human that leads to them wanting to communicate with/be closer to a human, and I just decided to use the Beastman term since I'm not creative with names in the slightest lol

One thing that's special about Beastmen is that they can swap forms, so they can look like an animal or a human, although their human forms will always have animal characteristics like ears and a tail.

Since Beastmen are rarer than formfolk, Yuu is very surprised to see one for the first time, but she's also delighted that she can have a conversation with Jack, whose current form appears to be the same age as her.

Jack is also pleased with his sudden transformation since he'll be able to talk to Yuu now and be the kind of friend she needs/deserves. He'll be able to support/protect her even better now.

Because the village forbids formfolk from living there since formfolk eat like humans and this small village has limited supplies, it's immediately assumed that the same would be said about Beastmen, so Yuu only tells her father about what happened to Jack.

Thankfully, Jack can turn back into a wolf whenever he wants, so the chances of the villagers finding out about him are low, especially as long as he remains around the house on the mountain where he's been hanging around up until this point.

From that point on, Yuu is even more excited about visiting Jack, and she spends the majority of her time with him because she loves being with Jack who doesn't treat her like she's something dangerous cause of her powers.

They become really close over the years, like family, and it's because of that bond that Yuu has an easier time getting by after her father eventually passes away when she's thirteen, because she ends up living with Jack, who the villagers thankfully never find out about.

Jack is Yuu's rock during the time she's mourning her father and dealing with being ostracized/exiled by the village. While he was already protective of her, Jack becomes even more so after those events.

More than anything, he'd like to tear into those villagers for their cold-heartedness, but he doesn't since that's not what Yuu would want. Plus, he can't risk the villagers finding out about him and possibly trying to separate him from Yuu.

So, instead, Jack focuses on doing everything else he can think of to look after her, like helping with house repairs and hunting/gathering food in the forest, so there's always enough food for the two of them since the village only sends up enough supplies for one person.

Just like a human, Jack grows older as time passes, so he eventually ends up with an appearance like what he has in TWST canon. He gets all his muscles cause he's constantly training in order to make himself stronger, so he can always protect himself and Yuu, because that's what's most important to him.

For a while, their little world just consists of the two of them, and they're perfectly fine with that since they're just so grateful and happy to have each other. However, eventually, their world becomes a little bit bigger.

Enter the Shroud brothers.

One day, while a fourteen year old Yuu is in the forest gathering edible plants, she happens to hear a lot of yelling, and out of curiosity, she decides to check the situation out but fully intends to remain out of sight since the villagers have to be behind the ruckus and she knows they won't wanna see her.

Much to her surprise, Yuu finds out the commotion is about the village having discovered that Ortho is a formfolk, which is something Idia and his parents have been hiding these last few years.

You see, a few years ago, there was a living human by the name of Ortho Shroud. Sadly, he fell seriously ill and died despite his family's best efforts to save him.

Coincidentally, around this time, one of Ortho's favorite toys, a puzzle box that Idia had made for him, became a formfolk and ended up with an appearance just like Ortho's since formfolk tend to end up looking just like their owners.

Because they knew about the village's law about formfolk being forbidden, the Shroud family decided to hide the truth about Ortho's death and bury him secretly, so that formfolk Ortho could take his place.

The only other person that knew the truth about that incident was actually Yuu, because, back when she still could live in the village, she had seen the original Ortho with black threads around his neck which meant death was in his near future, although she didn't say as much because she didn't wanna be blamed for his death.

Yuu found it highly unlikely that Ortho could survive, considering no one with black threads has ever survived before, but she kept those thoughts to herself since she had no proof that he had been replaced. Plus, she didn't want him to get in trouble with the villagers.

Unfortunately, the secret has finally come out, and the village wants Ortho gone by tomorrow. Naturally, Idia and his parents are against this since Ortho's too young to be off on his own, and Idia can't bear to lose his brother again.

Taking pity on them, Yuu decides to get involved after the villagers all return to the village and the Shroud parents run after them in hopes of getting them to reconsider their demands.

Once Idia and Ortho are the only ones who are left, she calls out to them from her hiding spot, catching them off guard. They quickly recognize her, though, since everyone in the village knows her.

Fortunately, they don't treat her like the other villagers do since they don't see her as a monster. The reason for that is because for the last few years their parents have been researching the clan that Yuu's mother came from.

It's her late mother's blood that led to Yuu having her special power because everyone in that clan could see threads like her, and they were often relied on by the shogunate to fight the blightfall.

While the original reason the Shroud family moved to this village several years ago was to be with Idia/Ortho's grandparents who were unable to provide for themselves due to old age/illness, Mama and Papa Shroud soon had another reason for living there, because a few years after they moved to the village, they received an order from the shogunate to research Yuu's mother's clan's sudden disappearance/demise since no one knows what happened to them and why Yuu is the only one with that clan's blood left.

Mama and Papa Shroud, who were both held in high regard by the shogunate due to their brilliant, inventive minds, were all to eager to accept the order because they've always been quite fascinated by the family Yuu's mother came from, so they were all too happy to delve into this intriguing mystery.

As a result, thanks to their research, the Shroud family knows Yuu's situation, and Mama and Papa Shroud really felt bad for the poor girl and wished the villagers didn't treat her so horribly. Unfortunately, there was no reasoning with the other villagers who outnumbered them.

Plus, they were doing their best to avoid drawing too much attention to their family because the whole situation with Ortho.

Anyway, back to Yuu and the Shroud brothers, after she gets the boys' attention, Yuu offers to let Ortho stay in her home, much to their surprise.

While they'll need to make a big show of Ortho leaving so the villagers will be led to believe he's gone for good, Ortho can secretly come back through the forest and hide out on the mountain with Yuu if he so desires. That way he won't have to be completely separated from his family.

Ortho is delighted by this news since he doesn't want to be apart from his brother and parents. Meanwhile, Idia is surprised and confused by why Yuu would help them when they hardly know each other. Plus, they're part of the village that exiled her, even though their family was actually against Yuu being treated so horribly.

Yuu wants to help because she doesn't think it's right to separate Ortho from his family, and she also has noticed that the Shroud family were the only villagers that never treated her unkindly, so that's enough of a reason for her to wanna help them out.

In the end, the Shroud family takes her up on her offer, but it'll be just a temporary living situation since Mama and Papa Shroud intend to ask the shogunate if they can leave the village and plan on wrapping up their reasearch efforts over the next few weeks/upcoming month.

During this time, Idia, who, ever since the original Ortho died, typically spent all his time indoors with formfolk Ortho up until this point because he was so afraid of losing his brother again, constantly visits his brother at Yuu's house, and as a result, ends up spending a lot of time with Yuu and Jack as well.

Thankfully, Jack didn't mind this temporary living arrangement since Ortho's a sweetheart who's willing to help out around the house, and cause the Shroud family never mistreated Yuu.

Thanks to this, the Shroud brothers become a part of Yuu and Jack's little family, and they all become quite close friends.

Because he feels she has the right to know, Idia explains to Yuu about her powers and her mother's side of the family since it pisses him off that she's treated like a monster and that because of the villagers Yuu sees herself in a negative light just cause she's not like everyone else.

Idia also mentions that his parents had talked to Yuu's father about the missing clan as part of their research, but all he knew was that they were dead. He has no idea what happened to them. He was just told by the god of the local shrine that they're all gone now, which was also the story the heroine's father was given in the game.

Yuu is naturally very sad to hear that she's the last of her clan, but she's glad that she's not the only one to ever have had these powers.

She's also puzzled about what happened to her mother and her clan since she doesn't have any memories of her mother. For some reason, she can't remember anything from those years when she had lived with both of her parents, which is also the story for the game's heroine.

The Shroud family knows this because Yuu's father had said as much. Yuu had actually been with her mother when the clan suddenly disappeared, so they think something traumatic must have happened that resulted in Yuu losing her memories.

Thankfully, while he couldn't find his wife or her clan, Yuu's father was able to find Yuu after the incident occurred, and he avoided talking to Yuu about it out of worry that she'd remember painful memories best left forgotten.

That's why Mama and Papa Shroud never tried to question Yuu since, despite their curiosity, they didn't want to endanger her mental wellbeing.

This is why Idia tells Yuu not to think too hard about those memories and says that she's better off focusing on the present than dwelling on the past since finding out what happened to her mother and her clan won't make her current situation any better.

Jack backs Idia up cause he doesn't want Yuu to remember anything that will hurt her, and he also agrees that focusing on what happened in the past won't do her any good.

Even though she really would like to remember her mother, Yuu does think they make a good point, so when she fails to recall anything from what happened all those years ago, she decides to drop the matter, especially after Ortho says his parents are working hard to figure out what happened so she can leave things to them.

Sadly, in the end, Mama and Papa Shroud are unable to figure out what happened to Yuu's mother and her clan, although they do think the snow that's always falling on the mountain where Yuu lives is somehow connected to the clan because it's not natural for there to be snow there all year round, making them wonder if the shrine god that Yuu's father mentioned is possibly behind the constant snow and if the snow has a purpose of some kind.

Even though they're not successful with their research efforts, Mama and Papa Shroud still get permission from the shogunate to leave the village since there's really not much else the researchers can do at this point.

So, once that's decided, the Shroud family leaves and heads for Edo since Mama and Papa Shroud's services were requested by the shogunate which is stationed there.

Yuu is naturally very sad to see Idia and Ortho go since she had been so happy to have more friends, but she's happy that they'll be able to live together as a family with their parents again.

Idia and Ortho wish they could just take Yuu with them since she deserves better than being isolated on a mountain, but Yuu and Jack are a package deal and it'd be rough for Mama and Papa Shroud to take care of two extra mouths.

Plus, with all the blightfalls showing up as of late, Yuu is safer on the mountain, so it's decided that she's better off remaining there.

It's still hard for Idia and Ortho to leave since they got really attached to Yuu, and Idia, who's older than her, feels like he should take care of her like Ortho.

That's why Idia says that he'll come back for Yuu and Jack once his family has settled down in Edo and he thinks that the two can safely and comfortably live in Edo.

Little did Idia know that five years later he'd be coming back for Yuu on the shogunate's orders because her powers are needed to deal with the blightfall.

The reason Idia was sent was because, with his genius mind, he ended up becoming a great resource to the shogunate, especially since, during his time at Edo, it was discovered he had great potential to be a soothsayer, which is someone who can use magic by using their knowledge of onmyodo.

The Shroud family is well-known for having powerful magic users, and Idia ends up being a prodigy, the best the family has seen in many generations.

While he orignally had no interest in using magic and doing this kinda work, Idia started practicing and studying after he moved to Edo so he'd be able to protect his family from blightfall and he had hoped he could solve the blightfall crisis before the shogunate felt the need to seek out Yuu's help.

Unfortunately, Idia wasn't able to accomplish that goal so he's left with the frustrating task of having to recruit Yuu, even though the last thing he wants is for her to have to be anywhere near those dangerous monsters, even if it means he can finally get her far away from that damn village.

However, he can't refuse an order from the shogun, so Idia has no other choice but to go get Yuu, but he's determined to keep her out of harm's way and won't let anyone take advanatage of her like what had often seemed to happen to the members of her dead clan.

Because Yuu is family, and nobody takes advantage of Idia's family while he's around.

Now that I've covered the Shroud brothers, there's one last member of Yuu's makeshift family I wanna talk about here, and he gets brought into the picture after the Shroud family leaves for Edo.

About four years after the Shroud family leaves, a formfolk is born in Yuu/Jack's household, and it's from one of Yuu's old toys. It was a small wooden crocodile that Yuu's father made along with several other wooden animals.

Because the crocodile was her father's favorite animal, Yuu always especially treasured that one after he died, so she'd take extra good care of it and make sure it was always clean as it remained in a shelf that she could always look at.

Because Yuu had a lot of love for that crocodile, a formfolk is eventually born from it, much to her great surprise.

Naturally, Yuu is also very excited since this means she'll have a new family member/friend, and she quickly gives him the name Sebek, which she came up thanks to a book she once read thanks to the Shroud family sharing their huge book collection with her that mentioned the Egyptian deity, Sobek, who is associated with crocodiles.

Jack is a little exasperated by this turn of events because Sebek has such a huge appetite, but he doesn't mind having another face around since he gets along well enough with Sebek. Plus, it makes Yuu happy to have another family member/friend, and he's glad there's someone else to help him look after Yuu.

Sebek here is a lot like his TWST game counterpart, except he doesn't have any negative feelings toward humans, although he does hate the villagers for making Yuu suffer, like Jack.

In this setting, Sebek treats Yuu like his master and is very loyal/decidated to her and quite protective of her.

While Yuu greatly appreciates how dedicated Sebek is to her, she doesn't want him to treat her like she's his master since she sees them both as equals.

Thankfully, after enough time passes, Yuu is able to get Sebek to be more relaxed and less formal around her, and he begins treating her more like Jack, although he still remains overprotective of her.

From the start, Sebek thought highly of Yuu because of all the love she showed him when he was just a wooden crocodile, and he found it impressive that she could remain so kindhearted despite everything she went through thanks to the villagers.

However, after spending time with her as a formfolk, Sebek's attachment toward her grew even stronger because she treated him as an equal and always showered him with so much genuine love and care.

As a result, Sebek becomes quite close to Yuu, like Jack, and ends up seamlessly incorporating himself into Yuu & Jack's little family since the three of them get along so well.

Of course, there are still times when Jack and Sebek butt heads since their personalities are similar, but they never have serious fights and can usually resolve things within a reasonable amount of time.

Unfortunately, while Sebek's presence in their lives is wholeheartedly welcomed, he does make their living situation more difficult because of his large appetite, even with Jack's hunting skills.

Which leads to Sebek eventually deciding that he needs to find a job so he can make money to buy the food he needs since he refuses to impose upon Yuu/Jack despite Yuu insisting that he doesn't have to do that.

Sebek is determined to find work, however, since he feels he should be responsible for himself, and he's also hoping that he can make enough money that he can use it to further improve Yuu/Jack's lives that way they don't have to always scour the forest for food.

That's why Sebek goes on a journey to find work since he doesn't want anything to do with the nearby village. He's hoping he can find a town that's not too far from home, so he can make regular trips back to see Yuu/Jack.

Sadly, Sebek's journey ends in tragedy since he ends up turning back into a wooden crocodile after having saved the shogun, whom he didn't realize was the shogun at the time, from a blightfall by shoving him to safety.

The shogun, who had been traveling incognito at the time, had shared his food with a hungry Sebek who had collapsed by the road prior to that incident, which is what led to Sebek risking his life to save him.

After the Oniwaban, who eventually arrived on the scene, later defeated the blightfall, the shogun collected Sebek's item and decided that he'd make him into a vessel since he didn't know who and where Sebek's owner was, only Sebek's name, since this is the only way to give Sebek's life back to him without his owner.

Plus, by having Sebek join the Oniwaban, Sebek will have a stable job and a roof over his head, which the shogun felt he deserved after sacrificing himself for his sake. This is why Sebek becomes so loyal to the shogun and treats him as his master since the shogun always treats him so kindly.

Unfortunately, this means that when Sebek is reborn his memories and heart are sealed, so he no longer remembers Yuu and Jack, which the two are naturally sad about when they finally reunite with him.

This reunion happens when Idia is sent to retrieve Yuu because Sebek is tasked with accompanying him.

Yuu is elated when she sees Idia and Sebek since she had missed them dearly, and she had been worried sick about Sebek whom she hasn't seen/heard from in months.

(Yuu had wanted to go looking for Sebek, but Jack convinced her to wait since it was possible that Sebek had to travel a great distance to find work or that Sebek didn't want to contact them until he had good news about work since he's so prideful and wouldn't ever want to admit he couldn't do what he set out to do.)

She's both confused and heartbroken when Sebek asks if he knows her while Jack is angry since he can't believe Sebek could just forget them like that.

Upon realizing Yuu is Sebek's owner, Idia quickly pulls her and Jack aside and explains Sebek's situation and how vessels have their memories/hearts sealed.

He also tells them that if a vessel's heart/memories were to ever become unsealed the vessel would soon cease to exist, so if they don't want to lose Sebek, they need to accept his memory loss and not force him to remember.

Yuu is devastated by this news, but she, along with Jack, agrees to keep Sebek's past a secret from him since she can't bear the thought of losing him again.

Fortunately, despite his memories being sealed, Sebek seems to unconsciously recognize who Yuu is since he feels drawn to her, and he's kinder to her than he has ever been to any other human aside from the shogun he so loyally serves.

Sebek is also quick to protect Yuu when a blightfall appears in her village after the villagers get all worked up over Idia and Sebek bringing Yuu down to the village from the mountain, like what happened in the game.

Initially, Sebek fights the blightfall on his own since Idia's magic can't outright defeat blightfall, only someone with Snow Sacrament can do that, but Jack ends up joining the fight despite Yuu/Idia telling him not to.

Much to everyone's surprise, after working with Sebek to fight the monster, Jack manages to unconsciously use Snow Sacrament on the blightfall, which, according to Idia, shouldn't be possible.

Idia has never seen anything like this, so he has no idea how Jack can perform a feat like that, and of course, neither does Jack who was just acting on instinct and his strong desire to protect his friends.

The only possible explanation Idia can think of is Jack's prolonged exposure to Yuu and the fact that he became a Beastman because of Yuu led to him obtaining a special power the likes of which her clan posseses, although it sounds way too surreal to him.

While the shogunate's orders were to recruit just Yuu to the Oniwaban, Idia knows they'll be interested in Jack as well, so he decides to introduce them both to the shogun. That way Jack can remain close to Yuu to keep her safe and Jack can use his power to help them deal with the blightfall.

Initially, there are some reservations about joining the Oniwaban on Yuu/Jack's end, but because they trust Idia and want to be with Sebek, they agree to go to Edo with them after Yuu asks the villagers to take care of her father's grave in her absence.

And that's all I've got right now. I'll write more later if I can think of anything else for this AU lol

[candyskiez]

my impression of mp100 from your posts abt it + from reading the first few sentences of the wikipedia page: (i have the spoilers tags blocked because i am Going To Watch It Eventually)

mob is a character who i think has autism and also superpowers which may or may not be connected to and/or a metaphor for the autism.

i think terumob is a ship that people ship.

i think there might be lesbians somewhere? if not there should be.

that floaty guy who looks like a flame with a face exists and as far as i can tell mostly just creepily watches everyone and says something once in a while. they probably have a role in the story but i have no clue what it is.

one of the characters names is just a bunch of question marks. not sure how thats pronounced.

i think there is a character named reigen which is the name of that kid i met at summer camp one time who kept trying to hint to me that they had a crush on me but i was completely oblivious. this is off topic but it's an unusual name so thats what i think of. this character seems responsible and put-together from what i can tell but likely is not because that wouldn't be a very good story.

not sure about the plot, except that it probably involves everyone getting traumatized together.

thats all. (please dont judge me.)

The single best part about anytime I ask someone for their impression of mp100 is this. Nobody knows what it's about. I had no idea what it was about. I thought it was a dark humor comedy because one of my friends summarized it really badly. I could tell you a bunch of vague things about Mob but nothing about the plot. You have no idea how fucking funny this is to me dude. This is just. Consistent. None of us knew what the fuck this show was about. It's literally a running joke that everyone thinks it's a slice of life show.

Anyways this is so fucking funny. Oh my god. Reigen is responsible. This is the best "what I think mp100 is about" thing ever. Everyone else go home.