#i might post more often after i start thinking of an actual story instead of just rambling about it :/

[feverdreamjohnny]

"Why There Will Never Be a Peeb Adventures" otherwise known as "The Peeb Adventures Pre-Mortem"

Since 2020, I've made a good chunk of games. Hell, even though I've been doing this for 10 years to date, the majority of my progress as a creative began over the course of this 4 year period.

Out of all the games I've made - or otherwise had a hand in - there is only one that's apparently struck a chord so deeply with people that to this day I still get messages and comments asking when it will come out.

The title of this post already explains the whole deal so I'm not gonna be dramatic about it right here. As per usual, I will instead get heart-clutchingly dramatic about the subject by the end of this story.

I felt the idea of a "Pre-Mortem" might be a fun way to talk about games that will never be finished. Maybe I'll make more of these down the line for other old games, who knows.

"The Incredibly True Origins of Peeb Adventures" or "Wow! I Hate It!"

Peeb Adventures began as a gift game for my long-time friend Aaron. It was simple, mostly functioning as a fun little gag that stemmed from a 3D model I made of a character he doodled during a drawpile session. I gave Peeb a grapple hook just because I wanted to experiment with swinging mechanics and felt the gag gift was a great space to toy around in without having to actually ask myself how on earth I'd want to structure a game around a grappling hook. Foreshadowing!

Eventually, the gag gift did that classic thing all developers have experienced before where your game spirals out of control and grows into a hideous monster, and what started as a fairly abstract grappling toy convergently evolved into that dreaded state we call a "3D Mascot Platformer."

I made a very short demo in the summer of 2020. It went absolutely nowhere, and after an idol of mine caught wind and asked to play it (before sending about 3 paragraphs of feedback suggesting how to improve what was, in my view, a trainwreck of baby blocks stacked on top of eachother), I shelved the project.

"The Absolutely Tremendulous HPS1 Adventure of Peeb" or "My Friend Jam Suggested I Revive the Project and So I Did"

Shortly after Peeb was shelved for the first time, I joined a community of game developers called Haunted PS1. For those not in the know, HPS1 was essentially the nexus point for "retro horror games" in the indie sphere, and a lot of the resulting deluge (non-perjorative) on itch.io can find its roots in this community.

HPS1 was a good place. Lots of nice, talented people willing to tolerate the kind of mindless riffing I often do in voice calls, anyway. I made a decent chunk of friends there, some of which I'm still quite close to, even today.

HPS1 has this tradition called the HPS1 Demo Disc that began in 2020, and with the year coming to its end, there was talk of a new one set to arrive in spring 2021.

Unlike the first demodisc, however, 2021's disc required you to submit a game in-progress to a panel of judges. They'd then give their yay-or-nay, and you were either in or out.

One day, I was musing over the fact that I didn't really have anything to submit so I would likely have to sit out of 2021's disc. My friend, Jam, who you might know as the developer of the Heilwald Loophole (or Beton Brutal) suggested I consider reviving Peeb Adventures as my submission to the demo disc.

Why did I follow through on this? I don't know. It's funny to think a scenario this simple was the launch point for my career.

Over the next 6 months, I worked on turning the absolutely horrendous gag game into... Something still kinda trite but at least playable. I had some help from my longtime teammate drurylain, my longtime friend Aaron (the creator of Peeb's original design), and my longtime spiritual uncle Tim, and with our powers combined... A new kind of demo experience where you don't do anything of particular note besides swinging around was born.

Also quite important: the very same drawpile session that spawned Peeb also spawned Orbo, who would also make his own appearance in Peeb Adventures as a recurring side character (since I felt like Peeb needed a friend).

"Go! Incredible Friendship Unites in the Gameosphere! Peeb and Orbo are Born!" or "Peeb Adventures: Coming Never"

So the demo for Peeb Adventures was finished early March 2021, and the demo disc went live on itch.io on the 25th of the month.

The demo disc then proceeded to do a backflip and pick up a LOT of traction online. Which then meant Peeb itself was catching little bits of the traction in its mouth and smacking its lips.

I went from "guy who makes games for nobody" to "guy who makes games for that one very specific brand of teen on twitter who loves the object head show", and I was riding high.

Fanart poured in. People showed a lot of love. I was dazzled by it all, really.

Despite the love for the game and the potential on hand, progress was stagnant. My group of friends and I all got together in a google doc and wrote an entire planning bible for the game. Game mechanics, story beats, twists and turns, the whole thing. Despite having the structure lined up, I had other ambitions and began working on a multiplayer deathmatch game that quickly overtook my work schedule.

Peeb sat on the backburner, but at the time I still wanted to finish it one day. My main excuse was "well, I just need more money! If I'm going to work on this game it's gonna need more than one fulltime person and I can't just ask people to work for free!" That excuse worked on me for a while.

"I Don't Think I Want to Play With You Anymore Peeb!" or "There's Such a Thing as Too Much Love"

A while had passed at this point. My ambitions hadn't just grown, they'd completely shifted. Before long, I found myself working on yet another demo for the 2022 HPS1 Demo Disc, "The Spectral Mall."

Nowhere, MI wasn't just some random toy for me, but the culmination of all my love into one game. Despite its silly demeanor, the game was a product of a lot of pain, and even now I still desperately want to finish it. Except I have to make money to live, so... Oops!

Anyhow, there was a shift in demeanor for me during 2022. You have Peeb, a game that I made on a whim as kind of a joke with friends, and you have Nowhere, MI, a game that meant the world to me during really dark times.

And you know what? There were a lot of people that wanted Peeb. People that never stopped asking me about it.

I realized while working on Nowhere that I didn't really know what I would even do if I ever had the chance to work on the full Peeb Adventures. Not only did I find the nagging kind of annoying, Peeb was also something I couldn't really... Wrap my head around?

It occurred to me that Peeb wasn't really "my" game anymore, it was "his" game. The old Johnny.

I'd changed a lot since the game had come out in early 2021. In a year and a half my world got flipped upside down, and... I don't know, Nowhere was way more reflective of who I was now. Sure the humor was still pretty asinine, but there was a shift. It was hard to picture the "Peeb Adventures" people were actually looking forward to when my own sensibilities had drifted so far.

When the Nowhere demo came out along with Spectral Mall, it did... Alright? People liked it, but it wasn't the same as Peeb's release. Hell, even in Nowhere's release there were people pushing it aside to ask the same question they'd been asking every week leading up to it. "When is Peeb Adventures coming out?"

"Goodbye Peeb!"

It was increasingly harder and harder to not look back at Peeb and kind of hate it. It was rough in every respect, and yet it whenever I met people who'd heard of me online, they always cited Peeb Adventures.

Strangers continue to ask me when it's coming out. On rare occasion I'll get someone asking about Nowhere and I'll feel a bit excited anyone else cares about that game besides me and maybe my friends, but most of the time people just ask about Peeb.

To finally answer this question I've been asked for nearly 4 years: There will probably never be a Peeb Adventures.

"Goodbye Johnny."

I like to believe one of the reasons people are attracted to my body of work is because I make games to reach out to other people. That's probably not the real reason, but it's nice to play pretend and imagine your work has more significance than just "ha ha boner."

I put a lot of myself in my games and I rarely hold back, even if an idea is insanely stupid or strange. The result usually becomes something more like a scrapbook than a game.

It's hard to try and expand on a game like Peeb when the Johnny who made it isn't really with us anymore. If I worked on Peeb now, you'd get some kind of irregular frankenstein that'd never be as exciting as the original vision was.

By the time I get around to Nowhere again, am I still going to be this Johnny? Or will the next Johnny look back at Nowhere the same way I look at Peeb now? Who knows.

Anyway, look forward to more games from me and my friends. Even if it's not Peeb Adventures, it'll still be us.

[fabbyf1]

*taps microphone* is this thing on?

oh, hello.

it's me, yah girl.

you'll never guess what grandma's been up to.

after avoiding my google docs for weeks months, i have finally dusted them off and started writing again. i'll be honest with you guys: i've gone through a lot of ups and downs with writing recently, where i loved it one day and hated it the next, which is why i took such a massive break. i don't like to post things i'm not proud of, and don't fully believe in, so i'm glad i took some time away to do other things and not let writing fanfiction ruin my mental health.

but now? WE'RE BACK BABY. i followed troy bolton's advice and got my head in the game and thought to myself, what would bring you joy to write? and there was really only one answer to that question.

lestappen.

so that's what i've done.

i set out to make this a one-shot pwp, and if that's what i decide it's going to be, then it's pretty much complete right now and just needs an edit. but i think i'm gonna try to add more onto it over the next couple days and make it a short story instead.

it won't be anything massive like long live or vapor, but maybe a little more than a one-shot.

happy charles on pole day, besties. thank you for sticking by me while i got my life together.

snippet under the cut.

context: friend-charles has a bad hook-up and asks friend-max to give him an honest blow job review

Charles stretched his neck to the left and right as if he was about to hop into his car. 

“Do you always stretch before giving someone a blow job?” Max asked, ignoring the sweat that was forming around his hairline. 

“Fuck off,” Charles said lightheartedly. He brought his hands up and hesitated for just a moment before resting them gently on Max’s knees. Don’t be weird, don’t be weird, don’t be weird. Max was proud when the muscles of his thighs didn’t twitch or anything at the contact. “Now move your hand out of the way,” Charles instructed, looking down at where Max was covering himself.

“You’re bossier than I thought you’d be,” Max said, trying to sound as normal as possible. 

“Is that right?” Charles asked, hands still gripping Max’s knees. “Do you think about me often, Max Verstappen?” 

“I—” Max squeaked, which was somehow more embarrassing than sitting with his cock out. He glared at him as he said, “Fuck you.” Charles looked delighted by his words, which only made Max narrow his eyes further. “Don’t make me regret this,” Max warned, finally letting his hand fall to his side. 

Charles looked at where Max was lying soft against his thigh. “Do you need me to flirt with you or something?” 

Max scoffed. “No, asshole, I don’t need—” 

“Ohhh, Max, you’re so handsome,” Charles cooed in a high-pitched tone anyway. Max’s jaw dropped open in shock. “You’re so big and strong and fast,” Charles continued, batting his eyes at him in an exaggerated way that would be comical if he wasn’t on his knees. “Mister three-time world champion with a big dick and a—”  

Max’s cock twitched, and they both saw it happen. 

“Oh my god,” Charles said, gasping loudly before cackling. “Oh my god, that actually did it for you?” 

“No!” Max snapped, covering himself again with his hands. “Fuck you! It was a coincidence!” But he wasn’t even sure if Charles could hear him over his roaring laughter.

This might be the most embarrassing thing to ever happen to him.

He always knew that Charles Leclerc would be his downfall, but he never expected it to be over a blow job.

[tenpintsof-sundrop]

I really really hate to be that person - especially because I know a lot of people are under the impression that fanfic authors are greedy and we should be grateful for any comments we get, even if those comments are full of unauthorized concrit, even if they're kind of rude, even if they're weirdly self-shaming (sometimes insinuating that people should feel bad over reading the dark or smutty content in the fics or that we should feel bad for writing it in the first place even though you're also reading it??).

But like, lately, I have been getting so many comments along the lines of "this fic should be longer!!" "I wish this was a series!!" "please turn this into a series!" "I would read endless sequels of this!!!" - today someone literally commented on one of my fics saying that it was a war crime that the fic was 30k instead of being 'a whole series'. And I totally understand the mindset that if something is good, you want more of it. If you enjoy something, you want more of it. But these comments are definitely not as flattering as people think they are.

When reading those comments - it doesn't always come off as a compliment. Most of my fics range from 5k to 30k on average, and they are usually oneshots or oneshots that I have split into multiple parts in order to be more readable - most of my longer, ongoing series are abandoned because I didn't have the steam to maintain them. (Most people don't know at all how hard it is to write a good, coherent, well-plotted 100k fic and actually keep up with it.) After I post the fic I have written later this week, I will have written over 400k this year alone, with my entire AO3 having over one million words split between 79 different fics.

So often, having people look at my fics and having their only comment be to 'write more' - feels like an insult. Because I do write more. I have written more. I write consistently. (It just sucks that people have almost nothing to say about what I have already written.)

Having people look at my fics - usually very long fics - and go "hey, this would be better if it was longer!!" or "hey, that was good, but the only productive thing I have to say about it is: make it longer" - it always feels very discouraging.

It doesn't make me want to rush to write more of that fic. In fact, most of the time, I actively avoid working on sequels to fics where the only comments are 'more please' because I know the only thing people will say about the sequel is 'when are you gonna make more?' - and oftentimes, I don't intend to make more.

I have said this in another post, but the ending to my fics are always intentional. I don't write fics with the mindset of turning them into a 100 part series. I write fics with the mindset of making them like a film or a short TV series - telling a capsule of a story with a very intentional beginning, middle, and end. And if I write a sequel, it's because I feel there is more to be told - but I will also cap off that sequel with a very intentional ending.

(Also, don't get me started on the complex of - if fics don't have the classic 'happy ending' people feel like every single thread needs to be resolved until it gets to a more classic happy ending, when I love writing intentional melancholic and thoughtful endings.)

Also - in general, I feel like people don't understand how much work goes into a fic. It might take you about 2 hours to read a fic that's 30k (and a lot of people who are avid readers probably read faster than that, reading it in an hour or less) - but concepting that fic, writing that fic, and meticulously editing that fic so that it can be readable and pleasant for people takes upwards of 20 hours of work. I would say realistically, upwards of 30 hours. And those are just working hours - hours sitting at the computer actively working. That doesn't include the time spent in between workshopping the ideas in my head while I am doing other mundane tasks in life.

It's very, very easy to consume a 30k oneshot in one sitting and then hold out your plate and go "more please!!" without putting any thought into how much work went into the original fic.

All of this just to say - please think about these things next time you are commenting on a fic (or even closing a fic without commenting at all), or doing something stupid like generating a fic with AI - which steals from everyday hard working fanfic writers. Fanfiction is hard work - it's a labour of love, and it shouldn't be about blind consumerism where you finish one and then rapidly start looking for the next one. You should appreciate each one like a good, hand pulled taffy instead of gobbling them all down like cheap candy mass made by factory machines.

Yeah - I think that's it.

-your local over worked (but still passionate) fanfic writer

[trainsinanime]

The following post is intended to be seen as levity and joking, not salt.

Chloé this, Chloé that, "Redemption started?", "Redemption interrupted?", "Redemption cancelled?". The discussion is getting old. What I haven't seen enough yet is how the show did Sabrina really dirty, by giving her the worst thing of all: A conscience.

The early parts of the show toyed a lot with how exactly Chloé and her relation to Sabrina works, which was clearly not well established when the first episode came out (hell, they didn't even seem to know who Max and Kim were yet, they only had their character models). Sabrina's deal is easy enough in the abstract, but difficult to pin down in the early episodes: Is she more meek or mean? More of a victim or more of a bully? Does she share Chloé's values whole-heartedly, opportunistically, or is she pressured into it? Does she have scruples or is she just a coward? Those are all elements in her character to some extent, but the exact mixture did not really solidify until she got an episode to shine and be away from Chloé, in Evilstrator.

That episode did the fairly obvious plot of Marinette going, "you can stand up to your bully instead of doing their homework for them!", and then showed us how Sabrina reacted. And the reaction was: Sabrina is every bit as unhinged as Chloé, just in completely different ways, and their dysfunctional relationship might just be the only one in which either of them can function.

This choice is not fully unproblematic, but ultimately okay in my book. I think die-hard Sabrina stans might call this character assassination, but I don't think there are any die-hard Sabrina stans. I feel like I should become one just to even out the numbers. Anyway, the choice clearly telegraphs that the show is not interested in long-running redemption arcs, which, you know, fair enough, it is designed for six-year-old French kids after all. (Yes, season 2 and 3 looked rather different here, but that's later)

The show did not exactly use Sabrina consistently after that, but for a while, they leaned into it. Early Sabrina was often mean, materialistic, codependent (I don't actually know what that word means I'm just guessing) and toxic in her own way. She broke into Marinette's room, helped steal Marinette's designs, lie and cheat for Chloé.

And then that was basically it. The show mostly forgot about her. She was an appendage to Chloé, usually frightened and a bit incompetent, but not much more. When Chloé showed signs of a bit of a hint of a redemption arc, Sabrina was not part of it. When Chloé gained a sister for, I actually don't know (I still maintain that "replacement bee" makes no sense for anything but selling merch), and there were hints that this might be relevant to her story, Sabrina wasn't there.

What did happen in the moments we saw Sabrina was that Sabrina got more meek, more scared of Chloé, and less mean. There were no more hints of her playing superheroes with Chloé and being at least somewhat of a friend, and also none of the meanness of Miraculer, one of the worst Akuma names in the show. Instead she was now in a closet doing Chloé's homework.

As she becomes less effective, she becomes more sympathetic, with some moments e.g. in the New York special, until she finally becomes Miss Hound. At this point we have basically the exact same thing that Evilstrator rejected: Sabrina is really just an oppressed underling who is too scared to tell Chloé to stop, instead of someone with at least some of her own ideas that happen to overlap with Chloé's in all the worst ways.

This all comes to a head in confrontation, when Sabrina's defining character trait is suddenly, out of nowhere, that as a police officer's daughter, she hates lying and stealing and hates that Chloé makes her do it. Since when!? Sabrina, weren't you around for Darkblade!?

Sabrina breaks off her friendship with Chloé and is now officially a good girl. And that sucks.

Old Sabrina had a certain edge to her. She made sense as an Akuma threat on her own, and even as a threat to Chloé as Vanisher and Miraculer. Now, she's only an Akuma effectively when Chloé tells her to, and she stopped listening to Chloé anyway. Her personality is now strictly: A good girl. Not like Chloé.

Ironically, in her emancipation, she has lost almost everything that made her unique, and become entirely defined by Chloé in every way. She's her own person, but with barely any personality traits except "not like Chloé anymore". No hobbies, no meaningful relationships with anyone, she's just there, and nice now I guess.

There are so much more interesting things you could have done with a mean Sabrina, which we know for sure because the show already did some.

But that's really part of a wider issue: When people talk about Chloé, they mostly forget Sabrina, and Sabrina isn't interesting enough to stand on her own. The ideas of a Chloé redemption throughout season 2, 3 and in some form 4 focused on Chloé's relationship with Ladybug, Marinette, a bit Adrien, Audrey, and a bit Zoé. Chloé's super-duper villain arc in season 5 focused on her relationship with Lila. Sabrina, who has been here from day one, who has the longest and most complex relationship with Chloé out of any character, is not a part of it at all.

I think that sucks. I think Sabrina has more potential, but in particular I think Chloé is more interesting if we include Sabrina in the discussion as well. Their relationship is something deeply weird and unique, and any Chloé redemption that brushes it off leaves a lot of very tasty crumbs on the table. It sucks that it ended like that. Yes, Sabrina is now redeemed, but as a result of that, she's boring, and isn't that much worse than being evil?

In short: We should all write more Chloé/Sabrina fanfics.

[ambrosiagourmet]

Dunmeshi characterization mumblings…

Laios tries. That’s the guiding principle of his characterization, to me. He tries more than he realizes. He thought he gave up during his years with the military but he never did. Something dragged him to Falin, after all.

He cares about people a lot and he wants to do well by them. This is usually specific people but also can be groups (eg the orcs or the residents of the Golden Kingdom). His hit rate on noticing what people like/want/need is not anywhere close to 100% but once he has locked something in he’s Locked It In.

He wants to be better than he is, and he isn’t always good at noticing what he does do well. Some part of him does want to run away, and he’s not always great at accepting that. He clashes with it, and doesn’t even always know whether he’s winning against it (framing his past of leaving Falin as running away when it wasn’t necessarily that simple). When he does self-reflect he can have a pretty dismal view of himself, and he prefers to act instead. This leads him to help as often as it leads him to step on toes, but it does very much do both. He’s working on getting better about this by post-canon though - on some level I think he’s aware that it’s not how he always wants to be.

He supports people by Physically Being There. Lots of worried dog laying their head on your lap energy. Voted most likely to stay by someone’s bedside until they wake up.

~

Marcille is still figuring out where she fits in the world. She's still figuring out who she wants to be. She can be extremely confident about some things, and completely doubt herself in other areas. She's got a little bit of fake-it-til-you-make-it charm. She DOES know what she's talking about, she just doesn't always know how to apply it. Very #gradstudentcore. She's still only just starting to explore the world beyond the safety of her parents or her school!

She has such a big heart and she emotes loudly, every time. That doesn't mean that she shows EVERYTHING she's feeling, but if she does show it, she shows it big. She loves romance and big gestures and the zest of life and people. She likes to meddle and snoop because she wants to know the whole story and wants to be in on it all. I think sometimes she might have trouble realizing that she's PART of the story, though. Like, she views her meddling gossip seeking as neutral or good acts, when they can affect people more than she realizes, and sometimes even hurt them.

In general she's not great at predicting the repercussions for her actions. I do think she reflects on herself, but sometimes she's trying to learn and do so much that some things get lost. She wants to be better, and she's always learning and growing and taking things in. I genuinely think that someday Marcille is going to be a little more sure of herself and a little more experience and she is going to be an AMAZING woman. She's just not always good at handling the fact that she can't just be THERE already.

She supports people by cheering them on. The force of Marcille Believing In You could give someone the power to move mountains. Yes, she does also fret and fuss over people in ways that can undermine that. But like the Marcille smile and "you got this" encouragement? Literally confers The Power Of Love.

~

Kabru... Kabru is building the future he wants to see. He's not very good at putting that work down, though (I know, workaholic Kabru characterization, deeply insightful). He can be prone to seeing himself more a part of the process of creating a better world, though, rather than a person who deserves to live in that world. Like, I think he'd be more likely to daydream about a statue or plaque dedicated to him than about himself actually just hanging out and being content.

He thinks about everything. I definitely don't think he's always manipulating people, but he is almost always observing. And since he's prone to following those observations to plans and ideas, he's not being great at turning off his Planning brain, and thus measures his words and actions even when he maybe... shouldn't be....

I don't think he'd describe himself as an "ends justify the means" person (he's very opposed to that way of handling things from the Canaries), but he is rather more concerned about the ends than the means. Bit of a hypocrite there, maybe? I do think his ends are kinder and more inclusive than the Canaries, though. So maybe it's something where he believes that if one has good enough ends, the means must be worth it. Especially since he directs the cost of those means at himself as much as possible. He views himself as expendable in pursuit of a worthy goal.

He is getting better about that but I don't know that he's consciously acknowledged that it's a problem. And so he's probably prone to relapse into those self-minimizing behaviors, especially given he very much has a new Goal to focus on with the kingdom.

Honestly, Kabru doesn't really self-reflect nearly as much as he might think he does. This is actually taking me a little by surprise as well. But he reacts more from emotions than logic in a few points in the story (esp the part where he stops Mithrun from killing Falin), and doesn't really... acknowledge that?

Maybe it's more accurate to say that he's kind of hit or miss with it. He is learning and growing all the time. But he's also something of a blind spot in his own excellent understanding of what makes people tick. Maybe he's better at understanding himself through the reflection of how other people see him.

He shows his support by making other people's lives easier. That might mean giving them a friendly ear, helping them navigate a tricky situation, or assuaging worries they didn't even realize that had. This isn't always true, but I think sometimes he might like some his support to be a little invisible. I don't think he has a problem with receiving praise and gratitude, but I also don't know that it does much for him, either. And being able to help without being noticed can help him hide the vulnerability of the depth of his attachment.

Also, Kabru would probably be more emotionally destroyed by one person helping him with something than a hundred people praising him for his help (but would claim he prefers to help and be appreciated for it).

[dallasgallant]

Dawn goes down- Vamp au lore post

This is organized the best I could think of as it’s more of a universe than a story (there’s so much that could be done with it). I’ve drawn some aspects and others will be more explained. Will treat this like a master post so it will be updated as lore is talked about!

Long post ahead!

If you want to make anything for it (or any of my aus, headcanons etc.) go ahead! Might be my ego talking, but fjdndmdmd

Base story-

The gang are a group of nomadic vampires, they go from town to town feeding, wreaking havoc and moving on before there’s any danger to them. There’s small pockets of fun but it’s a taxing existence… they’re surviving more than they’re living. 1967 they decide to settle in Tulsa for longer than a normal stay, which means more subtlety than their usual chaos and law running.

It’s a rocky start for them as not even the oldest of them has done the “traditional” Dracula method of slow feeding over a period of time off of people. As you can imagine this starts out horribly (imagine two-bit just hanging off your ceiling like a lizard. It went BAD lmao) until Dally found Buck. The two quickly entered an arrangement where Buck finds and sends food the gangs way.

As the gang becomes more settled they get more free time, Pony still loves movies. He and Johnny spend one morning out to late, confused by the darkness of the movie house — run ins with Dawn and the sun aren’t anything new to them. Except this time, Johnny gets burned badly and the two of them have to take refuge under the porch of one Cherry Valance while the gang has no idea where they are.

The vampires-

The term to refer to a group of vampires would be a “Brood” and a more permanent place they’d stay instead of motels and RVs would be a vampire “nest” -> they’ve currently taken up residence in the long abandoned Curtis house.

They’d also never use the term vampire themselves, for multiple reasons, they’d instead say: Wanderers, drifters etc.

Vamprism isn’t easy, in fact it has more constraints than it does freedoms— it seems that way some nights anyway. Darry views it as “just how it is” there’s no way out and you just have to live with it… that’s what he tells Ponyboy anyway. Darry views things as just fine as long as they all stay together. [ au is simultaneously a fun time with vampires while also slightly vampirsm serves as metaphorical towards poverty/being an outsider. ]

The gang has had countless close calls with sunlight, either with shotty sun protection jobs, traveling to long or plain forgetting. Short exposure like this hurts but it won’t scar permanent unless a tad longer/precise or an incident like Dallas and his former St. Christopher.

However, the most important thing when it comes to the gang is that… Johnny Cade is the head vampire. It is a wonderful bit of irony that the short, scared looking Johnny is the most powerful/originator of the bunch. Him being so assuming is actually quite protective of the entire gang, and while he is the head and that earns him a certain respect and attention he isn’t exactly the leader. That role has been given over to Darry similar to canon.

Vampires don’t age… physically or mentally! While there’s room for personal growth, change and wisdom vampires would maintain the hardwiring of their age at the time of their death. While pony is well beyond the age of 14 he still deals with bouts of irrationality/excess angst and confusion someone at the age would have.

The gang-

Johnny: Oldest of the gang and the head vampire. Takes a lower spot out of choice, despite his strength he’s scared and often quite similar to canon. After some talks he and Pony try and only eat “bad people.”

Dally: The first turned by Johnny sometime in the 1870s, he was a member of a Wild West show left for dead by a former partner. Johnny was lonely and saved his life by taking it, unknowingly Dally had on his pendant when turned leaving him scarred. Has an even greater disregard for law than he does in canon and is one of the ones to ‘clean up’ for the gang. Carries a knife and gun.

Pony: Turned second by Johnny, was met further down the line and they became unlikely friends as Pony just thought him to be sick. (Whether their friendship was genuine or through accidental hypnosis is unknown and forgotten). Still a quiet and thoughtful boy though a bit disruptive and quick to anger… he’s been 14 for a long time and that starts to wear on you. Carries a knife.

Two-bit: Third turned, this time by Dally! Met one night at some saloon (remember this is 19th century) and decided to turn him to keep him around. It was a bit of a botch job but it did work, Two isn’t mad about it as he’d probably get caught cheating and die anyway… this is more fun. Also one of the wilder of the gang who ‘cleans up’. Has two guns.

Soda: Turned fourth by Pony, Soda is his favorite person in the world and he wouldn’t live forever without him. It took a lot out of pony to do this and nearly scared Soda into a second death. It took him the longest adjustment period to get used to everything and ok with it. He likes the fun he gets to have and the lack of rules. Carries a gun and a knife.

Steve: Turned fifth by Johnny for soda, who had similar reasons to pony but saw what it took out of him and wasn’t about to risk it. Steve’s the designated driver of the group often whipping the RV or whatever vehicle they find down the highway, wears driving gloves and tinted goggles as they often cut it close with sunrise. Will swap with Dally when he needs a break. Carries a knife.

Darry: Served briefly as a loosely informed daytime protector (human guardian) until it got to risky. Turned sixth by Johnny for Pony, who wasn’t going to have it happen again. While he was turned last he took to it the quickest, whatever it took to keep the brothers together (especially considering the state of late 19th century boy homes). Leads the gang, critical on sticking together, clean up and finding a place to stay. Carries a gun and a knife.

Pony is in a bit of a weird state with it all, he likes the gang and likes his brothers but he hates the way they have to live and how desperate it all is. They’ll be nights where he’s out on his own where he just goes to see movies or read etc instead of taking time to feed… which worries Darry with how he keeps accidentally starving himself. He’ll either end up feeding him or bringing a cup or two. Since settling down things have gotten slightly better.

Humans -

Cherry : she’s relatively the same to how she is in canon apart from having vampires take temporary refuge under her front porch. Will they be gone before she discovers them?

Buck: While he was fed off once, he’s not a ‘thrall’/protector in a traditional sense though the gang will call him ‘Renfield’ as a joke. He’s under no spell (but thinks he is) they’re just friends, he sends unruly customers, cops and competition their way occasionally as long as they bring no buzz his way.

Sandy: Soda’s past sweetheart when he was alive who he had to leave behind. She was never fully aware what happened, just that his little brother got sick and not long after all three of them disappeared. Since the brothers were turned the latest, there’s a possibility of her still being alive but extremely old.

Bob and Randy: Like Cherry they’re relatively the same to their canon selves. Randy is more observant of illness and disappearances in town and Bob has horror movies on the brain, he’d never suggest vampires — lest he be seen of as insane but he has thought about it. (Unlike cherry there’s not a lot of direct involvement)

[barrenclan]

I think overarching plot is relatively easy to come up with, but how do you come up with smaller more filler-like events for your stories, like the plum-bee spats and corm training with egret? I’m having some trouble filling in the flesh of my own story, and was wondering if you had any insight.

Oh boy, real softball questions! Haha, but I can try to give you an answer for these.

I think the best way I can explain the first question is how I wrote PATFW, since it was much more heavily structured than my other comic (and more recent).

So, I started with the premise, the characters, and the general arcs I wanted each of them to go through. The premise helped me to establish the guidelines of this world, what kind of tone I would have for the story - moody and mysterious, so I knew that comedy would not be as frequent and characters might often take a turn towards more realistic drama.

The arcs of each character came with understanding what I wanted to do with them - do I want this person to get better, or get worse? Will they be a force of antagonism, or a side character, will they live or die? What point am I trying to get across with this character? Those kind of questions helped me know how they would interact with each other as well, so for instance a character like Daffodilpaw being friendly and cheerful, with her arc, would interact a specific way with dramatic and egotistical Beeface, for her arc. (Sorry I can't be more specific, but the comic's not done yet.)

Once you have a strong understanding these things - tone and characters - it's not too hard to let the story percolate in your mind. There's nothing wrong with just letting ideas float around in the back of your brain, instead of trying to force them all out right away. I actually wrote the ending of PATFW a couple months after I had started the comic, because the characters naturally led me to that conclusion. Here's an example of what I'm talking about with tone and characters leading to a small interaction that I hadn't previously planned like you asked about:

I have Rainhaze, and Ranger. Rainhaze is kind and brave, but currently very lost. Ranger is sadistic and enjoys feeling in control. So, I need a plot reason for Ranger to have not found BarrenClan. Well, Rainhaze being self-sacrificial, told him that BarrenClan all died and he's the last survivor. When Ranger finds out, it makes him feel tricked - he doesn't like that, so he threatens to kill Rainhaze. Rainhaze is self-sacrificial, as previously mentioned, and is now showing some suicidal tendencies, so he doesn't care if Ranger kills him. But Ranger then refuses to do so, having regained control, and twists the knife by letting him live while feeling suicidal. That's a pretty grim scene, which fits with the tone of the story well.

There you go - that's an interaction I hadn't plotted out the story with, but I was able to come to naturally by understanding the characters, the way their arcs are moving, and the tone of the story.

For this question, it's a little more tricky. The sad, honest answer is that there is no reliable way to do this. That's kind of how the Internet works. Unless you pay money to advertise, I suppose, you can't push a button that says "popularity points" and have it spit out readers. And sadly, sometimes movement only comes after you grind away, day after day, and don't give up. Here's a few things that might help, though.

Use multiple platforms. It's simple, but the more places you post, the more eyes you'll catch. Different websites/apps have different readerbases, too - Webtoons, ComicFury, Instagram, DeviantArt, Tumblr, Hiveworks, and others all have varying levels of attention and algorithims, and work that you have to do to keep up with an audience. Find whatever feels right for you and focus on one or two, but keep the others in your periphery.

Be consistent. People are more likely to actually keep up with a comic that updates every single week, rather than that posts a page or two and then ghosts for a month. Cough, cough, maybe you'll say - but I always set out with this comic to be a side project, and posting asks like this helps me continue to engage with an audience even when I'm not completing issues.

DON'T CARE! I know that seems like counterproductive advice, but seriously; you have to be okay with the fact that you might not get any attention. If you make a comic with the set goal of being popular, or even just worry about having readers, you're going to make yourself miserable. Obviously having attention is more fun, and more motivating, I won't deny that. But you need to be just as happy making a comic for 3 people than 3000 to make something you're proud of and not burn out in the process. If you're making something earnest, fun, interesting, passionate - people will come eventually.

[sonkitty]

The Sideburns Scheme Post #4 v2

(For reference: The Sideburns Scheme)

Crowley, Good Omens 2, Episode 1, The Arrival, The Perfect Entrance Trick

The entrance is part of the coffee shop scene, but it is so special, I am giving it its own post.

Sideburns Check

This show has treated us to something. Crowley does a full spin so that we can get a really good look at the hair from multiple angles. It's not that close up but still good. Thank you show and Crowley!

The sideburns are short. They are the intended shortness after driving. In turn, they are the shortest they have been up to this point in the present day storyline.

Short sideburns happen around human spaces most of the time, at this point in the story.

...

Brighter Red Streak Check

It's easy to think the brighter red streak is not there because of its position. The above image is brightened and more saturated with white rectangles to indicate where I see the streak.

I often find the streak above the center of his left eye and going up from his forehead. Here, the streak actually starts from his part on the top.

...

Hairstyle Changes

In both the Bentley and here, the top hair flared upward. Just outside the coffee shop, the flare has shifted further to his right instead of straight upward and lining up with his nose as it did in the Bentley. There is no extra saturation streak on the right side of his forehead.

Earthly Objects: The Perfect Entrance Trick

(For reference: Earthly Objects)

We have arrived at our first Threshold Trick!

This part is going to be very detailed because of pockets and thresholds.

Here are some GIFs to start us off:

This sequence is The Perfect Entrance Trick. Way, way back before I thought there might be an Earthly Objects game and was just exploring the sideburns, trying to figure them out, I remarked on my appreciation for the camera work and music for this segment. I always compliment those parts because they are so good. They contribute beautifully to the idea here.

While setting aside the Sideburns Scheme and trying to figure out Earthly Objects, I made a "Bonus Round" part of my main post because this sequence had me so amazed. It looked like threshold-only touches and avoiding earthly object touches, but I couldn't be sure due to some specific questionable things I will explore further down eventually. Nonetheless, it sure seemed to me like Crowley knows how to play the game as an expert, so if he is aiming for threshold-only touches, there must be something to his methods that gets the job done. These Threshold Tricks might even be special supernatural bonus points he's earning in the game.

My understanding of the game at this point in time is like so: In this sequence, they are threshold-only touches, but how are they threshold-only touches with this game's mechanics? That's what an audience player is supposed to figure out in the puzzle.

The Perfect Entrance Trick is actually the third Threshold Trick I found without realizing it because I did not have the words, "Threshold Tricks" for myself then. It felt like the first one I found when I was trying to understand Earthly Objects. I had already found The Bigger Thresholds Trick and The Door Trick without realizing they were Threshold Tricks too. I didn't have names for them then. I just knew there was something special about sideburns and thresholds so caught onto those parts. It took something more than weeks to put these ideas together because I spent a lot of time just thinking and making pictures while readying myself for making posts about sideburns.

Before we go over this particular sequence in more detail, here's something I think the game is putting forth as a challenge. The Pocket Trick is a hidden giant with a giant impact on many things. While I am at a point that I do not think I will ever solve The Pocket Trick to my satisfaction, I believe a significant one of its hidden messages is, "Pay attention to the pockets."

As stated in my main post for The Sideburns Scheme, pockets are a big, little thing in GO2. They are easy to miss and to dismiss. One should also pay attention to doors and windows, but because the pockets are so easy to overlook—even more than windows, it's a good idea to mind that message on pockets specifically all the same. Between doors, windows, and pockets, pockets are the hardest to see and to understand.

In Earthly Objects, a pocket can be a hole created by a character's body between their own self, part of the screen, part of an earthly object, or even part of a threshold. A pocket can be two or more characters surrounding something or someone on the screen in the framing. A pocket can be a character surrounded by things in the framing. A pocket can be the actual literal pockets characters can have on their clothing. That includes the ones we understand are actual pockets and even little holes the clothing can make on itself. Pockets are everywhere, but making sense of them for how they count, when they count, and what they count for, is another story. It is overwhelming—as if "think outside the pocket" wasn't hard enough in The Pocket Trick to begin with!

I think chances are good that pockets are somehow related to every Threshold Trick, and a big part of this challenge I do not expect to pass is to figure out how. That means I won't ever fully solve every Threshold Trick. So, I will pay attention to the pockets, tell you about the pockets, and admit freely, once again, my understanding of them is limited.

Okay, so here's the sequence in more detailed text form with paying attention to the pockets. It is very quick and heavily based on movement. Parts are also blurry. I won't swear everything below is correct because to play, I mainly have to guess based on clues.

With the car on screen before it is parked, I can find multiple different humans using pockets. However, one in particular catches my interest because he put his left hand in a pocket near where Crowley will park, and I recognize this human:

That guy shows up three different times in episode 6 during The Door Trick and The Door Catch. He is responsible or the Purple in the Rainbow Connection on Aziraphale's part.

Nonetheless, Crowley parks the car. The camera work is doing amazing things by going under the car, then around a wheel, focusing in on the shoes of the nearby humans before Crowley himself starts.

The door to the car opens, and Crowley touches the edge of the sidewalk with only one shoe. The heel is touching nothing behind it. The front tip is avoiding the rest of the sidewalk. That is the Single. The edge of the sidewalk is one threshold, and it was touched by only one shoe.

The camera pans up.

Crowley touches two different thresholds with his right hand. They are the window frame and the door panel for the door to his car. The fingertips avoid the window pane. That is the Double.

One of the tie strands becomes visible, including a clasp and a tassel. That's a thumb and thumb joint of one of the Tied Hands. Crowley's left hand moves forward such that the tie strand is visually in front of that hand. The left hand is important because it's the one that's going to do the Triple part of this Threshold Trick. I don't know the watch's role in pocket mechanics. It generally likes to be seen and seems to also watch things, like it's some kind of "lookout," but something more too.

Getting back to the left hand's movement with the tie strand, at the exact frame that thing happened, I can find a human visually behind Crowley's right elbow using a pants pocket with their left hand. They are wearing a white shirt over a darker one.

This part is a clue that this tie strand is going to be tied to the left hand and that it is the longer tie strand when both are seen together shortly.

Instead of moving ahead to get to what is going to be the Triple, Crowley has his back to the camera. He takes some steps and moves his arms around. I don't have it in me to log every pocket they make and close and what they might frame, but they do such things.

A light briefly pops out in one of the trees trying to communicate something, and I'm going with saying it's a little overhead light for Crowley since it's above his ear and to the left of his head.

There is a nearby car with red rear lights. These types of lights are often used to alert about a color switch in the Rainbow Connection when they light up a bit more. So, the main thing I see it to be an alert for is that pocket user already mentioned and knowing what we'll see soon for switching without an active Rainbow Connection. The pocket user is even pocketed briefly between these red lights. In fact, that overhead light mentioned above lights up at the start of when this human starts to pass the first of the two red rear lights. If those red lights mean anything else, I don't know what it would be.

When that human pocket user that was visually behind Crowley is finally completely off-screen, Crowley's left hand and the watch also go off-screen.

Crowley spins.

As he spins, both tie strands become visible. The longer tie strand is on Crowley's right. That means it is mirrored for now. The left hand becomes visible again too. During the spin, the tie strands switch. The longer tie strand becomes aligned with Crowley's left side. Generally, these things have a special mirror that flips through a Rainbow Connection Reflection, or whatever that Connection allows, in the Pocket Chain of The Pocket Trick. However, The Pocket Trick hasn't started yet, and this Trick is not linked to the Pocket Chain.

Well, without the initiating power of The Pocket Trick or a Rainbow Connection, it looks like a little spin switch is allowed this time.

The belt—which is Crowley's Belt Head—also became visible, and Crowley has his mouth open during this spin. The vest tips are surrounding the Belt Head to have it pocketed between them. Additionally, the longer tassel tip just so happens to brush along the belt during the switch. There is even another self-made pocket of hair like there was for the newspaper door. With the movement, the vest tips and their pocket over the belt shift further towards Crowley's left as well.

The left hand and the watch hide behind Crowley's jacket. This action is part of closing pockets between Crowley's torso and both arms.

Crowley finally starts moving toward the door.

The right arm opens a pocket between his torso again, this time by itself instead of with the left arm.

The left arm forms a pocket between Crowley and the main part of the jacket.

The pocket between the right arm and jacket closes.

Soon after, the pocket between the left and jacket closes.

Then the left arm hides behind Crowley. In the blurred movement, that longer tie strand connected to the left hand pushes off the vest temporarily and becomes visible in the air. This action creates yet another temporary pocket.

In motion, all of these pockets amount to looking like pocket-to-pocket passes in the animated GIF shown further below.

Once the tie strand has presumably returned to where it belongs, the left arm is finally ready to make its move on the incoming threshold.

Crowley's left arm reaches out for the door panel. There is a lock that is extremely hard to see in the blurred movement, but it is there above the push plate. Crowley's palm of his left hand covers it completely. He pushes the door on the lock instead of the push plate.

Some video frames reach a nice, stronger clarity. Here is the one that strikes my own interest most:

There are three digits touching the door panel. That's what makes this part the Triple. The index finger and middle finger are touching the front. Most of the thumb is touching the side. However, the ever so vital and important thumb tip is on the edge of where the door panel meets the window pane. Edges are thresholds, and pocket trickery loves edges.

The reflection of Crowley's left hand has pocketed the lock on the other side within the palm that is covering the covered lock. In other words, the palm has the locks covered.

The Tied Hands are making this acceptable because of their link to reflections. Plus, all those words I just had to write out because word play is a key mechanic for pocket trickery.

And there's more!

With the palm being busy with the locks, the thumb tip touches its own reflection while doing its edge touching. All of the digits, the real ones and the reflected ones are pocketing the door panel and its reflection because of their framing. Any issues with that window pane have been neutralized. There is a small bit of Crowley's right sunglasses lens past the door frame but not much.

The watch takes over in the next video frame to keep everything in order because that real covered lock becomes slightly visible. The watch's reflective surface lights up to say that everything's still as it should be. Parts of Crowley's face—and more of the sunglasses themselves—visually passed through the door frame at the same time that real lock became slightly visible, so this threshold has been effectively tricked. We must recall the Belt Head had a role to play in the matter.

The Perfect Entrance Trick is the easy one! But the pockets have increased its difficulty immensely.

Something that is missing in this first Threshold Trick is a rainbow. Four of the others have one. The Sunglasses Trick does not, but it does have a notable white light reflected on the watch in its last touch. Rainbows can take shape through refraction in white light. The lighting on the watch here is not as white as what appears in The Sunglasses Trick. It has a tinge of yellow.

Well, Earthly Objects is a game with puzzles—and some silly puzzles at that, so I'm going to say that this Threshold Trick is excused because the Rainbow Connection within The Pocket Trick has not started yet. The Rainbow Connection starts in episode 2. In fact, the way it goes is that The Pocket Trick gets its official rainbow first. It and the other Threshold Tricks finish in episode 6. In episode 6 is where all of the other rainbows appear for the other Threshold Tricks.

The Perfect Entrance Trick is the only one that both starts and finishes in the first episode. It is the first of three Simple tricks. The Simple tricks are the ones that start and finish in the same episode.

Another way I like to play this game is that these Threshold Tricks are based on simple ideas even though they get so complicated—especially once pockets are known to be so important. I call these simple ideas "core concepts" because these things are indeed conceptual. While I don't like word play as much as The Pocket Trick does, I do like it some. So, let's toss some alliteration in here too.

My best guess for this one's core concept is, "Make a Perfect Entrance while making an entrance." The idea is also to introduce the Threshold Tricks. Each one is required to have a primary Single, a primary Double, and a primary Triple. A single is 1. A double is 2. A triple is 3. Add up 1, 2, and 3, and you get the number 6. That equation of 1 + 2 + 3 is what makes the number 6 a perfect number.

A standard set in Earthly Objects is 3 points. A Threshold Trick has a minimum of 6 points for its theoretical bonus rewards and must be done in this special format.

I had to look that up that part on "perfect" because that was the word I wanted to use to describe The Sunglasses Trick when I put those pieces together. I am familiar with the Tekken franchise due to a past stronger obsession with Devil Jin. In Tekken, a PERFECT is when a player wins a round without taking any damage.

So, once I grasped that 6 is a perfect number, for me, it was like "Oh! That's what the first one is! It has a name! It's a Perfect Entrance!" I had described it as a "beautiful entrance" in my Bonus Round section. Again, that took something more than weeks to figure out.

Also, David Tennant is perfect for the role of Crowley. I love this actor-character combination so much.

...

When Crowley enters and sits down, Aziraphale is sitting down, but there is no actual visible back of a chair for Aziraphale. I am reminded of Crowley's remark in episode 5 of "Looking where the furniture isn't." In one of my posts on Earthly Objects, I note this type of thing as a mysterious vendetta Aziraphale has with chairs. A lot of times, the back of one cannot be seen for Aziraphale. When he's in the bookshop and a back of a chair can be seen, his back will still not touch the back of the chair.

...

Story Commentary

Setting aside the threshold trickery at play in Earthly Objects, Crowley's open mouth could also be interpreted as him using his snake demon senses to find Aziraphale's precise location.

After the Threshold Trick itself is done, Crowley's body is briefly fully obscured, and suddenly the door's moving for him without his hands doing anything. The left hand that was on it is gone. He may as well be using telekinesis on the thing.

Crowley continues onward until he passes Aziraphale on Aziraphale's right. Aziraphale himself glances to his own left first, as that's generally where Crowley is expected for him. This movement also allows Crowley's body to be obscured briefly. He could even mouth something to Aziraphale without us seeing it.

The red on the back of the collar on Crowley's jacket is briefly visible before Crowley himself finally sits down and says, "Right, what's the problem?"

The car transformed a little. There's an extra part of a window frame on the window pane that wasn't there before.

...

Muriel

(For reference: Bookend Buddies - Crowley and Muriel (Part 2))

Muriel's first scene preceded this one. That makes their first scene the front bookend to the first Threshold Trick. Their last scene will act as the back bookend to the last Threshold Trick (The Window Trick).

In turn, Crowley's first Threshold Trick is the back bookend to Muriel's first scene.

...

That's it for this post. Way back when I started to track these things, I did have a tendency to update even these posts, so that could happen again, just FYI.

...

Main post:

The Sideburns Scheme

...

Past version of this post:

Post #4 (entering the coffee shop)

[incorrect-jojolands-quotes]

some interesting things to consider with chapter 13

Spoilers below and I might add more to the list soon.

Dragona's mispronounced name is a play-on Dragona's name and the word for trash. In Kanji, the first part of Dragona's name can be reinterpreted as JoJo (do-ra) and the term used for trash (gomi) is often used as an insult to call someone useless, shit, worthless, etc. So, Dragona is basically called "JoJo trash/useless JoJo" under the guise of mispronunciation. If we were to translate this into English, Dragona would be miscalled "Crap-ona" since Ds can be misread as Cs and Gs as Ps.

A popular drama known as "The Glory" became popular overseas around 2022 due to its story about a girl severely bullied by rich students ultimately gaining revenge. It was praised for the rawness of the bullying portrayed and it was based on a real life situation in 2006 where the victim of bullying experienced what was portrayed in the drama. What was not portrayed (I think) was the experience of the real life victim having their chest mutilated to the point of scarring.

Dragona mentioning about not wanting to live due to the circumstances reference Bruno echoing similar sentiments to Giorno before passing away. Both felt like they have nothing left to live until the Joestar gave them hope due to their actions.

Jodio's thoughts on why things happen reference Pucci having similar sentiments after Perla's death-- which leads him to reunite with DIO. While Pucci wonders why the knowledge he was forced to take in hurt him, Jodio wonders why the knowledge he was denied to have hurt him instead. We see how his quality of being methodical also has a flaw that explains him mentioning in chapter 2 how the "unfairness" of the world drives him mad.

To be blamed for the insurance payout and Barbara Ann being mostly a stay-at-home-mom means Jodio and Dagona's father must have been very high ranked to end up in such a situation while serving as a breadwinner of the family before his abandonment. Jodio and Dragona's father leaving is similar to Jotaro abandoning Jolyne for their safety. Both had to leave their children behind because otherwise their children will be harmed.

Meryl Mei's detail about school tuition is interesting due to McKinley High being a public school and initially thought to be an error. Remembering how Barbara Ann mentioned Jodio's academic performance earlier, she could have put him in a private school intended to bring his performance up, and that's why Barbara Ann mentioned school tuition. It makes me wonder if Jodio had just started going to public school; did he actually improve, was tuition ultimately too much, or did Meryl Mei manipulated things to put him in her high school so she could keep better watch on him?

Howler references King Crimson song "The Howler", which comes from an album trilogy (Discipline, Beat, Three of a Perfect Pair) that came out after the band's hiatus and known for introducing a brand new sound. Discipline features the song "Matte Kudasai", Beat has "The Howler", and Three of a Perfect Pair is yet to be referenced. There's a song in Beat called "Requiem", which caused the group to break up due to creative differences but later reconcile.

Three of a Perfect Pair has exactly 9 tracks with one side representing the New Wave style that Beat introduced and the other side representing the Industrial style that Discipline introduced. I got a whole post made about the albums here.

As a infrastructure group worth 50 billion dollars, they may have great influence over the community similar to that of Meryl Mei and branches that hire people for contract and whatnot. Is it possible that Usagi's father used to work for them? Is it possible that Jodio's father has some sort of connection to the insurance payout that Usagi's family currently live off?

Howler could be a play-on the Hawaiian world Haole, which is used to describe something not native to Hawaii, particularly foreigners. There are a few irl construction/infrastructure companies called Howler that are notably not from Hawaii. Given rich corporations' histories with exploiting resources such as land, Howler could be a company with malicious intentions towards Hawaii's lands.

The Japanese term used for "absurdity" can also be translated to "illogical", "nonsensical", and interestingly "unjust". When we see the characters mentioning absurdity, they could just not only be saying things don't make sense but things aren't fair or equal. It makes a callback to Chapter 2 more interesting.

ABSUЯD is a song written by Guns N Roses from their album Chinese Democracy, which was known to take a long time to come out and a rather very unpopular album due to how different it sounded from Guns N Roses' previous music.

[runabout-river]

What do you think Jujutsu Kaisen's legacy will be in the long term? While it has been praised for its moments of innovation and has translated well into anime, some argue that its focus on fighting and overly complex power systems, particularly towards the end, undermines its lasting appeal. Do you believe it will be remembered as a modern benchmark in the shonen genre, or do you think that it may eventually be overshadowed by newer, more character-driven series? Why?

I can see that actually but I don't think a character-driven story itself would easily translate to be being better than JJK. There is character work in JJK and it's enormous in many places but also subtle in others. It's more subtle towards the end where the Shinjuku fight took a big space of the story so I can see why those things stand against each other in the public conciousness.

What I mean by subtle: I made a post about Yuji's accumulated trauma after Cho's death, interpreting his reaction and the past events he went through in a way where an imminent breakdown should've come Yuji's way because his cog mentality needed to break.

Yuji did not have a breakdown though because he had overcome his cog mentality during the timeskip without us seeing it. His reaction later when he pulled Sukuna into his domain was not out of character and showed how he matured on his own.

You could debate now if this subtle approach was a bad decision in the end, just like ending the manga after Sukuna's defeat instead of letting the story flow into a merger arc even if it had been a short one. But there is still character work everywhere but again towards the end it gets really subtle and sometimes the emotional work characters went through are behind the scenes.

In theory the power system has no connection with this lowkey character work, so a simple "less complicated PS for more character driven story" is not a formular that guarantees a better story than JJK. Gege always had his complicated and multi-layered system in place in the manga, it's just that at the end people expected more consequences and emotions other than happiness for his characters.

It's like the power system and fight choreography peaked in Shinjuku but the character work didn't quite catch up. But maybe I'll have a different opinion on that when I read the manga through a second time.

Personally, I wished for Megumi not to be neglected and for his relationship with Tsumiki to be put into the spotlight and his relationship with Sukuna to be explored.

So what will JJK's legacy be? A likeable protagonist whose story you would like to read and watch again. A deuteragonist who looks like he will become someone as strong and powerful as the villain, sometimes ruthless but still full of heart, who becomes a suicidal object in the last arc of the manga. His story is tied to his goal and his power but then he's stripped of both... and the resolution of it is... well...

One legacy of JJK that is already on full display is the Gojo-like character that has started to pop up everywhere but most don't reach his level of well writtenness (from what I heard, I don't read and watch that many anime/manga). Another legacy that JJK might solidify is NOT to put a main character (Nobara) into a maybe-grave and have her be removed for half of the runtime of your manga.

There is a reason why that's not done often and it's because it's wasted character potential.

The power system itself could become a legacy with how well and detailed it's crafted. Future mangaka might look at it say "I want that but with more/less [insert whatever you want]"

Just to make something clear here: however many people are disappointed in the ending being too... wasted and happy or whatever, it's still a fine ending to a good and partly excellent manga. We're not talking about Game of Thrones level of shit-ending here. I was there when that happened. JJK is fine.

So even if some people have gripes with the ending it won't overshadow the manga itself. People won't say the ending is so bad you should never start the series. They might say "the ending was a bit lackluster but watching it as a complete anime might improve that actually."

As a last word on that I have one wish that I hope Gege would do: sit down with the anime production team and improve his character work for the fourth and last season of the anime. Just add canon material to it to make it feel more. Expand on the timeskip flashbacks; expand on Megumi; expand on Megumi and Sukuna; expand on Sukuna's backstory so his past with Uraume is something that exists and his last words about different paths he could've chosen gives us a concrete idea where those emotions came from.

At some point in the future, a new series will definitely overshadow JJK but that's just how it is, nearly everything gets overhsadowed at some point. But that won't happen in the next few years and it might not happen until a few years after the anime ends.

[beebotea]

Hewllo!! Id like to drop a msg, i read ur heartsteel kayn's college boy and i adore the little details of his actions u put in ♡!! Id definitely like to see more stories on college boi kayn from you!! ♡

☁️ ˖⁺ academic misfortunes — kayn (heartsteel)

pairing: heartsteel!kayn x f/gn!reader genre: fluff, crack, college!au cw: idk probably ooc, not proofread :0 i.e.: adventures of collegeboy!kayn and his classmate/tutor!reader

aahhh! im so glad you enjoyed it <333 i might do a mini series/collection of drabbles for collegeboy!kayn. please send in any requests or ideas you may have or just thoughts to chat about :DD

spinoff of this post

Kayn isn’t what you’d thought he’d be, to be completely honest. Going off of fancams, fanfics, and the general perception of his character to the public eye, you expected Heartsteel’s lead rapper to be a bit more… cool? Well, at least he certainly tries to come off that way.

However, you quickly learn that Kayn is really just a really, really closeted softie loser boy at best trying to compensate with a big attitude because he thinks edgy is cool or whatever. Of course, he would definitely attempt to murder you if you were to speak of these musings out loud but you couldn’t help but find his off-putting demeanour a bit endearing after a while… something akin to a hyperaggressive chihuahua or a rabid raccoon. But of course, there are other times where you’d wish he’d just fuck off and leave you alone.

“Hey loser.” He calls you from the steps, walking up to where you sit in the lecture hall. “Did you do the homework? Let me copy off of you.” He slides into his usual spot next to yours, throwing his backpack haphazardly on the ground beside him.

“You’re not copying my shit. Fuck off, Kayn.” You roll your eyes at him and continue to read through the slides for today’s class.

“C’mon, have some empathy, yeah? The boys and I had practice all day yesterday.” He was a decent enough liar, but he could have been better if he hadn’t texted you to postpone your tutoring session with a picture of him and Aphelios playing with a random pit bull yesterday instead of attending band practice or completing his homework.

“Kayn, this worksheet was assigned like two weeks ago.”

“So? I had stuff to do two weeks ago!” That part was a bit true; Alune always gave you a copy of the band’s promotion and practice schedule for the month to keep you updated.

It was difficult to refer to him as your friend. You saw him often enough—every day in almost every class. And you’ve worked with him on countless partnered projects by now—he’s only ever able to do work with you (in other words, he scares off anyone who tries to ask you to be in their group or be their partner). But he was always a complete pain in the ass.

When you first became acquainted with Heartsteel’s resident delinquent, you were assigned to be his tutor by one of the department heads at the request of Yone. Begrudgingly accepting the role in exchange for “VIP tickets to all concerts, all inclusive backstage passes at events and shoots, and first dibs to new merch releases,” you began your new job as Kayn’s personal tutor for the various courses he was performing horrendously in. It was by no means smooth sailing when you started. Trying to make plans around his schedule, finding places he wasn’t already banned from to study, getting kicked out of establishments because of his hissy fits at minor inconveniences, and then ultimately agreeing to work at his dorm every weekend instead so you don’t have to hide your face in public. What surprised you the most was how hardworking he actually was when he put his mind to it, even paying attention to your explanations for hours until he could grasp the concept at an intermediate level—or got hungry. What was more was that he even showed rapid improvement, bringing back marks higher than a C- and occasionally reaching the mid to high 70s after a month and a half of beginning his tutoring sessions.

“Okay fine. Just this once, alright?”

“Yeah, yeah, I promise.” He flashed you a snarky grin as you pushed your papers towards him, pointing out which ones were a bit more difficult to understand and summarising what should’ve been an explanation done during one of your tutoring sessions.

“You really should start focusing up on your work though, you know. Finals is coming up soon and these exercises are really good for preparation.”

When the professor finally dismissed the class, you found yourself waiting behind for the bright haired rapper.

“Aw you waited! That’s cute.” He sent a quick wink your way as he caught up to you.

“Well you said you were gonna give me a ride to your place so.”

“Just had to ruin the moment didn’t you.” He chuckled, ushering you to follow him. “I hope you’re not scared of motorcycles or anything because I finally got Yone to let me ride it.”

“Huh?”

“Now where did I park it… hm let’s see… Oh! Here!” He grabbed you by the wrist to pull you towards a red and black motorcycle decorated on its sides with white flames. “Sooo whatd’ya think?” He nudged your sides as he grinned at you.

“You are not driving me in that.”

“Oh come on, of course I am! I have a license for it and everything!”

“Kayn you’re literally gonna get us killed.”

“Will not! C’mon, don’t you trust me? After everything we’ve been through? When have I ever let you down?”

“Like literally this morning when you cheated off of my worksheets instead of completing them before hand like you said you would.” You rolled your eyes at him, missing the way he pouted at your words.

“I promised it was a one time mistake!” He took two helmets from a storage compartment in the vehicle and shook them in front of your face, hoping that his attempt to show you his knowledge of roadside safety would sway you in the right direction. “So? How about it?”

With a defeated sigh, you agree with a mumbled “fine” as he threw you your helmet and instructed you to get on behind him. He even took the time to emphasize the importance of ‘holding on [to him] really really really tight.’

“See? ‘wasnt so bad was it?” He said as he helped you off the motorbike, lifting you off the seat by the waist. He helped you steady yourself when your feet finally touched the ground. His hand never seeming to leave its place on your hip.

“It was… fine. I guess.” You couldn’t help but give him a small grin, having enjoyed the ride and being so close to him. Kayn seemed to want to say something else until he was interrupted by a voice calling from the window above you.

“Hey! Kayn’s back!” Ezreal’s green head could be seen poking out from one of Heartsteel HQ’s many windows, waving to the two of you below him. “Hurry up inside! Yone made ramen!”

Before he knew it, you bolted past him and through the front door at the promise of Yone’s homemade cooking.

a/n: def down to write more abt this lovesick loser bad boy (please give me more excuses to)

[bnhaobservation]

Ramblings about the Himura family

So, the past time I was rambling about the Shimura family and the Takami family.

Now generally, when I made those posts about those families, I focused on the dynamics about family members… but for the Himura family there’s hardly something to work with as we barely see any interaction among them.

However… there’s plenty of history (which I kind of discussed in a past ask), and since I thought this could be interesting and worth being preserved, I decided to make a post just for this.

PREMISE

Generally, to make my posts, I use the canon material as basis, but since in this case the story of the Himura family involves history, well, I’m going to report info you don’t find in the manga but which are probably common knowledge in Japan.

For the sake of this observation I’ll assume this:

- ‘What happened in the past in our world history is also true in the BNHA universe’ which might not be true but unless Horikoshi specifically stated there were change, likely is.

With this said let’s start with the Himura family.

We learn more in detail about who the Himura family was in… chap 387 in which Geten will reveal to belong to the Himura family as well as a bit of their backstory.

‘Furuku kara no shōya datta Himura ha nōchi kaikaku go mo bunke wo fuyasu koto de zai to PRIDE wo nantoka tamotte kita.‘ 「古くからの庄屋だった火叢は農地改革後も分家を増やす事で財とプライドをなんとか保ってきた」 “The Himura, who were village heads from long ago, managed to maintain their wealth and pride even after the land reform by increasing the number of branch families.” [Chap 387]

Let’s consider this bit, ‘were village heads (庄屋 'Shōya’) from long ago’ and see what it exactly means.

'Shōya’ (庄屋) can be translated as “village heads” but which is actually a bit more complex than what it might seem to us.

Basically a Shōya was a person who, during the Edo period (1603-1868), was in charge of the village affairs under the direction of the magistrate and worked as the leader of the village. The term was used predominantly in the Kansai regions (other regions used other names), so we can assume the Himura were originally from that region.

Just to give you an idea the Todorokis instead are from the Shizuoka prefecture (along with other characters like Midoriya and Bakugō).

To be more exact, the office of Shōya in Japan was generally established between 1688 and 1704.

To get a better idea of how rich Shōya could be, just think even though they technically were considered peasants, many of them were financially better off than samurai, or even top class Daimyo, lived in large mansions, owned large tracts of farmland , and were also intellectuals representing the village due to their work involved in document creation . The families that served as Shoya during the Edo period were often from prestigious families or previously were powerful vassals of warlords of the Sengoku period (1467-1638).

Of course it wasn’t mandatory for the Shōya to be that rich but… well, it gives you an idea they generally weren’t just a random nobody in charge of a village.

Their duties included tax collection, general village administration, management of public natural resources (such as mountain, field, river and ocean) of a village, as well as negotiating with the territorial lord as the representative of the villagers. The most powerful of them, administered between a dozen to several dozen villages, and ruled an extremely large territory. Some of them were given the privilege to bear a surname and to wear a katana and were treated like members of the samurai class. Their duties also included the communication of laws and the coordination of lawsuits.

Just so you know, Japanese surnames were not really born until 1875. Before, the Japanese mainly carried the name of their clan. Before this date, only people of high rank such as nobles and samurai had a surname. The common people used, in case of need, the name of their place of birth, for example, their village.

Now… Himura is written with the kanji for “ice” (氷 'hi’) and “gathering, collection” (叢 'mura’)… but the interesting part is that 'mura’, written with this kanji 村 means “village”.

So it’s possible originally they were the people from the Hi village, and then they took the word Himura, changed the kanji so as to make it sound less common people and turned it into their surname… either by becoming important enough to gain the right to a surname or much later, in 1875 (I tend to think they gained the right to their surname but that’s just me) or maybe even after this date, when they gained their Quirk.

Going on.

Let’s consider this bit ‘managed to maintain their wealth and pride even after the land reform (農地改革 'Nōchi kaikaku’) by increasing the number of branch families (分家 ‘Bunke’)’ and see what it exactly means:

So here Geten mentions a 'Nōchi kaikaku’ (農地改革) which means “Agricultural revolution” or “Land reform”.

Although Japan had various land reforms, in Japan, when you talk of the 'Nōchi kaikaku’ (農地改革), you are talking of the reform of the agricultural land ownership system carried out by the Japanese government in 1947 under the direction of the Supreme Commander for the Allied Powers.

The purpose was to reduce the wide gap between absentee landlords who owned agricultural land but did not farm it themselves, and tenant farmers who rented the land in exchange for giving the landlord a high proportion of the crop. The land reform laws were intended to limit the amount of farm land one household could own to about the amount of land that one family could farm themselves, without outside labor. The government forced absentee landlords to sell all their land to the government. Farmers were allowed to own a small amount of farm land that they could rent out to others, and had to sell any excess to the government. The government then sold this land, usually to the tenant who had been farming it. The result greatly improved the living conditions of farmers.

Why Geten says the Himura maintained their wealth and pride creating branch families?

Likely the Himura owned more than the land they would be allowed to own by the reform… but my guess is that, in order to continue controlling it, they decided to split their family in many branch families and share the land among them so that the control would still remain in their hands even if they would technically comply with the law.

In fact let’s look for a moment at how the whole main family/branch family work in Japan.

The “main household” of a Japanese family, which Geten will mention later in his talk, is called ‘Honke’ (本家 literally “source house”) and it is characterized by a patrilocal residence and patrilineal primogeniture and is part of the system of family branching that establishes a multiplied structure to create familial relationships.

In fact, in Edo period it was decided the eldest son would inherit everything, all of the family’s assets, including movable and immovable property, including the household as well as the responsibility of taking care of his parents as they aged and even the family Butsudan (since in the Todorokis’ Butsuma room, the room in which the Butsudan is, there’s also a photo of Enji’s father on the wall, this implies the Butsudan had also been ‘his home’ and so we can figure out that, if Enji had siblings, he was the eldest son merely by him having the Butsudan which hosts his father). The eldest son is also expected to live with his parents when they grow older. This change was essentially intended to prevent further division of a territory into smaller sections. Due to all this, particular attention was given to the oldest son’s upbringing and education as he would be the next family head.

What’s the family head?

The “family head” (当主 ‘tōshu’) is basically the person who has inherited the headship of the family.

This means they have authority over their wife and the rest of the family members and the duty to protect them as well as the right to disown those who violate his wishes. Basically, disobey him and you can be literally kicked out of the family. They also had authority over the family's customs and rituals and are responsible for the management of the family property and the family business.

What about the other children of the family?

Normally they would get zero inheritance (or a very small one). The daughters would get married off and would come to belong to other families, as for the younger boys, they could remain in the family and continue obeying to the family head or, if the family head were to allow them, form a branch family, the ‘Bunke’ (分家 literally “part house”) “branch households”.

The branch family was supposed to remain subservient to the main family (so the main family still keeps control of things) and remains to live close to it.

Note that a family could also adopt an adult (generally someone who worked for them) and then use him to create a branch family.

The Himura already had some branch families they controlled since the text say they increased (増やす ‘fuyasu’) the number of the branch families.

Long story short, if the Himura decided to not let anymore the male firstborn inherit everything but to split the land between more people so as to create many branch families, the main family would still be in control of everything.

I’m speculating, I don’t know if this is how they handled the whole thing, but it seems the most logical assumption.

‘Demo chōjō ga okiru to tomoni kasokudo-teki ni reiraku shite itta. Chi ga mazaru no wo kirattanda. Kekka bunke… tōen dōshi de no kekkon ga aitsuida. Mizukara wo heisoku kankyō ni oki Himura-ke ha shukushō no itto wo tadori.’ 「でも超常が起きると共に加速度的に零落していった。血が混ざるのを嫌ったんだ。結果分家…遠縁同士での結婚が相次いだ。自らを閉塞環境に置き火叢家は縮小の一途を辿り」 “But as the exceptional happened, things (for them) started falling down at an accelerating rate. They hated mixing their blood. As a result, the branch families... had marriages among distant relatives which occurred one after another. As a result of placing themselves in a closed environment, the Himura family steadily shrank.” [Chap 387]

Now… during feudal Japan, clans traditionally encouraged cousin relationships to perpetuate family dynasties, and the Himura split their family on paper to keep control of their land… so it can be the Himura always married between themselves because back then it was normal to do so.

It’s hard to say.

However the way Geten claims it was the advent of the “exceptional” (超常 ‘chōjō’) or, if you prefer, the appearance of Quirks, which speeded up their downfall as they didn’t want to dilute their blood, seems to imply when they turned out with having an ice Quirk, things started to take a turn for worse, causing them to hate mixing their blood.

Possibly the Himura’s ‘ice Quirk’ became another reason due to which they didn’t want to mix their blood with people who didn’t have it. If before it could have been fine to adopt someone into the family, afterward it wasn’t anymore because that someone wouldn’t have an ‘ice Quirk’, if before whatever family member could be okay for marriage, afterward only whose who inherited the ‘ice Quirk’ were eligible.

Shōto too kind of hinted at this, when he talked of Quirk marriages.

‘Kosei kon. Shitteru yo na. “Chōjō” ga okite kara dai ni ~ daisan sedai-kan de mondai ni natta yatsu… Jishin no “kosei” wo yori kyōka shite tsuga seru tame dake ni haigūsha wo erabi…… kekkon wo shiiru. Rinri-kan no ketsuraku shita zenjidaiteki hassō.’ 「個性婚知ってるよな。“超常”が起きてから第二～第三世代間で問題になったやつ…‘自身の”個性”をより強化して継がせる為だけに配偶者を選び…… 結婚を強いる。 倫理観の欠落した前時代的発想」 “Quirk marriage. Do you know about it? After the ‘paranormal’ happened, between the second and third generation they became a problem… In order to pass in inheritance a further strengthened version your ‘Quirk’ choose a spouse… and get her married to you by force. Old-fashioned way of thinking which lacks in ethics.” [Chap 31]

Likely the Himura started marrying into the family before Quirk appeared but, once they did, the marriages weren’t just between family members but between family members with an ice Quirk. I’ve theorized the Himura might have changed their surname in the past… but it can be that the ‘hi’ part of it became “ice” after the appearance of Quirks… or the fact the Himura started having an ice Quirk ended up being seen as a requisite to belong to the “ice gathering” family.

So it’s likely they were also doing Quirk marriages among family members, not so much like Enji did so as to mix his fire Quirk with a suitable Ice Quirk so that they would both compensate each other, but only in order to strengthen or maintain their ice Quirk. Which made Quirkless people, which previously were the majority, ineligible for marriage.

How distant had to be those distant relatives the Himura married each other off?

Currently, by law, in order to marry among them, relatives had to be at least second cousins or more distantly related (4th degree or higher).

If you've no idea of what this means here there's a potentially useful scheme which show you which degree are your family relatives from 1st to 3rd (the ones without degree are 4th or higher).

Now the huge declining birthrate in Japan might have caused the thinning of their numbers… and to make matters worse, if people keep marrying distant relatives, with each passing generation those distant relatives become less distant and therefore no more eligible for marriage, which might have made harder for the Himura to find a potential partner… and if having a ice Quirk was a requisite to get married, the fact some Himura might have been Quirkless thinned their options further…

So, anyway, Geten blames the Himura downfall to the thinning of their numbers… but honestly though, I tend to think it’s more like they were bad investors/administrators and so they lost their own capitals.

I mean, whatever you think about their marriage policies, they shouldn’t affect the money they had and we know if Rei was married off to Enji it wasn’t because there wasn’t an Himura available for her to marry but because her family was poor.

‘Obā-chan-tachi ga binbō shiteta kara okā-san wo uttan daro. Okāsan ha sōsuru shikanakattan daro.’ 「おばあちゃん達が貧乏してたからお母さんを売ったんだろ。お母さんはそうするしかなかったんだろ」 “Grandma and the others were poor, so they sold you, mother, isn’t that right? Mother, you had no choice but to do it, isn’t that right?” [Chap 302]

In the anime Enji himself confirms the reasons why he won the Himuras over were also tied to their lack of money.

'(Katsute ha meika datta Himura-ke mo ima ha aoikitoiki…)’ 「(かつては名家だった氷叢家も今は青息吐息…)」 “(The Himura family, which was once a prestigious family, was now in deep distress…)” [Ep 130]

Okay, so he doesn’t quite talk of them lacking money as Tōya did but he makes clear what won the family head over: his status and the bride’s dowry.

'(No.2 HERO no chii to meiyo, soshite djisankin meate ni Himura-ke no tōshu ha ore no teian wo assari to ukeireta.)’ 「(No.2ヒーローの地位と名誉、そして持参金目当てに氷叢家の当主は俺の提案をあっさりと受け入れた) 」 “(The head of the Himura family easily accepted my proposal, aiming for the status and prestige of the No. 2 hero, as well as the dowry.)” [Ep 130]

The “dowry” (持参金 ‘djisankin‘) generally refers to the amount paid by the bride’s family to the groom, while the groom instead should give the bride “betrothal gifts” (結納金 ‘yuinō-kin‘) .

So what happened here?

When the bride is poor she brings as dowry the betrothal gifts given to her by the husband. So likely Enji, in a roundabout way paid her dowry, by giving her money as a betrothal gift and it’s possible that part of it was held back by the Himura themselves so that not all the money was returned to him. Or not. We don’t know but again, the Himura were interested in money, that’s why they agreed with his proposition.

Let’s go on.

‘Tōtō honke ga miuri wo hajimeta koto de jijitsujō no shūen wo mukaeta. Nokori no wazuka na shizoku mo risan shi sono naka no hitotsu datta boku ha saikōshidō-sha (read: RE-DESTRO) ni hirowa reta.’ 「とうとう本家が身売りを始めたことで事実上の終焉を迎えた。残りの僅かな氏族も離散しその中の一つだった僕は最高指導者(リ・デストロ)に拾われた」 “When finally the main family started selling themselves, it came to a de facto end. Even the few remaining clans are scattered, and I was among them and then picked up by the supreme leader (read: Re-Destro).” [Chap 387]

Geten also says the Himura family came to an end when the main family started selling themselves. This is likely a reference to how Rei was allowed to marry out of the family, the Himura being interested in Enji’s money and reputation.

What does this mean?

The family is carried on by a male heir. Likely Rei’s family had no male children and, since Rei didn’t marry a Himura nor her father adopted a Himura and made him the next heir, the main family couldn’t continue.

Well, to be honest, in theory it could have continued if Enji had agreed to take Rei’s name (yes, the husband can take the wife’s surname in Japan) but, of course, Enji wouldn’t have agreed.

Probably the main family kind of kept the organization of the other families until the family head died. With no new main family head, Geten explains the remaining “clans” (氏族 ‘shizoku’) ended up scattered.

What do we mean with “clan”?

A ‘shizoku’ (氏族), a “clan”, is a group of families that are related to each other.

Remember the whole ‘you needed permission from the family head to form a branch family, if not you would remain in the family under the family head authority even if married’ thing?

Evidently the Himura were still organized like that, with all the children who were born in the branch families continuing to live in the huge Himura residences with their parents (regardless of being married or not) under the authority of their father first and of his heir after, unless they were allowed to become a new branch family and leave.

This until the main family dies out. Once it does they probably started doing what many do, who gets married or is an adult capable to support himself, leaves the birth family and build his own house. Hence they scattered.

Likely this could have been because the old, huge Himura residences were sold because the branch families were poor and couldn’t keep that lifestyle, and the result was no family member could support the others. That’s why Geten ends up being picked up and groomed by Re-Destro from when he was a child, so that he doesn’t even attend to school and starts training his Quirk way sooner than other Heroes.

So Re-Destro to whom Geten is fiercely loyal, becomes his savior from a life of misery and poverty with no support from his other relatives who, apart from Rei, might be deep in misery as well.

The obsession of the Himura for not mixing their blood with others, might have made easier for him to embrace the 'Quirk supremacist’ theories of Re-Destro (those with the strongest Quirk should rule).

But let’s now go back to the main family and to Rei.

We get some information about them which confirm the story Geten told us in chap 301 and episode 130.

In chap 301 we’re shown Enji, Rei and the Himura family head taking part to what looks like a Miai (見合い), as the anime confirms.

‘(Ichiō, miai to iu katachi wo totte ha iruga, kore ha “kosei” kon)’ 「(一応、見合いという形をとってはいるが、これは"個性"婚) 」 “(Just in case, although it is made to look like what we call an arranged marriage meeting, this is a “Quirk” marriage.)” [Ep 130]

An “arranged marriage meeting” (見合い ‘miai’) is a Japanese traditional custom in which a woman and a man are introduced to each other to consider the possibility of marriage. Fundamentally is a meeting opportunity with more serious considerations for the future as a process of courtship.

Prior to it, both the families involved investigate the potential candidates.

So was Rei forced into it by Enji or not? When I say ‘families’ I mean parents who not always feel necessary to inform the future bride about it, in fact Shōto will say Enji persuaded Rei’s relatives, not Rei.

‘Kosei kon. Shitteru yo na. “Chōjō” ga okite kara dai ni ~ daisan sedai-kan de mondai ni natta yatsu… Jishin no “kosei” wo yori kyōka shite tsuga seru tame dake ni haigūsha wo erabi…… kekkon wo shiiru. Rinri-kan no ketsuraku shita zenjidaiteki hassō. Jisseki to kane dake ha aru otoko da… Oyaji ha haha no shinzoku wo marumekomi haha no “kosei” wo teniireta.’ 「個性婚知ってるよな。“超常”が起きてから第二～第三世代間で問題になったやつ…‘自身の”個性”をより強化して継がせる為だけに配偶者を選び…… 結婚を強いる。 倫理観の欠落した前時代的発想。実績と金だけはある男だ…親父は母の親族を丸め込み母の”個性”を手に入れた」 “Quirk marriage. Do you know about it? After the ‘paranormal’ happened, between the second and third generation they became a problem… In order to pass in inheritance a further strengthened version your ‘Quirk’ choose a spouse… and get her married to you by force. Old-fashioned way of thinking which lacks in ethics. He’s a man with achievement and money… My father persuaded my mother’s relatives and obtained my mother’s ‘Quirk’.” [Chap 31]

‘Marumekomi’ (丸め込み) literally “rounding included” means “to talk someone into doing what you want”, “to persuade him” but also “to manipulate”, “to swindle”. Shōto is clearly giving a definitive negative connotation to how Enji managed to win Rei from her parents, but in the end it seems all Enji had to do was to show them the money and the fact he was the Number Two Hero and they capitulated easily enough and decided he was a better potential partner than any distant relative she could have.

Tōya also paints a picture that looks rather negative.

'ENDEAVOR ha katsute chikara ni kogarete imashita. Soshite ALL MIGHT wo koe renai zetsubō kara yori tsuyoi “kosei” wo motta ko wo tsukuru tame muriyari tsuma wo metorimashita’ 「エンデヴァーはかつて力に焦がれていました。そしてオールマイトを超えれない絶望からより強い"個性"を持った子を作る為無理やり妻を娶りました」 “Endeavor was once thirsty for power. Therefore, out of despair of not being able to surpass All Might, in order to create a child with a stronger "Quirk” he took a wife by force.” [Chap 290]

Tōya uses 'muriyari’ (無理やり), which means “Forcibily, against one’s will” but again, later on, it seems it’s just because Enji didn’t swoon Rei over but merely persuaded her parents to agree by showing them money.

‘Obā-chan-tachi ga binbō shiteta kara okā-san wo uttan daro. Okāsan ha sōsuru shikanakattan daro’ 「おばあちゃん達が貧乏してたからお母さんを売ったんだろ。お母さんはそうするしかなかったんだろ」 “Grandma and the others were poor, so they sold you, mother, isn’t that right? Mother, you had no choice but to do it, isn’t that right?” [Chap 302]

In truth, apparently, Rei was given options by her parents, limited as they were, as she claims she actually chose this.

‘Sentakushi ha kagira rete itakeredo erande susunda no ha watashi no ashi de. Semete sono-sakide ha waratte iyou to omotte ita… noni’ 「選択肢は限られていたけれど選んで進んだのは私の足でせめてその先では笑っていようと思っていた…のに」 “Although my options were limited, it were my feet which chose to advance. At least I’ll try to smile in the future, that’s what I was thinking… and yet…” [Chap 302]

'(Kotowaru koto mo dekita hazuda. Daga kanojo ha “kosei” kon de aru koto mo shōchi no ue de, ie no tame ni ore no tsuma ni naru to iu.)’ 「(断る事もできたハズだ。だが彼女は"個性"婚である事も承知の上で、家の為に俺の妻になると言う)」 “She could have refused. However, even if she was aware that it was a "Quirk” marriage, she said that she will become my wife for the sake of her family.)” [Ep 130]

‘(“Kosei kon”de aru koto mo shōchi no ue de... Ie no tame ni ore no tsuma ni naru to iu.)’ 「(“個性婚”である事も承知の上で……家の為に俺の妻になると言う) 」 “(Even though she was aware it was a “Quirk marriage”… she said she would become my wife for the sake of her family.)” [Chap 302]

Likely her options were either to marry Enji and, at least, ensure financial stability for herself and her family, or marry a distant relative and ensure the continuation of the Himura family as well as its economical decadence.

Tough choice.

Anyway, during the Miai, the family head let us know it was Enji who approached them for a bride.

'Jiki No.1 no yobigoe takai ENDEAVOR-sama kara o koe kake itadakeru to ha yume ni mo omoi masendeshita! Gyōkō no kiwami ni gozaimasu!!’ 「次期No.1の呼び声高いエンデヴァー様からお声掛けいただけるとは夢にも思いませんでした！僥倖の極みにございます！！」 “I never dreamed that I would receive an invitation from Endeavor-sama, who has been hailed as the next No. 1! We are at the height of luck!!” [Chap 302]

So ‘okoegake’ (お声掛け) or, more simply ‘koegake’ (声掛け) as the ‘o’ is just an honorific, is generally used to imply you’re calling out someone or inviting someone to a meeting… but it is a word also used to imply you requested for a Miai.

Mind you, it’s not so weird in Japan. When organizing a Miai the parents of the future grooms tend to approach the people they know, asking them for potential candidates and even investigate said potential candidates. So either Enji checked on the Quirk registry and found out all the families that had an ice Quirk, investigated them and then approached the Himura with a proposal knowing they were in financial needs, or they were recommended to him by someone else.

It can also be the Himura also informed the people they knew they had a daughter they wanted to marry, just in case they decided PRIOR to Enji offering them money that they were willing to sell Rei to the best offering, but didn’t expect Enji to volunteer himself.

If the Himura were already planning on selling their daughter off, it means Rei too had her pick of rich potential husbands among whom to choose in addition to the distant relatives, which would increase her options and Enji had to persuade her parents he was the best candidate.

Hard to say but, from the way the family head, which I take is Rei’s father (it could be her grandfather as well but since the main family crumbles short after I’ll assume it’s her father) is enthusiast of having been approached by Enji who doesn’t even have to say a word, he didn’t really have to work hard to persuade them.

The guy is absolutely delighted to give Rei to Enji.

‘Himura mo katsute ha meika to yoba reta yuisho aru iegara ni gozaimasu ko - top Hero-sama no hanryo to shimashite ha jūbun ni tsuriai ga toreru mono to’ 「氷叢もかつては名家と呼ばれた由緒ある家柄にございます故―トップヒーロー様の伴侶としましては充分に釣り合いがとれるものと…」 ``The Himuras also come from a distinguished family with a prestigious lineage, so I think she would be a perfect match as the Top Hero-sama’s companion…” [Chap 302]

The family head confirms what Geten will later say.

He calls the Himura a 'Meika’ (名家) which can be translated as “noble/distinguished family” with a ‘yuisho aru iegara’ (由緒ある家柄) which can be translated “with a prestigious/with a long history social standing/lineage”.

In the anime Endeavor also confirms this, he probably picked the Himura also for this as, as I said, it’s considered perfectly fair to investigate the family of a potential bride.

'Katsute ha meika datta Himura-ke mo ima ha aoikitoiki…’ 「かつては名家だった氷叢家も今は青息吐息…」 “The Himura family, which was once a prestigious family, was now in deep distress…” [Ep 130]

Also, since Rei knew it was a Quirk marriage, he came clear with them about his intentions…

‘(“Kosei kon”de aru koto mo shōchi no ue de... Ie no tame ni ore no tsuma ni naru to iu.)’ 「(“個性婚”である事も承知の上で……家の為に俺の妻になると言う) 」 “(Even though she was aware it was a “Quirk marriage”… she said she would become my wife for the sake of her family.)” [Chap 302]

I’m honestly curious on what the Himura thought about Enji’s idea. Their Quirk marriages were to preserve and strengthen their ice Quirk as it was, they didn’t want to mix blood and create a different Quirk, so Enji who instead wants to marry outside of his family with someone with a different Quirk to strengthen his own by mixing it with Rei is definitely someone who’s doing something that runs in a parallel line to what they’re doing, meaning something similar but with no contact points.

The Himura don’t praise Enji’s family, just his status as Number Two Hero, which makes me think the Todoroki weren’t a noble/distinguished family with a prestigious/with a long history social standing/lineage but who cares, Enji has prestige as Hero and money so he can stand on an equal level with Rei.

What else do we know or can speculate about the Himura family?

The house in which Enji and Rei have their meeting might have been a place Enji rented for the meeting… but might have also be Rei’s house. Since the Himura were land owners this might explain why the garden is so large, and maintaining such a large property might be expensive hence why the Himura are desperate for money.

We’re told that Enji and Rei are at their first meeting/date.

Normally if the initial Miai introduction was successful, the potential couple went through a series of dates until a decision was reached. Don’t expect a long courting, the decision was usually expressed at the couple's third meeting. If they chose to marry, they went through a formal marriage process known as ‘miai kekkon’ (見合い結婚 “arranged meeting marriage”), in which a “betrothal ceremony” (結納 ‘yuinō’) was arranged by the groom's family.

Now… considering Rei is wearing a scarf which is what we see the character doing in January, the Miai might have taken place in January.

We don’t know when exactly Enji and Rei met and married, it was after Enji became the Number Two Hero and we know he became as such at 20. This means he became Number 2 either in the November Hero Billboard Chart, or that he had to wait until the following one which was in May. If it was in the November Hero billboard chart, the Miai might have taken place at the beginning of the next year, when Enji was still 20, if not it would take place in the following year, when he was 21 (but would turn 22 in August of that year). It can’t be later as, since Tōya is born in January he was probably conceived in April of the year in which Enji would turn 22.

Long story short Enji and Rei had, at best, a year and four months from their first meeting to the moment in which they conceived a child, and four months only at worst.

By the way, the best period for marriage is April so yes, Tōya could have been conceived short after they married.

With the marriage Rei stops being an Himura, her name is written out from the Himura “family registry”, better known as ‘koseki’ (戸籍) and written into the one of the Todoroki family.

If Enji were to kick her out of his family in theory she would need the family head permission to go back into the Himura family. Divorce is a big shameful deal for all the parties involved so it’s not as easy as in the west.

So, what happens to the remaining Himura of the main family?

We know Rei’s mother was alive when Shōto was five.

Tōya calls his grandmother ‘Obā-chan’ (おばあちゃん), which is an affectionate way to call your grandmother (he might have used the more respectful ‘Obā-san’ (おばあさん), and his view on them is sympathetic (they were really poor so they had to sell his mother off) so it can be that he has a good relationship with his grandmother.

‘Obā-chan-tachi ga binbō shiteta kara okā-san wo uttan daro. Okāsan ha sōsuru shikanakattan daro’ 「おばあちゃん達が貧乏してたからお母さんを売ったんだろ。お母さんはそうするしかなかったんだろ」 “Grandma and the others were poor, so they sold you, mother, isn’t that right? Mother, you had no choice but to do it, isn’t that right?” [Chap 302]

Even Rei tried to turn on her mother for help when she believed she couldn’t take it anymore… and calls her ‘Okā-san’ (お母さん), which is the standard way to say mother in normal families (people from upper class families might use, for example, the much more respectful ‘Okā-sama’ (お母様)) so, I guess, by Japanese standards she was present enough as a mother/grandmother.

We can even speculate she’s the old woman we see watching over Tōya, Fuyumi and Natsuo as they’re playing in the garden under Shōto’s longing gaze (though she could also be a helper/servant).

Shōto has not Tōya’s sympathetic opinion on her mother’s family relatives, nor refers to them in an affectionate way, calling them just that, ‘haha no shinzoku’ (母の親族 “mother’s relatives”).

‘Kosei kon. Shitteru yo na. “Chōjō” ga okite kara dai ni ~ daisan sedai-kan de mondai ni natta yatsu… Jishin no “kosei” wo yori kyōka shite tsuga seru tame dake ni haigūsha wo erabi…… kekkon wo shiiru. Rinri-kan no ketsuraku shita zenjidaiteki hassō. Jisseki to kane dake ha aru otoko da… Oyaji ha haha no shinzoku wo marumekomi haha no “kosei” wo teniireta.’ 「個性婚知ってるよな。“超常”が起きてから第二～第三世代間で問題になったやつ…‘自身の”個性”をより強化して継がせる為だけに配偶者を選び…… 結婚を強いる。 倫理観の欠落した前時代的発想。実績と金だけはある男だ…親父は母の親族を丸め込み母の”個性”を手に入れた」 “Quirk marriage. Do you know about it? After the ‘paranormal’ happened, between the second and third generation they became a problem… In order to pass in inheritance a further strengthened version your ‘Quirk’ choose a spouse… and get her married to you by force. Old-fashioned way of thinking which lacks in ethics. He’s a man with achievements and money…My father persuaded my mother’s relatives and obtained my mother’s ‘Quirk’.” [Chap 31]

The implication of Shōto’s words is that they just did it for an old-fashioned way of thinking which lacks in ethics and because Enji persuaded them.

So it can be that Rei’s mother either was kept away from Shōto as well or died early enough, hence he has no fond feelings for her.

Since Geten said:

‘Tōtō honke ga miuri wo hajimeta koto de jijitsujō no shūen wo mukaeta. Nokori no wazuka na shizoku mo risan shi sono naka no hitotsu datta boku ha saikōshidō-sha (read: RE-DESTRO) ni hirowa reta.’ 「とうとう本家が身売りを始めたことで事実上の終焉を迎えた。残りの僅かな氏族も離散しその中の一つだった僕は最高指導者(リ・デストロ)に拾われた」 “When finally the main family started selling themselves, it came to a de facto end. Even the few remaining clans are scattered, and I was among them and then picked up by the supreme leader (read: Re-Destro).” [Chap 387]

We can assume this also implied the family head didn’t live long after that or, otherwise, since he would have kept on ruling over the other branch families, he might have stopped them from scattering. If Rei’s father died without an heir instead there would be no one to rule and the families inside the clans can scatter. It would also explain why Tōya said it was ‘his grandmother and the others’ to say ‘his grandparents’ instead than ‘his grandfather and the others’. The man might have died when Tōya was young so it’s to his grandmother he thinks, even though the decision was very clearly taken by his grandfather, the family head.

Well, that’s all we know about the Himura.

We can speculate Rei is a forth generation Quirk owner like Midoriya Inko, which would mean since the Himura married among them with ice Quirk users, that their ice Quirk is very strong genetically, which explains why Enji’s kids tend to take more from Rei than from him… at least this was clearly Horikoshi’s intention when he inserted the Himura family history just before revealing Tōya too had an ice Quirk.

Basically of Enji’s kids, all 4 of them inherited Rei’s Quirk and only 2 inherited his Quirk albeit each of them inherited variations of those over mentioned Quirks… but well, as far as I’m involved that’s the less interesting part of the Himura history.

I doubt we’ll get more info about them before the end of the story, even though it could be interesting.

We'll see.

[lorneytunes]

Beginner Mindset

Recently while doing a tarot reading for myself about my shifting journey, I drew a card that said I needed to "embrace a beginner mindset". I've been thinking a lot about what that means, and as a results I've begun the process of starting my shifting journey from scratch. Coincidentally, I’ve also seen a lot of posts from others about going back to that baby shifter feeling, when it's all about being IN your DR not GETTING TO your DR; thinking about the end result, not the way of getting there.

In that vein, today I saw a YouTube video about training your brain to lucid dream after years of failure, and re-capturing the feeling of excitement around it. I’ve decided I'm going to apply the techniques outlined there to shifting.

These were the main points:

List out all the things you're excited to do in a lucid dream and highlight your top three

Think throughout the day, “This is a dream” and then imagine if this was a dream, what you would do to take control and achieve one of your top three things.

Keep lucid dreaming at the forefront of your mind throughout the day

There were other points too, but these are the ones I think are most applicable to shifting. So from now on I'm going to focus on one DR, and start keeping that at the front of my mind and think about all the things I'm excited to do while shifting there.

I’ve already started by writing the list of 20 things and highlighted my top three (let me know if you want to see a follow-up post with my list). From here, throughout the day, rather than tell myself I’m dreaming, I’m going to go, “Oh, I’ve shifted!” and then imagine that instead of being wherever I am, that I’m currently experiencing something from that list. Preferably the top three, but it was very hard to pick just three things so I don’t see why I can’t expand it to more. The idea was to increase my desire to go to/excitement over that DR anyway, and that has definitely happened.

I’ve been thinking for a while that the reason some people might be having more success than me, is that for a very long time now I’ve found it really hard to daydream. I don’t know why, given I used to do it every night to help me sleep, but for years now it’s like I keep stopping myself, like it's silly or something. Being a writer I often get too caught up in what’s realistic or a good plot/scene rather than just enjoying the process, so I can absolutely see how I could get in my own way like that.

My hope is that giving myself these parameters like, “Imagine you’re actually having lunch in [x] right now!” or “Imagine what it would be like to learn [y]!” will help make daydreaming more achievable. Rather than imagining bigger stories, I’m just living through those tiny everyday moments. And from what I’ve heard from some of the bigger experienced shifters, imagining those everyday moments can really help your subconscious start to see your DR as a real place rather than a fantasy.

At the very least I’m going to try and do it every day for a week. Given I find it really hard to build habits, I’m not expecting to remember to do this very often in the first few days, so I’ll definitely be extending the experiment to up to three weeks if necessary.

Anyway, thanks for reading my first post and another Big Brave Step for me into the shifting community after two years of mostly lurking. Please send love and encouragement so I can do more of these. I'd definitely be down to blog how the experiment goes from day to day, or answer asks about my DRs (I have so many 😅).

[myrtles-and-blood]

hi i'm not really all that new to this sort of thing but i keep seeing people use the term "deity work" and i don't exactly understand what it means? like what is it, what does it entail, how is it different from deity worship? could you explain? thank you so much

Hello! I'll explain it as best as I can, so if anyone sees something out of place go ahead and correct me! Other people have answered this before here, I recommend looking into those posts as well.

What does Deity Work even mean?

Let's say this is a giving-receiving relationship you have with a deity. I'll talk about my case as an example:

I started my worship with Lucifer, right? We talked, I gave him offerings, etc. Before I did a reading with him I noticed the responses were not like he usually responds. You know, the energies were off. The thing is I ended up landing that deity was Beelzebub just checking on what I do. I asked Lucifer and he said "Yeah I told him about you, he's nice and he wants to work with you".

"Why would a deity want me to work with him? That's weird, I don't think I have anything interesting here" Well I did have something interesting: I was (and still am) extremely disorganised and I cannot concentrate on my studies. He is The Lord of the Flies™, yes, but he also can help people with management in business and working efficiently. So seeing me was like if you saw a stray cat doing the stupidest thing it can do to get food and going "Yeah I want one of those".

After we did a reading clearing up everything and what we'll do in this working relationship, we just started. What I do currently is light his candle every time I have to study and it works wonders because I can actually concentrate. I don't know how he does it, but it's really cool. Studying and anything I find with bugs in it (related to bugs, I'm not giving him a dead bug) I give it to him. In exchange he gives me concentration and some advice to organise my studying sessions while supervising them.

This was not me just telling a story, I want you to see how it can start and how it progresses:

That deity might come on its own or maybe another deity told them about you (Hermes is the god of "I know a guy" so he does that often)

They don't choose you like "You are the chosen favourite of God", it's not that serious. They just like what you're about and probably think they have the solution to that specific problem, just like stray cats lol.

In exchange for prayers and offerings they can give you advice and guidance through a problem. Depends on your dynamic with them, the problem that you have, etc., so it can look very different depending on the person and deity of course.

They can ask you to start this working relationship OR you can approach them! Much like I did with Aphrodite, and it's amazing, so I encourage you to ask instead of waiting for someone to pop up.

Also, the fact that they want to work with you does not mean you want to do so, you know? You can always turn down an offer. With Beelzebub I told him that I did want to work with him, but it wasn't the best moment, so we delayed it! Again, depends on every situation. This means they can turn down your offer if you wanna work with them too! It's just Consent 101.

How is this any different from Deity Worship?

Worshipping a deity is more like "I love what you do please take this cookie and keep up the good work" in my humble opinion.

Maybe you live by the sea and do horse riding, that means you'll probably like Poseidon and worshipping him is a way of thanking him for all those things you like. Maybe you are the absolute worst at studies and owls scare the shit out of you, but Athena is your girl because you like her and that's it. It's like having a friend who you share hobbies with or not, but you love them and give them stuff that you know they like even if you aren't really into it (I'm not telling you to go find owls for Athena, but maybe give them a cute figurine of an owl like "I hate that, that's not my thing, but it's your thing so here you go")

I am NOT good at sports. But Ares and I are close and I like him very much, my good time boy. We still have things in common and sometimes I'll tell him "I will do two push ups for you my guy, just for you" and I instantly fall flat to the ground not even finishing the first one, but the intention is what counts. He's probably not very fond of rocks but if I find some for my collection and start rambling he will probably go "I don't know what the fuck you're on about but looks cool".

THE POINT IS, worship is honouring what that deity does, and working is wanting to collaborate with them to get to a goal that relates to what they do. I personally won't recommend Dionysus if you want to get a raise at your law firm, but who knows, maybe he helps you pick the perfect wine for a work dinner to get your boss to like you as a small treat lol.

Working needs worship, but worship does not need working. Just clarifying.

If you lose your glasses and ask Hermes to help you find them quickly because you're getting dizzy does not mean you're instantly working with him. It's a small favour, that's common in deity worship. But deity work requires a process. I think it's meant for a long term goal. You won't ask Hermes to work with you just to find your glasses, but you probably want to work with him to learn French, you know?

I hope I cleared things up. I did as best as I could, that's how I practice my stuff. Again, if you feel like adding information and/or pointing out something that's not correct, you're free to do so with respect!

Anon, I hope I cleared your confusion even after beating around the bush so much lol. 🫶🏻

[neuroticboyfriend]

okay. i finally found something on parents love bombing that is not ableist against cluster B's or encouraging parents to love bomb. it's in the form of a comment on this reddit post from 6 years ago. here's the comment, from u/Glaucus92:

Lovebombing is part of the cycle of abuse. The cycle you'll usually find is this one:

Calm -> Tension building -> Incident -> Reconcilliation -> Calm

Lovebombing is part of the "Reconcilliation" part. After an incident, a victim will usually try to confront, give consequences to, or withdraw form the abuser. In order to keep the victim close, to keep power over them, an abuser may lovebomb their victim. It is not linked to a specifc role in an abisive dynamic. It is a technique used by abuser as a reaction to 'losing' a victim.

The abuser will (attempt to) be the person you always wanted them to be. That can be the parent that listens to you when you talk about your interest. It can be that they tell you how proud they are of you, how they've always been proud, etc. It can be that they buy you gifts or give you money. This behaviour isn't exclusive to abusive parents either; think of how an abusive spouse might organize a wonderful date or get an expensive gift for their victims.

The goal of the lovebombing is to give you a little taste of what you usually never get from them, be it attention, financial aid, praise, compliments, whatever. By giving you that tiny bit, they are basically pretending that they can be this nice, loving parent. The underlying unspoken message of course being that things could be like this, if only you tried harder, or weren't like x, or were more like y. Because without the realization that they are abusive, it doesn't make sense for them to purposefully hurt you and then be really nice to you.

Lovebombing insipres false hope that if only you could be better, the abuser wouldn't be abusive. It also helps wiht the gaslighting; when they do all these nice things for you in that moment, you might think that you over-exagerated the previous abuse. It's usually only when you look back and realise that all these 'nice' things only happened when you were upset with them or withdrew from them.

Since you asked for examples:

A parent who is usually very disinterested in your life suddenly makes a lot of effort to discuss you hobbies with you.

A parent might start to give you a lot of compliments all of a sudden, or tell stories about how they've told others about how amazing you are.

Parents might give you gifts for no reason. Stating that they just wanted to be nice, or just thought of you when they saw it.

They might start calling or visiting a lot, especially when they previously didn't. Saying things about how much they miss you.

Trying to harken back to 'the good old days'. Sending you pictures of happy childhood memories or recounting old stories.

It might be straight up bribery. A conflict happens, and after the intial blow up you are given cash/money to buy something nice or becasue they ust want to help.

A parent might try to smooth things over by taking you to a place or on a trip you wanted to go to.

I know some of these might sound like perfectly normal things, and they would be coming from non-abusive people. It becomes an abusive tactic when it happens more often than not (or in greater intesity) after a conflict has occured. It also almost always happens in lieu of an actual apology. By lovebombing instead of apologizing, the abuser doesn't have to take responisbility for their action. The unspoken agreement that governs this is that by accepting the gift/loveboming, the victim doesn't hold the abuser accountable.

[chickenstrangers]

Bad Buddy, Tragedy, and Queer Futures

I want to take a closer look at Kwan & Riam and Romeo & Juliet, and the intertextual methods Bad Buddy employs with those narratives. Bad Buddy is an extremely self-aware show and comments on and subverts tropes and expectations of the genres it employs, putting itself in conversation with other BLs, but also romantic comedies and romantic tragedies more broadly. @shortpplfedup has done a much better job than I could do in her excellent Romeo and Juliet analysis series (which was very helpful in getting my thoughts in order), so instead I want to focus on how Bad Buddy plays with the idea of tragedy and explore it through a queer theoretical framework.

Bad Buddy straddles the line between comedy and tragedy. While, as a romance, the audience is primed to expect it will end happily, there is a thrum of tension behind all the jokes and banter. Specifically in the first half of the show, which feels the most rom-com like to me, there's sadness underlying Pat and Pran's interactions. Every time Pat makes a flirty joke, there's a spark of hope in Pran's eyes that he quickly pushes away, knowing or thinking that Pat doesn't feel the same way. It feels like the characters are on a knife's edge, and every little misstep cuts deeply.

The smiley face is an external representation of Pran's feeling (for example, he switches its direction on his door depending on his mood) but it also signifies a choice. He chooses to surround himself with icons of happiness and he chooses to turn the frowny face into a smiley face. People often don't have that much control over the big external things in their lives, but the important thing is adapting and making choices within their circumstances. The idea of choosing happiness is at the core of Bad Buddy.

Pran knows that this will probably not end happily for him. That even if his feelings are reciprocated it might not work. In some ways, his reactions can be read as genre-awareness, part of all the little signs that the show is putting out that this is not your typical rom-com, that it might not have the happy ending that the audience expects. He may not necessarily know that he is in a story, but he anticipates its trajectory. But then Pat comes in and breaks through these genre walls. He's in a rom-com! He's got all the tropes! He falls second but he falls hard and he doesn't have the years and years that Pran has had to build it up in his head.

This is exemplified so beautifully in the rooftop scene and the aftermath of the kiss. For Pat, this feels like the culmination of the story. All good rom-coms end with a kiss. After they kiss, Pat has such a blissful expression on his face, it's pure happiness and belief that things are working out all right in the end. But this isn't the end and Pran knows this. When Pat sees Pran's devastated face, he starts to realize this too.

The post-kiss episodes have a different tone, especially once Pat and Pran actually get together in episode 7. They feel a lot lighter now that Pat and Pran know how each other feel. There's a sense of domestic happiness once they're dating. But the buzzing of potential tragedy and heartbreak doesn't come from Pat and Pran anymore, but from nebulous external forces. This is also when the show starts to signal more and more explicitly that it is a tragedy.

The clearest case for this is the introduction of the school play. The inclusion of Kwan and Riam led to a lot of speculation that Bad Buddy might not get a happy ending, along with P'Aof's comments that they had taken liberties with the source material. Kwam and Riam's story is from the 1936 book Plae Kao or The Scar. The 1977 film adaptation was Thailand's highest grossing film up to that time and it's legacy continues, with two other adaptations in the twenty-first century (for more information and links, see @fiercynn's very helpful post). It tells the story of two star-crossed lovers whose families separate them, and it ultimately ends with both their deaths. Kwan is killed by Riam's brother, and Riam takes Kwan's knife and stabs herself to die alongside him.

Bad Buddy explicitly emulates Kwan and Riam's story. Pat and Pran's story is essentially the BL retelling of the story that the architecture faculty is producing. With the Kwan and Riam narrative shedding new light, we now see that Dissaya sending Pran to a different school mirrors Riam's father sending her away (though it is much darker in the original). Bad Buddy also has direct references to Romeo and Juliet, especially with the balcony scenes and the intense longstanding familial rivalry.

From this point on, Bad Buddy toes the line between whether it will end happily or tragically. But, crucially, the successive near-misses all hint towards the show's final message of queer futurity and queer possibility.

The first act of near disaster comes at the end of episode 8 when Wai pulls back the curtain on Pat and Pran on stage. The fact that this takes place on the set of the play puts it into direct parallel with Plae Kao. Kwan and Riam's story gets transposed onto Pat and Pran's story. They become the actors playing out the story in real life. After this point, we don't see much more about the play at all, other than the curtain call of the performance, we don't see Pat acting as Riam on stage, but we do see them playing out this narrative in real life.

This is the first real test to their dating relationship, but they do not break up. Their friends turn on them, especially Wai, who won't even talk to Pran. Pat suggests they pretend to break up and continue dating in secret (foreshadowing), but that is ultimately unnecessary. Pat's friends only put on a show of abandoning Pat, and Korn quickly reveals he still fully supports his friend. This is the first of a series of misdirects.

The next crisis seems completely anticlimactic, but maybe that's the point. In episode 9, Pat gets shot. It comes seemingly out of nowhere, and then is quickly resolved. We once again have a fake out: the audience is misled to think this is a dramatic event with the way the hospital scene is shot, and Pran is misled by Pat's friends, who play up how hurt Pat is. But Pat is complete fine, the bullet just grazed him. This incident feels very out of place in the narrative of Bad Buddy. Yes, it is an important step in reconciling Pran and Wai, but couldn't this have happened some other way, that didn't involve a random guy who we'd never seen before and a level of violence that the show hadn't prepared the audience to expect?

But what if this was a deliberate allusion to Kwan and Riam/Romeo and Juliet? Here we get the physical injury from those stories' conclusions, Kwan's fatal shooting. Except...its not a big deal. With this scene we get further hints that something else bad might be coming, but we get another sign of tragedy being forestalled. This is further emphasized by the following confrontation with Pat's dad, who is unhappy to see Pran at the hospital, but in the end shows grudging respect for Pran getting Pat's name cleared. Disaster averted.

Then we come to the true brink of tragedy: episode 10 and 11. Pat and Pran find out the real reason their families hate each other, the reason why they are meant to hate each other. At this point they both know that they're not going to be able to stay together and have their families' approval. Running away to the beach feels like a delay of the inevitable. On the beach, they are in a liminal state, a state of paralysis. They have their "honeymoon" but both know there's no happy wedded life to follow.

This calls back to the moment of death in Plae Kao, when Kwan flees into the water after being shot and Riam follows after him, taking his knife from him and stabbing herself while they're both underwater. The waves obscure their death in the film, suspending them in the moment of transition between life and death. This liminality carries over onto Pat and Pran's retreat, which echoes the water motif. This is the scene where Juliet takes the poison, creating the effect of death, though not death itself.

We are back to the beginning. Pran knows this is a tragedy. He's the one who first thinks about going home, even knowing they will not be able to go back together. Pat wants to cling to this little slice of possibility for just a bit longer, but Pran knows that this can't work forever, and Pat knows this too. While Pat is more willing to delay this looming conclusion, they both know they'll have to go home.

Okay, and so what? Romance stories often have a third-act breakup, there needs to be some sort of conflict. What makes this any different from a traditional romance narrative?

When the show was airing, there was a lot of worry that the show wouldn't have a happy ending, or if Pat and Pran did end up in a relationship, it would be after an extended breakup. The show definitely tried to cultivate this response with the inclusion of the Kwan and Riam play and the preview for episode 12. But the show also had put out all these little signals that things weren't as they seemed, and that disaster would be averted once again.

It is important to note that there isn't actually a third-act break up. They never break up! There's not even really any miscommunication. Bad Buddy has been laying clues for the audience, with the multiple bait and switch tragedies, from the curtain to the gunshot. Romeo and Juliet is a tragedy, but a key element of that tragedy is the deception: Juliet taking the poison to fake her own death so that she be with Romeo. But Romeo doesn't know about the lie, and he is tricked as well. Pat and Pran, alternatively, are together in this deception, lying to their families and most of their friends, and in turn, the audience.

They take control of the narrative. They choose what details to share and with whom. When they finally let the audience in on the deception, they do so directly, breaking the fourth wall by narrating their own story.

This is where I'd like to bring in the idea of queer futurity and queer temporality. Queer temporality addresses the idea that queer time operates outside of and in opposition to linear normative institutions and chronologies, and that experiences of the past, present, and future can feel different to queer people. For example, coming of age milestones can take place on different timelines for queer people. Queer futurity looks specifically to the future as queerness's domain. It allows us to imagine a possible world beyond the present, a future that is not yet here. (Shoutout to @shannankle who brilliantly applied this lens to The Eighth Sense and got me thinking about this topic).

Bad Buddy plays with the idea of queer time with the realization of the queer romance. There are two time skips in Bad Buddy (between episodes 6 and 7 and between 11 and 12). Already this creates the sense of delay. Much of Pat and Pran's relationship is characterized by waiting, from the three years when Pran was sent away before university to the four years where they hide their relationship. It wasn't the right time for them then, and it isn't even really the right time for them now. They are waiting for a time to be free, a future that is not here yet, but on the horizon.

Nevertheless, there is an optimistic turn to this waiting; they are facing this delay together. Discussions of queer futurity creates the impression of separation between the present and the future, but here they are holding hands, creating a continuum between these temporalities. This optimism is in direct defiance of the expectations of tragedy, especially as common as it is in queer narratives. So much of queer media does not end happily; however, Pat and Pran do get a happy ending and their story does not end in tragedy like Kwan and Riam's or Romeo and Juliet's.

But its a nuanced ending. The parents don't reconcile; although they are starting to thaw towards the idea of their sons dating, the show ends without the parents talking. But that's not what it's about. It goes back to Uncle Tong's words. As Pat says, "We might not be able to change the people around us, but they couldn't change the two of us either." All they could do was "adjust to it and live happily." They are looking towards a world beyond the present, but while they are waiting, they can still be happy.

Pat and Pran make the choice to have a happy ending. They have a lot of agency in this decision, thwarting familial and genre expectations. It all goes back to the smiley faces Pran surrounds himself, putting himself in a sea of optimism when he isn't necessarily a very optimistic person. It's about the ):) face. That face is also about choice, its about perspective, and how close happiness and sadness are to each other. But Pran chooses to have it be a smiley face instead of a frowny face. Pat and Pran choose to stay together.

Bad Buddy takes two straight romantic tragedies, combines them with audience expectations of queer tragedies, and subverts all of it.

In both Romeo and Juliet's and Kwan and Riam's stories, the lovers die alone. Pat and Pran live together.

Bibliography

Freeman, Elizabeth. Time Binds: Queer Temporalities, Queer Histories. Durham: Duke University Press, 2010.

Halberstam, Judith. A Queer Time and Place: Transgender Bodies, Subcultural Lives. New York: New York University Press, 2005.

Helmsing, Mark E. "Queer Futurity." Encyclopedia of Queer Studies in Education, ed. Kamden K. Strunk and Stephanie Anne Shelton. Leiden: Brill, 2022, p. 518-522.

Muñoz, José Estaban. Cruising Utopia: The Then and There of Queer Futurity. New York: New York University Press, 2009.

Plae Kao. Directed by Cherd Songsri, Cherdchai Production, 1977.