#i think i need to examine this

[aparticularbandit]

Thing today will probably be very late.

....

Or pulling something unfinished from the archives to finish.

....

Or pulling something old and unposted from the archives.

We'll see.

[birdmenmanga]

they are putting yaoi in the city art museum and censoring nsfw content with heat-responsive material so you have to put your hands on it to see dick

[bunnyboy-juice]

you guys know butch =/= taking T right? you guys know dyke masculinity is not correlated to being transmasc right? you guys know that even your silly jokes where you flatten butchness to taking T/being transmasc is extremely transmisogynistic right?

[vaguely-concerned]

thinking about not only the specific people lucanis pulls in to represent the 'locks' in his psyche, but the storytelling that happens in the structure/order of them. the underlying ideas are presented something like:

the lucanis who went into the ossuary never came back out again; he died down there (the boy caterina raised is gone forever) -> you're putting yourself in danger doing this (by being close to me), you should leave because I can't bear it if you get hurt because of me -> it doesn't matter even if we do try this, it won't work anyway (again because of me) ('you know what he's like, you can open the door but he won't walk through it' :'( oofie doofie) -> what if the real secret is that there was never anything but the monster in here from the beginning. you should leave, there was never anything here worth saving in the first place. (implicitly: what if I deserved what happened, all along.)

it runs pretty cleanly from outward-oriented attachment anxiety ('caterina won't even want me back like this, she won't recognize me (the same way I no longer recognize myself)) and gradually deeper inwards until we reach self-image and self worth. or you know, the harrowing basic lack of it lol.

"careful -- they'll know we're not right," spite says in one of their first scenes... but clearly, some very deep part of lucanis has feared or suspected for much longer than that that there's something inherently not right at the core of him, way before any demon entered the picture. and the voice he gives those lines to is the person who should know him better than anyone in the world, who he has loved more than anyone in the world -- and who deliberately chose to hurt him so horrifically anyway. 'It's better if I'm just a monster and deserved what happened than it is to allow for the idea that the brother I love doesn't really exist and maybe never did'. it's better if he's fundamentally flawed in some way that needed fixing to help him survive, and that's why caterina chose to hurt him again and again -- out of love. (this one I think he might have a very sad wakeup call on one day if he ever ends up with the responsibility and care of a child of his own in some way and realizes just how alien the idea of ever intentionally hurting them for any reason is to him. oh buddy. also interesting that he keeps caterina as the outermost lock -- there IS a distance he keeps there that he hasn't with illario. he doesn't resent her 'anymore' he says, but he also keeps her carefully further away from his deepest self.)

as far as I could tell the only note in the mind prison that's fully hidden and needs to be uncovered is the sad painful helpless stupid little truth that even after all this, even knowing what happened... he still loves his brother. is there anything illario could ever do that would make lucanis completely stop loving him, do you think? sometimes the trouble with unconditional love is that it is, well. unconditional, even when some terms and conditions probably would have been in order haha.

that's the pattern you see there again and again; he would rather destroy and abandon and imprison himself at every turn than let go of love, even when it's just scraps, even when there's only ever enough of it to hurt him. it's only when rook shows up and as it were takes his hand and walks along with him that he can entertain the idea of changing the story of what walking out the door might mean in the end.

[ef-1]

In the vein of calling out our favs I'll tell you what Max did:

Max was racing in an iRacing event yesterday

Also racing in the same event is Jaden Munoz who is a Williams driver for their iRacing academy. Jaden is 19 years old iirc

Jaden was a Max fan and there are multiple tweets of him from 2021-2022 praising Max

Max and Jaden started close to eachother at the beginning of the race and were battling for the lead. Max was ahead. Max defended very aggressively, honestly too aggressively, and made two left-right manoeuvres to hold the lead. The contact would not have been so bad but Max was swerving and he dropped right to the back of the grid the moment their cars touched while Jaden kept his position

At this point Jaden says: "Look how dumb he is. He doesn't change, ever. He's so dumb" about Max. This is not a random insult, contrary to the way it was framed. Max had crashed Jaden out 2 weeks ago in the first lap of the 2024-25 GTP IMSA Global Esports Championship season finale. I think it's very important to point out that Jaden was leading the GTP IMSA championship and that was the last race of the season. He would have won it if Max hadn't crashed him out. Max was completely at fault and received a drive-through penalty for that collision

Back to our race from yesterday, Jaden drives a great race and keeps 2nd position

Towards the end of the race Jaden encounters Max again to lap him. The moment he sees that Max is the next car to lap he says "Oh no. Oh no, no, no." Implying that he thinks Max is about to crash him out as retaliation. And that's exactly what Max does: he purposefully crashes out Jaden.

Now we get to the only part of the story that anyone seems to care about which is Jaden's reaction when Max crashes him out which was: "Yeah, I knew it, I knew it. This is why you were gifted everything in your life, Max. You're a spoilt brat. You'd be nothing without your father. You'd be nothing. You'd be a nobody."

That's the totality of what happened. Since then Jaden has been getting a lot of hate on all his social media for saying Max is a spoilt brat who would be nothing without Jos. Honesty had it been anyone else besides a 19 year old Mexican-American kid I wouldn't have written this up. But as a Mexican-American experiencing Trump's Amerikkka I think the reaction towards Jaden is fucked up and unwarranted. He's a teenager with working class parents, gaming is literally his career. He was going to be champion two weeks ago and Max crashed him out, there was clearly residual resentment from that. The prize money for iRacing is probably what Max spends on a dessert in Monaco but again it's Jaden's career, it's his whole job, it's how he makes money. He anticipated Max would crash him out and then Max proved him right. I don't think it's the crime it's been made out to be for a hispanic 19 year old to bitterly point out that Jos was a millionaire who helped Max progress in his career. Again Max is a fav and maybe I'd feel a different way about this if the political climate was different but it just made me very sad and very bitter

thank you sm for writing all of this. Def call out your favs and you're definitely valid in how you feel

[tomlivingspace]

man whatever it just kinda frustrates me that people will say "well it makes sense that the three would be upset with squirrelflight and leafpool BUT" but then proceed to explain that they shouldnt be upset with them. the problem is that when you find out a parent has been lying to you, you're not going to react reasonably. there's shit that doesnt seem like a big deal that completely ruptures a parental relationship because it feels like a betrayal. these are people who you are supposed to be able to have implicit trust in.

so I DONT KNOW it's just frustrating to me. and i'm not saying this in a "why is it always the DADS that are the bad parents" but rather that people are willing to explore complex relationships with a father figure but totally shut down the idea that a character could have a complex relationship with their mother. because motherhood does not automatically make someone flawless or even a good person. but at the same time, being a young mother and making a lot of mistakes and even having a fraught relationship with a child doesn't necessarily mean theyre a completely bad person.

[miasmaghoul]

we talk a lot about water ghouls having bioluminescent markings and fire ghouls having glowing cracks in their skin, but hear me out:

quintessence ghouls with markings like lichtenberg figures (aka the scars people can develop after being struck by lightning)

imagine the possibilities...

[flowerbloom-arts]

To be made an Other.

-

I was looking at an old post and a certain line still hits me so I decided to make it a dedicated comic.

[rustedleopard]

I know I've talked about how Chujin wasn't providing around the house after getting fired from the Steamworks so Ceroba had to pick up the responsibility in his stead and how much Chujin sucks for that but also.. Ceroba does have a responsibility to talk about these sorts of things with Chujin. They're supposed to be equals in the relationship. I'm certain that if she flat out told him "Hey, money is tight around the house and the job I'm working makes me miserable, I need you to find a job and help with things too because I can't be the only one financially contributing and sacrificing myself like this," Chujin would've done that in a heartbeat. He loves Ceroba, he wouldn't want her to suffer like that. His first instinct upon getting fired should've been to find another job and discuss what happened and what happens next with his wife instead of lying and declaring himself retired and getting into volunteer work, but I digress.

The problem is that Ceroba enables a lot of Chujin's habits. She sees him as this perfect figure, so much so that she sides with Chujin even when he's clearly in the wrong/when it's unreasonable. (For example: Messing up building a robot 8 times and lighting the Prince's grave on fire on the final attempt should've at least earned a "Well, even though he finally managed to make Axis work now, I can see why he got fired. I wish he talked about this with me though" instead of a "Screw the Royals, Chujin was right!") On top of that, Chujin's volunteer work came from a place of altruism: he wanted to make the world a better place from the bottom of his heart. So of course she'd be fine with having to take on extra work that made her miserable if Chujin can spread his dream through the Underground.

That's also why she and Chujin would get super-mega-turbo-divorced the split second they encountered a period in their relationship where there was no room for romantic love in it. Because the second the rose-tinted glasses slipped and her Chujin-shaped blind spot stopped being so Chujin-shaped would be the second that she realizes that their relationship isn't as good as she thinks it is. And then it would blow up.

[sherwood-scribblings]

HUNGER GAMES (SUNRISE ON THE REAPING) THEORIES: the "sunrise" over the reaping is maysilee

I have been going so absolutely bats off the wall ever since the SOTR announcement that I spent a whole day formulating my theories into in-depth essays and backing them up with canon... here ya go.

So, after some analysis of everything we know about the saga, chapter 14 of Catching Fire, and how Collins writes so far...

I present my theory on the new hunger games book: that the "sunrise" over the reaping is symbolic of Maysilee Donner, the former owner of the mockingjay pin.

I think Maysilee is going to be a symbol of the goodness, kindness, light, etc, of humanity, in the face of the reaping, in the face of violence and war. Aka the theme of the entire series. Aka a symbol of defiance just like Lucy Gray and her kindness. I mean, losing all his metaphorical light is what causes Haymitch to become a drunk... And likely to become so protective over Katniss and Peeta.

I also think the cover is going to have a mockingjay and a sunrise. Cause, Suzanne Collins is VERY intentional about her titles. The themes she uses. The imagery. The covers. It's all part of the story.

HOW COLLINS HAS USED THEME BEFORE

TBOSAS was called "songbird and snakes" which was symbolic of the nature of good vs. evil.

There's essays everywhere about how the songbird represents good (in Lucy Gray) and how the snake represents evil (in Coriolanus Snow), how they are symbolically shown to have both natures by using both snakes and songbirds as weapons, but one nature ultimately prevails. TBOSAS is about the struggle between humanity's two natures, and how we can ultimately prevail in one or the other. The crest of the mockingjay and the snake, is symbolic of said theme. 

Songbirds represent everything Lucy Gray is—free, wild, untamed, kind, colorful, a singer, a performer, honest and moral and true and good.

Snakes represent everything Coriolanus Snow is—deceptive, cunning, ruthless, adaptable, charming, determined to survive, everything sly and wicked and game playing.

And yet, they are shown to have the inverse as well. Lucy Gray is also cunning, and deceptive, and determined to survive. Coryo is also caring (about certain people), honest (he's bad at lying, and in THG he agrees to never lie to Katniss), and enjoys the idea of freedom.

They wield both natures and this struggle is portrayed throughout the story. Hence: A Ballad of Songbirds and Snakes. Hence: a snake and a bird on the cover.

Suzanne Collins is also no stranger to complimentary characters.

Lucy Gray and Snow are inverses of each other, both similar and wildly different. They work well... Until the difference in their nature tears them apart. 

She makes use of complimentary characters to emphasize theme throughout her books, constantly. We see with Katniss and Peeta, how Katniss is war-torn, distrusting, afraid, how easily she could become like Snow, how her motivations for security could become corrupted into a ruthlessness to survive just like Snow was driven by his fear. She is difficult, jaded, and tormented, but underneath that she does have a heart of gold and wants goodness to prevail.

Peeta is her dandelion in the spring, her hope, representative of the goodness left in humanity, he seems soft but he is a lot stronger than his peers would think or give him credit for. She clings to him because in a world of darkness he serves as light, as a reminder that not everyone is selfish, that kindness and morality do exist even if she's inclined to think people just are out for themselves.

He is full of light and her darkness falls for that because she needs light and goodness to heal, to believe, to fight for.

He is her compliment, where she is afraid, a survivor and a fighter, and sometimes rude or selfish seeming, and struggles to show her emotions and how much she cares, more like Haymitch—

Peeta is kind, brave, soft, and charming, has a way with people's hearts, and yet also strong in his own ways and in his morals, determined not to let the capitol force him to lose his humanity. 

This nature of humanity, of goodness, of light, is reflected in other characters.

Prim is that role to Katniss as well. She is a soft girl, innocent, sensitive, tender hearted, kind, a healer, which is part of why Katniss loves her so much.

Prim is a reminder of humanity, which Katniss needs, and it's why Katniss chooses Peeta over Gale. Prim is also contrasted against Katniss. Rue likewise, is similar, she's a symbol of hope and kindness set against Katniss.

We see this utilization of complimentary characters all over— Haymitch and Effie, one being a crude yet intelligent and snarky arrogant tormented and drunken victor from District 12, the other being a prim and proper rich Capitol girl, airheaded, brainwashed, sheltered, yet endearing and caring all the same. They're polar opposites, but they work so well together, both as teammates and as friends. There's a reason the fandom ships them and sees them as the beer uncle and wine aunt of THG, as parental roles to Katniss and Peeta.

Suzanne Collins knows what she's doing. She knows how to write characters that compliment or parallel each other and how to weaponize symbolism and imagery for a powerful theme. (Katniss and Peeta, Lucy Gray and Snow, Haymitch and Effie, Katniss and Prim, Prim and Rue, Katniss and Snow, Rue and the mockingjay, Snow and Coin)

HOW THIS APPLIES TO SUNRISE ON THE REAPING

If she describes young Haymitch as arrogant, snarky, nonchalant, dangerous, smart, capable, etc... Maysilee is likely gonna be his compliment: kind, moral, gentle, soft, willing to call his more selfish means out.

She's the one who saves him and had the idea for the alliance. She's the one who split because she didn't want it to come down to killing each other.

I am convinced the reason Haymitch sets up Peeta and Katniss to work together as teammates from district 12, is because he did that with Maysilee.

He's doing what him and Maysilee failed to do. They agreed to break off the alliance, and look what happened. She died. Why do you think he's so insistent on Katniss and Peeta working together? That Peeta is keeping her alive, that she doesn't deserve him, that she should be more grateful?

Because he sees Maysilee in Peeta, and himself in Katniss. Haysilee (regardless of if they're a ship or platonic) is a gender reversed parallel to Everlark. Perhaps he's harder on Katniss because he sees himself in her, and kinder to Peeta because he sees Maysilee in him. For all we know, Haysilee could have even incited their own rebellion that the capitol snuffed out (suzanne said the main theme of SOTR was essentially propaganda and lies, covering up the truth for the masses).

MAYSILEE IS SOFT LIKE MADGE & PRIM

Further on why I think Maysilee will be a soft sunshine girl—because her niece, MADGE, is exactly that. Golden haired, kind, softened. Selfless. Everything the capitol tries to destroy. Everything the capitol sees as rebellion.

Madge likely got her soft nature from her mom or her aunt (Maysilee), who are twins. They also all have sunshine golden hair.

It's essentially implied Madge is like her aunt.

And guess what? Prim is a blond soft girl and it's implied she's like HER mom, who was close friends with Maysilee.

Katniss' mom was also a soft girl before the trauma shut her down. Clearly Prim gets her own sunshine healer nature from her mother, because Katniss is more is rugged and protective like her father. She fills in for protecting them when he dies, and even notes her mom is too soft and fragile to deal with certain hardships the way Katniss does.

If Katniss' mother is friends with Maysilee, not to mention their daughter and niece are both soft healer kind sunshine girls who seem to take after the rest of their family.... It's likely that Maysilee is like Prim and Madge. Birds of a feather flock together and all. Of course they would bond.

MAYSILEE IS A SYMBOL OF LIGHT

Here's more on why I think the sunrise is Maysilee. 

Madge gave the mockingjay pin to Katniss, from Maysilee. SHE WAS THE FORMER OWNER OF THE MOCKINGJAY PIN. THE WHOLE REASON THE REVOLUTION STARTED.

Maysilee is another form the mockingjay takes. Just like Lucy Gray, just like Rue—a symbol of hope and resistance. A tribute from District 12, so determined not to let the capitol change her true nature, to take her humanity and morals, that it lights the spark to create a fire.

Do you think Haymitch looks at Katniss, and sees Maysilee's pin? Do you think he sees the mockingjay prevail in the face of the reapings, and all he can see is her?

"Sunrise on the reaping" is a symbolic title. This is Suzanne Collins. This is how she writes. 

"A ballad of songbirds and snakes" summarizes the themes of that book, the nature of good vs evil. Lucy Gray is the songbird, Snow the snake.

"Sunrise on the reaping" translates to light, hope, new beginnings, in the middle of war and violence. 

Collins said this book was going to focus on propaganda, how the media LIES to people, puts them in the dark for easy submission, to not see the truth.

You know what you need to illuminate the darkness of a lie? To see anything at all, including the truth?

Light. You need the sun. A sunrise.

Real or not real? How do you see what's real if you don't have the light to see it by?

Sunrise ON the reaping. Not over. ON. 

A sunrise casts light ON the reaping. On the violence of the capitol.

Kindness and hope casts light on the bleak violence and darkness of the capitol. Our humanity is the one true form of resistance. It's the main theme of the series.

This book is going to be about casting light on lies and darkness. On the capitol. The book will be about light prevailing over darkness.

About kindness and hope being the truth that acts as defiance against violent propaganda. Against Snow's beliefs that "there is no hope for humanity, we are all dark and twisted."

This book will be the inverse of Snow and Gaul, of TBOSAS. If Ballad is about how humanity can fall into darkness and evil, Reaping is its compliment, it's about how humanity can be light and good.

All darkness -> light exists -> fire sparks

(Ballad)              (Reaping)        (Catching Fire)

(@ aurynauthor on Instagram summarized that for me<3)

Maysilee is the sun, the warmth to start a FIRE... Her niece gives Katniss, the girl on fire... Her mockingjay pin. 

Maysilee, perhaps, is the true mockingjay.

Katniss compares her death to Rue's, when she watches Haymitch's games. We thought Rue was the mockingjay, but... What if the mockingjay isn't just one person? What if the mockingjay is a symbol, something larger than life, something anyone with the kindness and heart and resistance to stand against evil can be? Like how Katniss and Peeta publicly honor and mourn their fallen tributes when they ought to be entertained alongside the capitol, who is aghast by such displays of emotion.

Maybe that light is some of what the capitol is covering up with propaganda in this book, but it escaped in the form of the pin and Haymitch's survival.

The mockingjay is everyone. Lucy Gray, Rue, Katniss... Maysilee.

Perhaps when Haymitch sees that pin on Katniss, he remembers. When the mockingjay becomes a symbol of resistance, when Maysilee's sunlight sparks the heat for a flame... Perhaps then Haymitch can understand why Maysilee saved him. Why he was the one to survive, and she was the martyr.

How her legacy and her pin lived on even after she faded from history, just like the mockingjay bird itself—small and insignificant, survived against all odds, becoming something stronger.

Maybe, even after her death, even when he forgets the good she taught him and he gets drunk to block out the memories of what happened afterwards, when he has to train up a girl with a mouth of fire and a mockingjay pin, and a boy with a heart of gold and the wits to survive, District 12 tributes, teammates, children he sees someone else in...

Even after the truth of what really happened on the 50th Hunger Games is lost to history and propaganda. Even after all the death and violence.

After all the darkness, the lies Snow preaches, that humanity will always fall into selfishness and survival and cruelty, that nothing and no one can prevail or be different.

Maybe Maysilee and her kindness was the sunrise on his reaping.

[toastytrusty]

hickey is a really good example of a character who's internal conflict is represented externally by his relationships with other characters. his feelings towards the british empire/the bureaucratic command of the mission is split between his respect for crozier and his reverence tuunbaq. and it gets so religious and existential it's so good.

to hickey, crozier represents the british empire, and tuunbaq represents the new world. we learn throughout the show that he came from a lower class background, has a lot of resentment towards the upper class and government of britain, and feels they oppressed him. there's commentary there on how insecure/downtrodden people often become tools of imperialism in an attempt to find some small amount of power or respect, by positioning themselves above someone else. punching down and all that. his first lines in the show are about how command puts dogs above men, showing how belittled he feels by it all, and how much resentment he holds towards them for it. yet, the moment crozier shows him the slightest recognition, hickey begins attempting to appeal to him entirely, chasing the idea of social mobility through the system he has spent his life detesting, because now, it seems tangible to him. he goes out to kidnap lady silence, thinking crozier will appreciate him for it ("i just saved your life" line. laughs), abusing the people of the new world for his own potential personal gain. he gets whipped for it, and loses the reverence for crozier, and therefore the british empire at large. and while he continues to abuse the native people, it is now through the conduit of abusing his fellow englishmen. there's a Lot to the irving farr murder scene that both is and is not relevant to this specific conversation, but the way his violence is turned inward there i think is really important here; even though, and perhaps especially because, the result of native people dying is the same. at his hanging he properly denounces crozier, and calls him out for what hickey perceives as essentially abandoning his men. something something the british empire has abandoned its people; abandoned the lower class to a miserable fate as hickey feels has happened to him, and abandoned this mission of people to die in the arctic on a doomed expedition with no rescue until it's far too late.

now the tuunbaq representing the new world is not at all unique to hickey's character arc—it's something present and relevant within the core of the whole show—but the specific way he perceives tuunbaq as a direct foil to crozier is unique to him. when hickey toasted with crozier, he thought crozier Saw him, and understood him and his experiences in an empathetic way. he thought they had connected. he was, obviously, wrong, but that's not the only thing he was wrong about! when he kidnaps silna, he says that the tuunbaq Saw him, looked Him Specifically in the eye. he thought he had connected with it. obviously he did not. there is Something to the way the tuunbaq is always summoned by hickey's actions; it shows up to attack them whenever harm comes to the native people, and usually that is hickey's fault. however when it shows up at his execution, it saves his life, which is really interesting. honestly not entirely sure what the thematic significance of that is past furthering hickey's delusions that the tuunbaq is in his corner but i digress. by the time of his mutiny he has all but fully forsaken crozier and the british empire. yet the nagging desire to appeal to authority and get that recognition remains. he wants crozier to see that he alone is capable of saving these men, and brings up their toast to try and get crozier to understand. when crozier tells him the toast was a joke, and there was no connection whatsoever, he gives up on saving them entirely. he chains them to a boat and, again, summons the tuunbaq, but with dramatic british songs instead of preemptive violence. there is violence of a different kind, though, and now it is Only turned inwards. there are. a Lot. of ways to read the final stand off with tuunbaq, but i've always read it as a sacrifice. hickey did not want to kill the tuunbaq, obviously. he hardly wanted to leave the arctic at that point. he was turning over the remaining of their men, and crozier especially, this embodiment of the british empire, to the tuunbaq as a sacrifice. when he cut his tongue out, i didn't see that as an attempt at domination. i saw it as an attempt at supplication. the last thing he used his tongue for was denouncing britain; its monarchy and its church and its empire. instead, he names tuunbaq as the most holy thing he's ever seen. the god they've lived their lives believing in means nothing when faced with the raw dregs of godhood present before them in the tuunbaq; the empire they've lived their lives believing in means nothing when faced with this beautiful and merciless land they are now condemned to. he is renouncing his britishness. he gives the tuunbaq the human embodiment of the empire to kill and eat because he no longer wants anything to do with it. his reverence is for tuunbaq and tuunbaq alone. but tuunbaq does not accept his offer, and kills him anyway. because he Is british, he Is a tool of imperialism, he Has done so much harm to this land and it's people, and no end-of-life realization is going to change that. i find it especially fitting that it is hickey's body that kills it. everyone else's rotting british flesh had sickened it, but hickey killed it, because despite his best attempts to distance himself, he Is the rotting evil of the empire, and is just as much a poison to this land as the rest of them

[shellem15]

Thinking about the Dawnfather. A god of light, a god of harvest, a god of the sun itself. Good but not nice, kind but not soft. Life-giving but also scorching. Protective, warm, and kind, but also stern, harsh, and abrasive. His light can foster growth, can protect and guide, but it can also scorch and burn. The sun is warm and nurturing but don’t stare at it too long, child, it’ll blind you.

Was he always so hard? Did he always hide his face with the harsh light of the sun? Or was there a time when he smiled and laughed, let others see him as he truly was?

Thinking about the Schism. Was the Dawnfather close to the Betrayer Gods before they turned? He must have been, Asmodeus wouldn’t be so hung up on him if he wasn’t. Speaking of Asmodeus, he was once a being of light, like the Dawnfather and the Everlight are now. Were they closer than the others? When the Gods came to Exandria, did they come from the same place or were they scattered, a ragtag group of survivors fleeing from predators seeking to devour them? And if the latter is true, did these three beings of light come from the same place? Siblings, born from the same stuff, forever tied to one another?

If this was the case, then, what was their relationship before the Schism? Did they call each other “Brother” and “Sister”? Did they hold each other when they were scared, dry each other’s tears, laugh and joke and tease and fight and make up because they were siblings and they’d always be together, and they loved each other with every fiber of their being and they only had each other. When Predathos came, when it devoured two of their newfound siblings, did the Dawnfather hold them both and promise them that everything was going to be okay because he was their brother and he was going to protect them, all of them. The gods, mortals, the world itself, they would not be devoured, they would not be destroyed, because he was there and would fight until his very last breath to keep them safe.

Wondering then, was that the moment when Asmodeus truly grew to hate their creations? Seeing his brother and sister and siblings risk their lives just to protect some mewling mortal wretches when they could just leave it all behind and start somewhere new. Was that the moment when he realized that mortals had done something to them, changed them when they were not supposed to change. Why else would they risk being devoured by Predathos, why else would they suffer through war with the Primordials? Why else would they choose them over him!? Was this the moment when he decided to conspire with the Primordials and the other Betrayer Gods? To destroy this world and the mortals on it so they could finally leave. And they would leave, of course, because the Dawnfather was his brother and the Everlight was his sister and the Gods were a family, and at the end of the day, they would always be together, and once the corrupting influence of those mortals was gone, they would surely all see reason.

And when the Dawnfather discovered this betrayal, when all the Prime Deities did, he must have been furious. How could they!? His kin, his brother, who had always been by his side through everything, how could they turn around and destroy their creations, their children. And so he and the other Primes took up arms and fought against their own family to protect this world they had created, and their children who inhabited it. Those battles must have been brutal, bonds of comradery broken, kin clashing against kin, screaming curses as they tore each other apart.

During those final battles of the Schism, when the Dawnfather clashed against Asmodeus, did they scream at each other in rage? A twisted reflection of previous squabbles, different because this time it was real, this time there is no forgiveness, no making up. When the Dawnfather knocked Asmodeus down, crushed his throat under his foot and banished him to the Hells, was he yelling when he disowned him? Or was he quiet when he did it, his voice going into a low growl, deadly calm as he told him that he was not his brother anymore. And moments previously, when the Dawnfather could have easily killed him, did he look into Asmodeus’s eyes and see his brother? Scared and hurt by his hands, hands that once held him and swore to protect him. In that moment, did the Dawnfather realize he couldn’t kill him? Because that was his brother and despite everything, he still loved him, and hurting him brought him more grief and pain than he could ever imagine. So instead, he banished him, locked him and all the other Betrayers away because he and the other Primes couldn’t bring themselves to kill their family, but they also couldn’t let them free.

Was this when the Dawnfather obscured his face? Hardened his heart because otherwise he would break, and he cannot break, because the other gods need him to be strong, because Exandria needs him to be strong. And so he stayed strong, despite the grief, despite the guilt, despite the pain of heartbreak, of hurting the ones he loved to protect the ones he loved. And this hardening must have continued, running himself ragged during Calamity, beating back Tharizdun, protecting Ioun after she almost died, sheltering the Everlight after Asmodeus once again betrayed her, stabbed her in the back and left her broken and weak when all she wanted was to do was get her brother back, to save him from his own wrath. Failure after failure after failure to protect those he cared about, to protect his siblings and mortals and Exandria itself. The guilt of his failures must be overwhelming, and these are his failures: Predathos devoured his siblings under his watch, his siblings betrayed them under his watch, Calamity ravaged Exandria under his watch, and even now, the threat of Predathos has once again returned under his watch.

No wonder he is so harsh now, so controlling now: because every time he has failed in his vigilance the world has suffered for it. He can’t fail again; he can’t lose any more siblings. And so, he continues hardening his heart, continues fighting, because the sun must always rise again in the morning, no matter what.

[moodyseal]

Okay I promise I will try to shut up about this specific moment in AA soon but. The dive into the past in Turnabout Succession with the whole Magnifi Gramarye case and its aftermath is already heartbreaking on its own but what I think is the most heartbreaking thing about it is how the gameplay itself carries out. I mean they could've let the player watch the case unfold as usual and then have Phoenix simply yell "HOLD IT!!" and present the single piece of evidence that got him disbarred completely on his own (no less tragic, but at least it's like hearing someone recount a memory) but they actually gave the player the choice. Or the illusion of it

A screen pops up with two single options, "Show evidence" and "No need", and of course you hesitate to click on either because this happens in the last few stretches of the game and you already know what consequences this will have. It will be bad. You try to change the outcome, click "No need". After some quick dialogue, it goes back to that screen. You click it again. It circles back to those two options. And again. And again. And then you realize you never really had a choice after all and you click "Show evidence" and then of course it ends badly. Which you knew already, but couldn't prevent

With this game dynamic you're not just witnessing this story—you become part of that case. You're forced to give the wrong advice even if you're aware it's wrong, and you're forced to knowingly doom Phoenix Wright with your own two hands

[ciderjacks]

ALSO I DONT THINK ANYONE ELSE HAS NOTICED THIS YET but someone else that I didn’t pick up on before that I find really interesting, is when miles is doing his whole dumb disruptors speech, describing everyone else and how he helped them — he lays the praise on heavy for Birdie and Duke (both of which are washed up idiots who will cling on to any good press they can get), but he openly demeans the two people with intellect and talent, Claire and Lionel.

for Birdie it’s “you’re sitting next to Birdie Jay, fashion icon, youngest editor, top of the world!” And when she brings up her bad decisions he doubles down, makes it positive- “then she comes out with these amazing new sweatpants, just as the pandemic hits!”

he makes it seem like she’s a genius, and you can see her getting buttered up as he’s saying all this, letting herself believe it.

same with Duke! Duke gets: “people just saw his muscle, but little did they know he’d be a huge influencer, that he’d be the first person to hit a million on twitch?” He gives Duke this impression that he’s some kind of talent, someone who is more than he seems, that he’s got brains and brawns. Just like Birdie, Duke gets all proud and lets himself believe it.

but then, Claire and Lionel,

Claire gets: “soccer mom in beige”

And Lionel gets: “10 years licking on the taint of academia”

It’s rude, it’s passive aggressive. He demeans them, he makes it seem like somethings wrong with them, or that the things they were doing before him were useless, and you can see both their faces fall when he says this. He also spends so little time on their actual accomplishments, especially compared to the amount of love he showed to Birdie and Duke.

it’s just interesting how he manipulates them subtly, how he targets the actually talented people who don’t really need him, and makes them feel stupid and less than…and on the flip side, how he targets the washed up people and makes them feel like they are these incredible talents. Because when he does this, it makes it so that Lionel and Claire will second guess themselves at every turn, and never notice how nothing he says makes sense — and it makes it so Birdie and Duke will think every idea he gives them is their own.

[disappointed-time-traveller]

Even if their relationship was entirely platonic there is still no heterosexual explanation for Pallas and Athena imo. What I mean by that is their whole friendship started because of their defiance of gender rolls through mutual love of battles and sports, and i know it's a stretch but... that is definitely a friendship built on a shared experience of queerness and you can pry that headcanon out of my cold dead hands!