#i think the characters and the plot obviously wouldn't be exactly the same

[reddamselette]

just realized while rewatching aot that before i had jean and jeremy, i had jean and armin and i think that says a lot.

[the-mpreg-guy]

You are kidnapped by CW execs, hold on a gunpoint and asked to write a script for Supernatural season 16. What's gonna be the plot?

They don't even have to kidnap me to do this, I'd do it for free. I'd pay THEM to let me do it.

Dean and Sam are still stuck in one of Chuck's mindgames and that he has Jack stashed away somewhere. Dean poking at the walls parallel universes in SPNWN was the beginning of him figuring out that there's something amiss, and Jack's ooc behavior regarding it. Is like. The final nail in the coffin (no pun intended).

The first half of the season would be Dean and Sam splitting up in Heaven to connect with previous spn characters who have died. Sam finds Mary, Bobby, Ellen, Jo, Ash, and then has a sideplot where he runs into Jess and gets closure regarding that. Dean runs into Charlie, Victor, John, and Kevin (to name a few). I really really would love some satisfying conflict between Dean and John, and I would like Sam and Mary to actually Interact and have opinions about each other.

The end of the first arc is Dean finding Jack, so we can get some delicious interactions between the two of them (pls let Jack actually have a Reaction to Cas being dead), and so that they can go absolutely balls-to-the-wall crazy by agreeing to the same stupid, dangerous plan to open the Empty and get Cas back.

Anyway, part 2 of the season is the gang all getting together, dodging Chuck, who starts bringing Angels back to go after Dean and Sam. Dean tells Sam that the plan is to open the Empty and dump Chuck in there, but doesn't mention that he and Jack are also going to jump into the Empty to save Cas (bc Sam would stop him and also I love it when Dean lies to Sam's face). The plan goes stupid bc Sam figures out what's going on and all three of them end up in the Empty.

I don't have exactly any set ideas for how the rest of this happens, but I need them to interact with Crowley and I need Sam and Ruby interactions. Somehow they do a Chuck/Cas Empty swap and get Cas back. I would introduce a new mechanic that the only way to get Cas out of the Empty is to wake him up (the Empty actually gets him to sleep) and so they have to go through Cas's mind to wake him. Jack gets to use his powers and like beam Dean into Cas's mind and I get a self indulgent sexy recap of every single regret that Cas has ever had flashing in front of Dean's eyes.

Anyway something something Dean finds Cas in the barn where they met on earth, something something Cas tells him to leave him there and then obviously Dean gets to say "don't you think you deserve to be saved" and it's vomit inducing. Just as Castiel wakes up, so does the Empty and shit hits the fan.

Cas tries to play mr self sacrifice to get everyone out, but Dean won't let him bc he's sick of that shit. The portal Jack opened is closing, but last minute Dean grabs Cas and their soul/grace interact, recharging Cas back to full power and he flies them out.

Something something, Chuck gets chucked (lmao) into the Empty, something something, Michael/Adam was involved this season, something something either Michael, Amara, or whoever the fuck is in charge of Heaven and not Jack because he deserves to be a normal person without that insane responsibility.

Dean retires and opens a bar, Sam continues hunting and expands the hunter network (and Samwena canon bc istg 🔫), Cas and Jack dont hunt, dont not hunt, but do a secret third thing (commit funny felonies).

Also Destiel canon sex scene. If Jensen Ackles and Misha Collins can hump on stage in front of us, they can take their pants off for a pg-13 sex scene on my monster show.

That's the BROAD strokes of what I would want for a s16. If we're pretending that there are more seasons after s16, then all of that would go a little differently and I wouldn't have Dean quit hunting.

Alternative answer is that I'd submit Shal's s15 finale fix-it fic for a supernatural movie directed by Jensen Ackles.

[darklinaforever]

All the posts being horrified at people shipping Edwin with the Cat King make me laugh.

The delirium of being alarmed because the Cat King would be an adult and Edwin a minor kills me with laughter.

Edwin is certainly a 16 year old ghost, but... it's all in his description. A ghost. And he's been a ghost for a long, long time.

Are you telling me that he hasn't had time to evolve in all these years, and especially since his traumatic stay in hell ?

A little logic please. Edwin does not remain at the same point as when he died, frozen forever. He’s a character with an arc and development. And then, you're not telling me that Edwin behaves like a typical immature teenager ?!

And the Cat King may be thousands of years old but he behaves very immature most of the time. In fact, you could even say like a teenage form. Objectively speaking, he does not appear morally very different from the other official adolescent characters in the show.

And then, this kind of consideration of age will always make me laugh, when we are essentially talking about two supernatural beings ! Conclusion : We don’t care about their age difference !

And let's not even talk about those who are angry with this bracelet story, while I still point out that it was literally a punishment for Edwin having performed an equivalent in terms of spell on one of his cats, with Edwin having himself been quite condescending about this / these animals about how they all look alike to him.

The bracelet is a consequence and punishment for Edwin's actions.

It's not for nothing that the Cat King tells Edwin exactly the line he told him about not seeing the evil in a little spell.

Then... accusing the Cat King of being a sexual and other abuser, as well as a potential rapist... Wtf ?

Already, it's forgotten that clearly, during the scene and all the others where the Cat King tried to seduce Edwin... Well our dear ghost seemed more than appreciative.

For those who don't understand, the Cat King is literally what allows Edwin to finally embrace his sexuality ! Without Cat King, probably no love confession to Charles !

And in fact, it's a good thing that Cat King was interested in Edwin and showed interest in him, tried to seduce him, etc. It's not negative in his purpose. Edwin is this guy who is quite stuck while the Cat King is very extroverted and helps to unblock our ghost.

It makes me laugh even more to see all these people screaming in defense of Edwin, his physical integrity, etc, while our ghost boy... well he clearly wouldn't have been against kissing the Cat King and maybe even more at the beginning.

Need to watch their scenes again properly... Edwin's body language doesn't show that he's uncomfortable.

Okay maybe he is, but in the sense that the Cat King reminds him of his lack of experience, but beyond that, very clearly, in general, around the Cat King, (except when he takes the appearance of Charles, obviously he feels uncomfortable in that moment) Edwin seems simply extremely attracted to the Cat King / receptive to his advances :

Same with all those people being mad that the Cat King forced Edwin to tell the truth.

I repeat... THIS IS SUPPOSED TO BE POSITIVE FOR EDWIN ! THIS ALLOWS HIM TO EVOLVE ON HIMSELF !

I'm not saying that the Cat King behaves morally (as for offering Edwin to sleep with him in exchange for his freedom before offering to count the cats, or forcing him by magic to reveal what he really thinks), not at all. He is clearly a form of antagonist / anti-hero, neither good nor bad, and finally rather neutral in the plots of the show.

But this character and actions essentially only serves the positive evolution of Edwin's character regarding everything related to sexuality, but not just that, also his emotional relationships with other men AKA Charles. Again, without the Cat King Edwin probably wouldn't have confessed his feelings to Charles. So the Cat King essentially allows Edwin to fully embrace who he is as an individual, his complete identity.

And it's nothing new that a morally questionable character with morally questionable actions has this kind of role in relation to the protagonist.

Seriously, the antagonist who allows the hero's sexual awakening, as well as its deepening on itself is as old as time. Even more so when this antagonist and hero share similar characteristics such as their loneliness.

Besides, it's not for nothing that the first real kiss that Edwin gives himself to someone is to the Cat King (especially after all this talk about kissing and Edwin finally understanding their appeals), even if it's on the cheek that still a kiss. A second kiss more precisely, which he gives on his own and which is much better than his first with the crow.

Crying foul about this makes me wonder what universe these people who are complaining live in as for the codes of fiction. Again, people who cannot see beyond the surface should not be allowed to open their mouths.

[dingodad]

Given Caliborn and Calliope's dichotomy laid the groundwork for the Meat and Candy thing, and Trickster Mode obviously leaned heavily in the Candy direction do you think there could be some Meat philosophy equivalent, Lawyer mode or some shit (It wouldn't be called that I can't come up with anything good.) Or does the juju being both Calliope and Caliborn's say something about how Trickster Mode got the gang exactly where the plot needed them to be?

well Calliope and Caliborn both eat meat and candy. because the cherubs are consumers of stories, and these foods are both representative of necessary components of fiction (or at least Homestuck specifically) in Hussie's philosophy; where meat is "violent, high-octane, game-changing" (Book 4, p. 233), the exact meaning of candy hasn't yet been explained in any explicit sense, but the way the lollipop is described in the text suggests that it symbolises emotional catharsis, removed from the associated struggle:

[Teenagers] have to face all those issues themselves, or they will never learn and grow as people. [...] The journey itself is more important than the destination. The struggle is what builds character and teaches us about ourselves and about life. [...] So if you lick a magic lollipop that flips a switch in your brain that says "all my problems are solved," I guess maybe that's fine for cherubs, but if you're a human you haven't actually solved anything. By the same logic it's not much of a boon to a human's physical journey either. Using an item that lets them start maniacally powering from point A to point B isn't doing them any favors.

so where you seem to be approaching meat and candy as symbols of order and chaos, it seems more like the "Meat equivalent" of Trickster Mode would revolve around emotional anguish divorced from its resolution...

...which is why Rose's "grimdark" state is named after a loose genre of storytelling recognised by its gratuitous violence and angst for violence and angst's sake. the two are already positioned as opposites of each other, hence "the fabled blackdeath trance of the woegothics" versus "the fabled peachbirth trance of the jokebollocks".

worth keeping in mind of course that trickster mode is only the illusion of catharsis - so we similarly shouldn't think of grimdarkness as true story-developing hardship, either. Act 6 advances in spite of trickster mode, not necessarily because of it; the driving force behind the further development of the story is the emotional conflict behind trickster mode, not the 'solutions' trickster mode portends to provide.

[lemotmo]

i am NOT dooming but i just wanted to know your opinion. now that we know T is coming back in episode 14/15, i have a bad feeling about buck being with athena in the police car. T’s most recent (and narratively, most important) link to the show is buck, so it would make sense that his plot in these episodes is related to buck eg like when abby came back for buck’s closure. however, he was on the same roof that the LAFD helicopter took off from… the LAPD helicopter seems to be chasing the LAFD one… buck and athena arriving at the same building and buck out of uniform… the only other time (i think) that buck travelled with athena is when doug kidnapped maddie. i have a bad feeling that something happens to T, eg his helicopter gets stolen or hijacked, and buck is worried about him so attends the scene with athena. i hope i’m wrong obviously and it’s something else, but in my head… T on the roof + helicopter chase + buck going with athena to the scene + that bts clip of buck crying ?? = too big of a coincidence :/

Oh oh oh Nonny! Slow down! You are making a loooot of assumptions and connections that might not have anything to do with each other.

First: Are we absolutely sure that he will be back in 14 or 15? The man made one vague post, the Tommies assumed it was for 911 and we just follow their lead? I don't know. Granted, since there seem to be helicopters he might be back, but let's not jump to conclusions yet.

Second: The Buck and Athena stuff might be interesting, I agree. But why would it have anything to do with T? If this episode is helicopter heavy, he might be there, but that doesn't mean that he will play some kind of vital part in the story. The man is a plot device character. They are only going to use him when absolutely necessary.

I think there might be some kind of hostage situation and there will be some helicopters circling the building. That's it. That could be the reason why he might be back: to show us someone we know in the helicopter.

Also, if he is there, I fully expect him to have some part in the Buddie plot, because he still is that plot device character designed to bring Buck and Eddie even closer together. That's his whole reason of existing.

Further more, they are not going to waste an nde on T, because no one from the audience would be emotionally invested. Most people have already forgotten about him. He is not that important and the stakes wouldn't be all that high. Let's face it, T possibly dying won't have a big emotional impact, so they won't do that.

That's why I think Eddie will be involved in all of this somehow. To bring Buddie even closer together. It's about time that one of them gets hurt again. 🤣

Third: For some reason everyone and their mother assumes that that one clip is Buck crying, just because someone on Twitter said so. I've listened to that clip many times now and I'm not convinced. I don't think it's Buck at all. it sounds like a higher female voice. I think it might be Hen and I think she's coughing, not crying.

Could be wrong though, but keep in mind that this might not be Buck at all.

Fourth: Please Nonny, it's important to take a step back and see T for what he is. Him and Buck are not getting back together. The show has been working hard to make Buddie happen and to get the GA involved. It's worked. A lot of people in the GA have started seeing the Buddie of it all. There is a reason for that.

Believe your eyes. Believe what the show is telling us. Forget about everyone's opinion and speculation for a moment and just watch season 7 again, watch 8a again and mostly, watch the first two episodes of 8b again. The show has been telling a story of two friends who have slowly, but surely given their heart to the other. It's all right there for us to pick up on. It's no longer subtext, it's text.

The first two episodes of 8b show us exactly where this story is going. So who cares about exes coming back or not? This is a love story. That's what they are writing and what they are showing us: a love story between two best friends who will soon realise they are in love. So whichever ex comes back? They're only there to propel the Buddie narrative, like they have consistently been showing us since season 7.

So sit back, relax and let the writers tell you this story the way they want to tell it, exes and all.

[zappedbyzabka]

Some of my general thoughts on CK season 6 part 3

Ralph and Billy's tearful scenes with 'Miyagi' and Kreese were phenomenal. They're such great actors 10/10.

I have a lot to say about Johnny's scene with Kreese but just to keep things short, I'll talk about that another time. But wow wow wow. Dominique Swain applauds.

Daniel's nonstop anxiety about his family getting hurt :/ least he had fun getting tipsy with his wife. Amanda looked gorgeous with that new hair (though she always does.) He really tapped into offense side this season. Looove how he knew exactly what to say to make Silver blank-face and leave lmao.

I'm SOOOO never getting over 'You're alright, Lawrence!' and lawrusso recreating the nose swipe scene with Daniel acting as Kreese for Johnny to inspire him. Johnny was MUCH enjoying that.

Daniel basically buying Johnny his building back?😭 AGHHHH. 'I believe in you'....

Tory being dressed in the same gi as young Johnny, and Robby being dressed in the Miyagi Do gi with a hurt leg—paralleling Daniel—in combination with those scenes being where they get back together makes me insane. Like, lawrusso in another universe.

I feel Robby could have gotten a more smoothed out and rewarding end but at the same time, I'm glad he's happy and taken care of now. Angel.

Sam and Tory's scenes together were so heartwarming. Especially the scene of Tory getting emotional over the LaRusso's kindness and generosity to her. Finally getting some one on one with Daniel and Johnny.

When Sam brought up having something to tell Daniel but being worried he'd be disappointed in her, my mind instantly went to a coming out scene tbh.

The montage of binary boyfriends and samtory as Bobby's reading the vows? What are you trying to say???

Bobby and Johnny meeting up again <333 Bobby still gives him that special 'I would actually do for you' stare (whether platonic or not) and I squeal about it. I love that Ron got some time to shine<333 I thought Jimmy would appear, but he sadly did not.

I also thought Anoush was gay but I was obviously mistaken since he was kissing Ralph's daughter (Julia's performance was hilarious.)

Silver speeding away with Johnny in that car was crazyyy. Billy had yet another Scott (not the werewolf) Mccall moment except he didn't get locked in a tower this time. You would've thought the employees would have seen Silver in the papers months ago and called the cops.

His envy over Daniel and Johnny having things to live for and people that actually love them was sad—especially with him being ill. If you think about it, Kreese was all he had besides the money, and when he didn't have Kreese the only way he had anyone around him was pretending to be someone else.

His jealousy over Kreese's love for Johnny really shined through as well with that 'I don't know why you messed up what I was doing with Kreese' (paraphrasing) and the way he called Kreese pathetic for groveling to Johnny no matter how many times he rejected him. Silver felt that he himself was pathetic for having always crawled back to Kreese no matter the rejection he faced.

Also the fucking grenade boat explosion scene??? INSANE???? Literally died in each other's arms. I know many people have problems with it but I don't see what else they really could have done for the two villains with endless crimes (which I love about them alright) that wouldn't be worse.

Think about how Silver probably thought he'd die alone, but didn't. When I realized Kreese was set on offing himself and taking Silver with him the whole time, and that was the reason he spent most of his scenes apologizing to the last few people he loved...

Would like to know more about what happened to Wolf. His bitchiness almost rivaled Johnny's, and damn did he eat up every scene he was in. Just a great character.

Johnny with the tailor? There's my prissy brat.

Considering everything wrong with the baby plot, I at least liked how they did end up choosing to show it. Johnny going full girl dad and being so sweet and coddling to the baby + Miguel and Robby made my heart SOAR. He's always been tender with them but the writers never really did let him to just relax and love. He deserves to be happy, like every imperfect victim irl and in fiction who gets bashed for not meeting people's standards does.

Carmen is a baddie. Just chilling truly

[queenofapeacefuldawn]

SPY × Family: Chapter 94 analysis unhinged thoughts

hello hello! i am back with my thoughts for the latest chapter! please note that there are spoilers ahead for chapter 94! (Long-ish post incoming?)

Okay, so I loved this chapter. I'm a person who loves locked room murder mystery type stories, so this definitely scratched that itch for me. Obviously, I'm biased.

Analysis (of sorts?):

Right off the bat I can say that this chapter isn't really oriented on emotions or certain character dynamics. It is pretty plot heavy (but. not to the main plot. this chapter in itself has a plot to its own, but I really really liked it).

So the chapter starts with Bondman facing off an enemy in a snowy mountain...

which, of course, inspires Anya to have an adventure of her own. She asks Loid to take her skiing, only to be flatly denied...

BUT! Agent Anya has tricks up her sleeve (threatening to cry), and that works on our dear, super-spy Agent Twilight (he's so weak and stupid y'all.)

side note:

he thinks he's soooo cool. he's not.

Anyway, we get Twilight trying to explain skiing to Yor, which... fails, kinda. we also get gymnastics from Yor, (SHE's the cool one), and a half-baked explanation from her about learning all that from a gymnastics teacher.

The Forgers are trapped in a snowy blizzard, which leads them to take refuge in a lodge. They meet a group of young college students, who regale them with a tale of a bloody snowman who kills people in the dark.

Might just be me, but this design reminds me of Type-F from the new Code White movie (note: this isn't exactly a spoiler, I haven't seen the movie, but this is what's on the wiki and in the trailers). The snowy backdrop + this Type-F-esque design might be a homage to the movie? Probably just me, though, haha.

Anyway, onto the main focus of the story (kidding, it's not):

WE COULD'VE HAD IT ALL..... YOR AND LOID SLEEPING ON THE SAME BED.... WHAT COULD HAVE BEEN....

(jk, it probably wouldn't have happened, but a girl can dream)

"Eh, why not?" Certainly, these words CANNOT exist in the vocabulary of THE Agent Twilight! Perhaps.... no, it can't be... he's finally RELAXED for once? Feeling secure enough to ASSESS THE LAYOUT FOR POSSIBLE ESCAPE ROUTES WITH HIS YOUNG DAUGHTER? No... it can't be possible....

(Sorry, I know I'm unfunny. I don't think that'll change)

But, genuinely, this just shows how at ease he is with his wife and daughter. He might not know it yet, but I know it (← somebody whose opinion isn't worth shit).

Finally, onto the main crisis of the story:

the would-be murderer.

There's something to be said about how he jumped into action to save the guy's life, (as one does), BUT. BUT

OHOHOHO. The minute Yor's in danger (see: the man reached out to grab her but Loid just grabbed his hand) he decides to find the killer to prove her innocence. (You know his adage? A spy should never draw attention to themselves.) The minute his WIFE was in danger he resolves to find the killer and prove Yor's innocence their guilt. HMMMMM. Agent Twilight, you ain't slick. I think you momentarily forgot about about your #1 lesson to never draw attention to yourself just to prove Yor's innocence. OHHHHHH. The fanfiction is fanfiction-ing

(I'M SORRY I'LL TRY TO BE FUNNY FROM NOW ON)

To summarize the rest of the chapter: Anya realises with her telepathy that the killer is the lodge owner, and meddles in the investigation to nudge Loid in the right direction, and the police arrive to the lodge to find the incident resolved. Everyone's happy, right?

Not... really.

Anya's excited because, "Wow, I solved a murder! So cool, best trip ever!"

But Yor and Loid aren't that happy. Loid is worried that this kind of meddling will get Anya in danger... and he's more worried that she isn't really grasping the gravity of the situation.

Which. She kind of isn't. A man was almost killed, but she's not showing any signs of shock? Remember, he was this worried even after the hospital visit where she makes a mess of that sand-model thingie, and after the bus hijacking arc, when she's hyped about the Stella, and he tells her that the Stella was "not for the reckless way you defied those hijackers."

Which.... is a lot of character development from the man who was A-OK with leaving her alone in the apartment, to now how he constantly worries about her wellbeing. Growth.

Also, another tidbit:

I feel like this chapter showcases another facet of his personality. Not Agent Twilight's, or Loid's, but [REDACTED]'s.

[REDACTED] always wanted to help. Even in the War Arc, when, in Luwen where he was staying at his great-uncle's house, we can see that he wants to catch fish for his and his family's dinner, while, in the backdrop, children are laughing and playing. It's always been in his character to help, and, hell, it's partly the reason he is who he is today. Agent Twilight wants to think that he left [REDACTED] behind after that fateful bombing in Luwen, but [REDACTED] is hanging around him like a ghost, and some of his character bleeds through the facade that is Agent Twilight, which is masked by the facade that is Loid Forger.

Final thoughts:

Loved the chapter. It's probably just me reading into it too much, but... that scene where he grabs the guy's hand who was trying to tie up Yor. Hm.

This entire chapter might have been a locked-room murder mystery type chapter, but I genuinely think that it showcases how much of an effect this family has had on Agent Twilight. What with taking Anya on a sweep of the premises to look for escape routes, to trying to prove Yor's innocence that definitely betrayed his number 1 rule as a spy... this man is truly so oblivious, I wanna cry.

(Also: did he not stop for a moment to think that him performing first-aid on the victim, or trying to build a radio from scratch OR playing detective to prove his wife's innocence IN FRONT OF A GROUP OF OSTANIAN PEOPLE would raise suspicions? Obviously, it was all overshadowed by the discovery of the would-be killer, but... at least one person had got to have been suspicious of Loid.)

(Also also: He's so weak. One look at her crying face and he's gone.)

This was just my thoughts from a preliminary read of the chap, so if I get more thoughts, I'll probably add onto it in a reblog or a new post. Tysm for reading! Hope you liked it, and have a great day/night! Remember to stay hydrated!

[aeithalian]

brought to you by walker scobell's correct opinions

okay so this is super unhinged but I've held this opinion for a long time and I was reminded of it when Walker Scobell adressed it in an interview and I need to yell it from the rooftops - Percy Jackson would absolutely kick ass in a fight against Harry Potter. And I say this as a lifelong fan of both series (who obviously knows which author is better).

But it's more nuanced than that. Because apparently I can't be normal about things.

Here's the thing: Percy and Harry both serve completely different purposes as the protagonists of their respective plots. Because Percy's special. Harry's not, at least in the ways that matter. Hence, Percy would absolutely kick ass.

Allow me to explain. We're in the great position here of both stories being set in the "main character has to go learn how to harness their power" archetype for both characters, (Percy at Camp Half-Blood and Harry at Hogwarts) so luckily, this also gives us a pretty good idea of how skilled they are in comparison to their peers.

Percy, over the span of the series, and even in the first book alone, excels above his peers. He's the child of the second most powerful god in the pantheon, he's given a prophecy and a quest almost immediately upon arriving at camp (a privilege other campers have to wait years for), and at the point we've reached in the canon books, is one of the most powerful demigods ever. Like, his power level is compared to that of a minor god, he's a respected leader, and he beat the god of war in single combat at age 12 based on (mostly) skill alone.

But Harry, in comparison to his peers? Painfully average in most regards. Every single life-threatening situation he was in throughout the entire series required some fluke of nature/magic for him to get out alive. As a baby? Only survived by some ancient magical loophole. Book 1? Use of aforementioned magical loophole. Book 2? Sure, he saved the day but he also almost died, but didn't because Dumbledore sent... a bird. Book 3? Harry's mastery of the Patronus charm is one of maybe three exceptions to this rule in the entire series. Books 4, 5, and 7? Magic loophole!!!! And let's be real - Dumbledore saved Harry's ass multiple times in the book 6 climax, but I'll let the bygones be bygones and not question Dumbledore's methods. My point being: Harry sucks at most things. But, you know, at least he's self-aware about it.

Now before anybody comes screaming to me, I know that Harry's not dumb as a rock, or anything. Yes, he's good at DADA, I am aware, thank you. But let's be real - if the aforementioned magical loophole didn't exist, Harry would not have survived a good 80% of his altercations in the series, considering the aforementioned magical loophole literally only works against one person. To be real, he also wouldn't be in those life-threatening altercations to begin with.

FURTHERMORE. They both fall into the "Chosen One" archetype, right? But here's the thing: Percy is powerful in his own right, and being the chosen one isn't what makes him powerful. Harry, on the other hand, is powerful because he's the chosen one, because of all the mysticism built around an arguably average person of middling talent. He's only special because of the whole "[Voldemort] will mark him as his equal" thing from the prophecy.

Even if you assume that an average demigod and an average wizard hold about the same power levels (which, honestly, I don't think you can say, but for the sake of the argument, that's what we're going to go with), the pure fact of the matter is that Percy is like a Dumbledore-level demigod, and Harry is a Michael Yew-level wizard. (Who is Michael Yew, you may ask? To which I say: exactly.)

Are you catching my drift? Percy kicks ass against Harry because he's more powerful. It's as simple as that.

But allow me to extrapolate further, because I fear that some may take this to mean that Harry is a bad protagonist. He's not, he just serves a different narrative purpose as a character. Imagine if you were to swap Percy and Harry into each others' stories:

Harry would probably die in the first PJO book. As an untrained wizard with at most, one year at Hogwarts under his belt, he'd probably die in the initial fight against the Minotaur. Done deal. Sure, you could take it a step further and assume that he does carry good problem-solving skills in moments of high stress, so maybe he could have made it out of that fight alive, but he's probably toast from that moment on. My main point is that Percy's skills that get him through his first quest are inherent. He doesn't necessarily have to practice to have heightened battle senses, water powers, and sensitivity to the Mist, all things that helped him survive. Harry simply does not have those things, and as a wizard of about the same age, doesn't have the skill set to match those powers with his own magical abilities. And by the end of the series, assuming Harry doesn't die immediately, the last book is one long, big battle, and Harry's one-on-one combat skills aren't necessarily bad, but if I have a hard time remembering how many times Harry was in a duel against a fully trained wizard and won in his own right, what makes you think he could beat ultra-powerful Titans like Percy did?

As for Percy - Put him in the climax moment of the first HP book against Quirrell. Harry survived that moment by using the aforementioned magical loophole, but Percy would have probably chopped Quirrell's head off within the first five minutes. No biggie. No moment in the first three books comes to mind as a situation that would have given Percy a ton of trouble at around the same age. And the fact that I think that Percy would definitely give Voldemort a run for his money in a one-on-one duel in the second half of the series should really say something.

Again, that's not to say that Harry's a bad protagonist. I think that their respective power levels serve their respective plots well! Imagine how boring the PJO series would be if Percy wasn't powerful enough to go head-to-head with Titans, or how boring the HP series would be if Harry had no problems beating Voldemort ever.

It's also interesting when you consider the implications of what being the Chosen One means in their respective universes. Percy knows he's the Chosen One, and he's actually more offended when Rachel suggests that he's not the hero of the prophecy, rather Luke is. Harry, on the other hand, has a hard time believing he's the Chosen One, because he knows just how generally unremarkable he is aside from the fact that he keeps surviving against all odds. Percy is the typical Chosen One, Harry is not.

And that gets even more interesting when you consider how they interact with their peers once their "Chosen One status" becomes common knowledge. Percy, who spends most of his time on quests, doesn't interact with his peers much on-page (meaning we don't see him go through everyday life like we see in the HP series), but that aside, he's generally well-respected. People are in awe of him. People know who he is, and have decided that he is deserving of his claims to fame and power. Harry, on the other hand, is generally not respected to the same degree, and people have a hard time believing him when he tells them about his close calls with death. Adults, specifically, find his stories unbelievable, because to them, he's untrained and not significantly powerful. And you know what? They're completely right.

I tend to also see that manifest a lot in their personalities. Percy, as the Chosen One, tends to struggle a lot with the fact that there are a lot of expectations placed upon him. People come to him for help all the time, and the gods tend to take him for granted, so he ends up with this very 'leave me alone let me live my life in peace' kind of thing going on. Harry, on the other hand, struggles in the different way of, as I said before, never being believed, and while he also struggles a lot with expectations, has this issue that he doesn't, nor will he ever, live up to them because that's not who he is (insert rant here about why Harry becoming an Auror was so out of character, and why he should have become the DADA professor instead, kindly fu JKR). Harry isn't some overpowered godling, he's just some random kid, placed well enough in society that Voldemort took an unhealthy interest in him.

I'm getting off track here. But my point stands: while both Percy and Harry serve the Chosen One protagonist archetype, they are inherently different characters and serve different purposes. Harry is atypical, and doesn't succeed in his own rights as much as you'd predict from a YA protagonist, regardless of the fact that he's got an über-powerful failsafe button. Percy, on the other hand, is a much more cliche example of a main character, being overpowered and wildly successful with barebones training.

Now, this is not me saying that PJO is a cliche YA story. I would never say that, because Rick Riordan is a masterful writer who still incorporates Percy's struggles as a person into a world where he's considered extremely powerful (meaning he's not a Mary Sue). That, and the fact that Percy isn't actually the 'hero of the prophecy', but the main villain is, is what should disprove that statement in a split second.

All is is basically saying that, while Percy would absolutely whoop ass against Harry, that does not mean that Harry is a bad character. Harry is, I think, the only kind of character that could fit well enough in the HP series for it to be considered a fulfilling story (insert rant here about how the final fight in movie 8 is stupid and Harry could have never held his own in a duel against Voldemort for that long, and completely missed the point of the finale of book 7 and it's been pissing me off for years).

Anyways, yeah, point made, come yell at me if you think I'm wrong, but I don't think I'm wrong.

More (mostly TOA) rants here if you want them.

[bunnisanblog]

We'll Break Up in the End

"You know I love you, right? Even if it means dying a thousand more times to be reborn as complete strangers, I'll always find my way back to you, my love."

You sniff, wiping a tear away, upon taking in the words of this perfect spectacle of a man in the latest novel you picked up. Your glasses are fogged up from crying during this weird post-breakup ritual you've just established. Something about reading or watching the most seemingly perfect love stories soothes the ache from your most recent heartbreak ... Or you're just projecting. You wouldn't call yourself a hopeless romantic, more so someone who's close to losing hope in the romance department. Five years in and you think he's the one, but he's actually been seeing multiple other women behind your back just when you thought he was sneaking off to plan his secret proposal. You know this isn't an uncommon thing that people go through (sadly), but you just thought what you both had was special. Nothing can compare to the men you read about though. Fictional, obviously. Books have always given you solace in times of stress, a way to check out of reality and lose yourself in a make-believe tale where any life outside of it has no power. As sad as it sounds, you're content with how single life will be like for the next few years or so. No man has ever come close to scraping the standard that your beloved fictional ones set... that is, of course, until you meet him. It all starts when you visit the newest bakery in town.

Next: Chapter 1

*:･ﾟ✧* Author's Note: Hello! This is the first fanfic I've written in a while, but I'll try my best to deliver! This was the summary for We'll Break Up in the End, and I'm excited to see where it goes. The concept of this whole story has just been on my mind for a while now, so I thought to let my creativity flow~ (●´ω｀●) All the technical stuff will be listed below!

Themes: relationships, mentions of unfaithfulness, conversations about mental health, mainly fluff but smut may be included later on and will have a warning for those parts, suggestive parts that have spicy implications

Setting: I started writing this without much of an overall plan yet, but it mainly takes place in an AU where the whole plot of JJK hasn't exactly happened, but the main characters will remain the same. (If that makes sense ;-; I'll figure it out as I go ＼（＾○＾）人（＾○＾)

[bibibbon]

Hori gave Mina a half assed "revenge" plot with Midnight's killer that amounted to her giving him a talk no jutsu that failed and then Hori let her defeat the slime villain and melt some of Machia's claws.

Mina's character was treated like a joke because that's exactly what she was.

Yeah mina ashido was robbed of a good character arc and honestly horikoshi fumbled with her.

Look I don't mind her having a revenge plot that can evolve to something more. Heck I don't even mind if her arc starts out incredibly late in the story after she experiences something incredibly challenging but what I do mind is the execution of whatever arc she had.

Cool she is supposed to have a revenge plot because she wants to avenge midnight but the problem is that we barely see midnight having an established mentor and mentee relationship with either momo or mina so all of that falls apart. For it to work you need to give mina meaningful screentime with midnight!!

After that we need to see some of mina's thoughts. After the war arc we can tell that mina has become quite overprotective over her classmates repeatedly saying that she doesn't want to lose anyone else and that everyone is precious to her. This is why we see her being most emotional during the vigilante arc and the UA traitor arc.

Now Iam gonna spin her arc a bit but cool midnight dies, mina is effected by it, she slowly starts to lose sleep over it and slowly starts to plan her revenge. Iida (class president and someone who went through the same thing) actually notices mina and confronts her about it. She after this confrontation doesn't back down and iida obviously expresses worry over what she is planning to do which she says she will try and handle it own because she doesn't wanna lose anyone.

After that conversation it's revealed that yuuga is the UA traitor and this puts some more emotions onto mina heck maybe she even starts to somewhat resent him and blame him for midnight's death. However, as the situation unfolds she slowly starts to realise that revenge wouldn't help her in anyway and that clinging to the people she has left and protecting them is what's best for her.

However, she acknowledges this later onto the battle while trying to get her revenge but instead of choosing to kill the people who killed midnight she notices that kirishima is struggling and helps to protect him instead

That's kind of the thing I think hori was trying to go for (maybe 🤷‍♀️ or maybe not) and this post is Hella rushed so Iam gonna make a wasted potential post on her.

[warsamongthestars]

I became curious about something; how different do you think things would go if someone else but Crosshair had a 'functioning chip'? Say Hunter was the one 'loyal' to the Empire. Because then the rest of the Batch would suddenly stand leaderless for instance. Ignoring the bad writing of the show of course. (Sorry if you've covered this somewhere already.)

I prolly have covered it? I don't think so, but I also don't remember, and I am doomed to inevitably repeat things as all who forget their history are will to do...

I think that the situation is an interesting story to explore.

But if it followed TBB's logic, it would be one that, unfortunately, would inevitably done the same things that occur in TBB, without fail and maybe with only minor to insignificant one-line differences.

( Almost word per word, exactly like a fanfiction rewrite that spends a majority of its time just copy pasting lines word per word without taking it stories into new directions... just merely adding scenes that get a Mature Rating slapped on )

Because TBB is not, in fact, written to tell stories but sell you something for attention and subscription money. It was never going to be deep, it was only going to bank on hype, rush and attention-of-the-moment; and it was never going to follow any kind of character or character arc beyond how it affects their OC and the OC's rival character.

So to follow the lines of this logic, to follow TBB, is to place Hunter as Omega's anime rival... and it would be just like Crosshair's arc, if not exactly. Maybe a change of planet, maybe a change from sniper rifle to combat knife, exchange the energy bow for a vibrosword, but the result wouldn't be any different.

BUT.

If we were to follow the line of thinking, with the idea that unique characters make the plot, they are not made by the plot... And that means following the character as they are introduced and presented, with all implications in mind, with the world build of Star Wars and the set up of the Clone Wars...

And of course, adding the best parts-- human experience and human imagination in a beautifully gruesome mesh-like disaster...

It starts with the fact that the Bad Batch are killers first and foremost. They brag about putting down insurrections and killing the people involved [the Yalbec story from the Bad Batch arc of season 7. The implications behind their bragging are horrifying, so I grabbed popcorn.], as well as the fun additional information that suggests why there was an insurrection [ I'd be pretty pissed too if my giant bug mother was hunted down and killed because her stinger was delicious to some cultures, and even more so if the Republic we're apart of does nothing about it. ]

They all follow the Empire, because its easy. Even better, they're highly regarded for their skills, probably finally get a paycheck with benefits. To the bad batchers, there really isn't much difference between the Empire and the Republic, the Empire is just the Republic with the shackles off anyway, and they're just continuing what they've been doing since deployment.

But because the chip runs on regular clone genome, not their mutant modified brains, that's when conflict would begin arise.

That's the sciencey-bullshit explanation.

The narrative-bullshit explanation, is that the strongest parts of each character can break through the evil-artifact's influence, provided that what is strong about them isn't what the evil-artifact attaches / attacks.

That's a general set up. So let's add your suggestion as a spark point to get stories going moving forward. Setting up the setting is all nice and dandy, but we need Ideas now.

So let's add in the idea that while everyone knows something is probably wrong, but can't quite put their finger on it, they know that there is obviously up with Hunter.

He's colder, he's more vicious, he's not the anxious compulsive snarker now, he's seemingly more a perfect soldier than any reg. Orders are absolute and be damned to anyone in the way.

( It was already noticed that the regs are acting like that too, regardless if they were like that before, and this on the backburner of the minds of the Bad Batch. But because most of the Bad Batchers are "special" (save Echo, who is freaking out) they don't consider themselves to be as knee deep in the cacky as they actually are. )

Echo is the very first one to call it out. He knows something is wrong. His brothers aren't acting right, the Bad batch have been getting these odd headaches, and Hunter has done a total 180. But given that Echo is new, the rest of the Batch try to confront Hunter.

( The jedi are dead. Echo saw the massacre reports and recordings via his new built-in hacking skills. Rex is dead, Jesse is dead, Kix is dead--everyone he has ever known, is gone. And if they're not gone, they are certainly not them anymore. Echo wants desperately to trust his squad--they're the only ones left... )

They send Wrecker first, because its hard to do anything to Wrecker. Wrecker's general warmhearted rough housing, results in being yelled at and given a vicious cold shoulder. Wrecker leaves Hunter alone, and becomes depressed.

Then its Tech, who isn't a socialite by any means, and tries to break the ice, so to speak, with fun information facts he's learned. When Hunter ignores him, Tech skips right into direct confrontation, breaking down that there is something wrong going on and they're in the middle of it, Hunter shuts him down. Tech leaves Hunter alone, and copes by putting his mind to a nearby droid project, and never saying a word to anyone.

Then the big one, Crosshair. Second in command, confident and in control, and the biggest asshole when he has had it with someone. He straight up confronts Hunter, no preamble, though unlike the avoidant Wrecker or the bullheaded Tech in confrontations, Crosshair hits his marks.

"You weren't like this before." "You're acting like a Reg." "Since when did we care about Orders?" "Since when did we care about missions beyond surviving them and the GAR?" "You notice how the Empire is killing regs enmass?" "You're going to led us to our death with that attitude."

( It should be noted, that Hunter's original self, has just enough capacity over his chipped brainwashing to not report his brothers, nor to execute them for defying Order 66. )

( This is not enough, however, to stop him from retaliating with the full force of a wild animal. )

Hunter and Crosshair end up in a fight. Hunter, at his worst, is a vicious dirty fighter who uses his environment and flexibility and stealth, to take down an opponent. He is wicked wiht a knife and small arms, Crosshair's absolute weakness as a primarily long ranged fighter. Hunter, chip or no chip, does not attack to kill his brothers, but Crosshair is dragged to medical afterwards for an "incident with a training droid".

Echo has had enough. Lines have been crossed, he has been told to sit back and wait for the team to handle it, his own feelings are a chaotic mess, and now his alarms are going off.

Whatever is going on with the clone army and with Hunter, its not something that can be reasoned with, and its certainly not something that can be done about when under the scrutiny of these natborn officers.... These new officers who would order public staff executions, and gods knows what else they do to the planets they occupy...

The only decision is to run and maybe, find a way to help from the outside, because they're not doing shit here.

( with dragging of feet and looming disaster in their minds ("We're just, leaving Hunter behind!?"), it doesn't take much for Echo to convince the remaining squad that they can't handle Hunter right now, but maybe, just maybe, they can find help and get him later. )

( "He'll be fine, he has to be fine, they aren't going to kill him because of our failure, that'd just be a... waste of resource," says Echo, "We just need to sell it like its a mutiny." )

They do. Hunter is hard to deal with one on one, but collectively (well, minus a wounded Crosshair) its easy to cause a scene and punch his lights out in front of cameras.

The tricky bit is running to the Havoc Marauder. They are, of course, successful, but not without some strange, unseen, outside help from a blond haired clone cadet we haven't seen up onto this point. To CF99, it just seems like coincidence that the blast doors reopen as they're closing, and that training droids are suddenly flooding hallways.

They fly off.

And that would be... well, at least the first five episodes maybe? No TV show movie or 1 hour episode start, just, full on first quarter of season 1.

This is just my idea of it... but it starts with setting Echo up as the leader of the Bad Batch, and it does not involve Omega having center stage, but merely being an implied part of plot to be revealed later.

As for what happens going forward, that depends on what we want them to face. Do we want them inevidably heading to Wayland? Does Wayland even exist as it does in TBB or is it something else? Does Pabu exist or maybe are we canonizing old media planets into the Disney verse? Does Cid exist or is someone else around?

The best thing about a over arching episodic story... is that you can literally do anything, as long as you know the world build and the rules of the "game". There's a lot more that can be done in the STar Wars sandbox than just rehashing familiar shit for kudos and likes.

But we can set up a few things from what we know prior and from what this set up already has.

Rex is out there, starting the Rebellion, and he's working to free clones--which is perfect in order to get Hunter back. This also sets up the reveal of the chips as well as the fact that it was Fives who discovered them, and it was only by slim chance, that Rex ever escaped in the first place.

Crosshair would understand the logic of leaving Hunter, but the emotional impact of leaving a brother for potential dead, would immediately make him a rival challenging character to Echo. The writing rules of this situation, however, is to make him merely a rival, not a saboteur. Just because someone is a dick, doesn't mean they're going to unscrew the ship engine and tell the enemy where you're at. This is very important to keep in mind.

Each Bad Batcher would have an episode to come to terms with leaving Hunter, facing what their relationship with him meant to them, and dealing with the possibility that he may or may not come back. Part of this is returning to a post-battle Kamino and finding 99 was killed, which would play into why each Batcher is anxious.

Just as well, for emotional character scores that doesn't involve the plot or grief, each Batcher gets an episode to face the galaxy on their own merits, potentially leading them to a finale arc later on for when this initial over-arching plot is over, as a way to either allow the next over-arching plot or to retire the character for now. Rule of writing? It has to bee on their merits alone, not detailing their relationship with their team.

Of course we're going to have team episodes that help define to the audience what kind of relationship with batcher has with one another.

And we're gonna need episodes where the Bad Batchers butt heads with Echo as Echo leads a team that he wasn't a vital part of, and didn't share much history with.

Obviously we have to save Hunter. None of this 3 years separation-dangle-him-in-your-face shit. And Just as the other batchers get their own character episodes, both for their histories and themselves facing the world--Hunter needs those too without the looming threat of the chip. But before we get there, we're going to have fun with his chip episodes but allowing him to have an evil arc with obvious internal conflict--as his true self fights with the evil outside forces controlling his life.

I know I don't like her as she's treated in TBB, but Omega would be an interesting character to use without putting her in the spotlight. We do need someone around who knows their medical. Just maybe she's integral to freeing Hunter...

Because I love a dose of self indulgence, and every writers needs that in their stories, each Batcher gets a Chip episode or Chip Arc in some fashion. Enough to ensure character conflict and growth, and also to inspire fans to create their own Chip AUs. Could be that, because of how CF99 was made, removing their chips are a lot more complicated than just a brain operation on a derelict ship.

New Clones introduced of course. Perhaps those who would've filled in for clones who died in TCWs--like, since Commander Ponds die, who was Windu's new Commander for the rest of the war? And those from TBB, cos let's face it, thems were awesome too. Mayday might just survive this time!

No Guest Characters. If there are, they need to have a serious connection to clones, other wise, someone is robbing story and character for cameo rights, and that's not how you make a story. This is a clone story.

If we're gonna have Rex, we need Cody. Cody needs to be totally chipped as a foremost example of how bad the chip gets. He's meant to serve exactly as he's intended, as he's done in all his appearances, and in this case, he needs to additionally be Rex's rival and antagonist character.

And the final writing rule, the most important one...

Clone stories need to have an element of tragedy and finality. You don't have to kill a main character to get it, but there is no happy ending here.

The happy ending is performed by Luke Skywalker in "Return of the Jedi".

We can only achieve Bittersweet, at best. Everyone can live, and still lose.

Its by this rule, that Order 66 really is the tragedy its born to be and not just an excuse for the plot to get rid of all the Jedi characters.

We should see its direct effects as a clone story, and not just some one handed episode that never becomes relevant again. When this story ends, the loose ends should be on purpose as a message of "Because of the events leading to this story, this rope is permanently cut and can never be tied again. This is not a place of honor, we are survivors of the worst and the world cannot be fixed."

...

I wasn't expecting to write a full episode with a concept board attached, but damn, here you go, a full novel for your question.

[gingergofastboatsmojito]

Let's put the ship in partnership, shall we? - Extended version

Recipe to get this LONG-ASS meta-post: Be a Sydcarmy truther. Be impartial. Be open-minded. Be patient. Be super thorough with the embedded links 🔗, which are all pieces of this puzzle I've been putting together here and working on for months. There's a reason why this version is EXTENDED.

Bon apetite!

I don’t think I’m making myself clear enough when I say, when I pray, when I demand, that Syd stands by Donna Carmy at 🔗this, his darkest time, not to “fix” him, because obviously, OBVIOUSLY!!! that’s not her responsibility, but because he will lose the will and the strength to fix himself if she leaves him quits. All he does, right and wrong, he does it for her at this point, in his own twisted way. She's his driving force at this given moment in time. Full stop.

And even when he's the only one who can fix himself, it should be even more obvious to anyone with a pair of functioning eyes that he can't do that alone. There is no way on Earth. Yet right now, he is alone. Very. And he continues pushing everyone away from him, even Syd. But he only pushes her because he's convinced her presence is unwavering. And it actually is. He read her right. Usually, addicts hurt those they love the most, the most. And as they do that, they hurt themselves. Carmy is a textbook case. She will walk if she has to, he knows, but he trusts she won't, and at the same time, he's terrified she will if he fails her again. 🔗 Carmen Berzatto is capable of that kinda oxymoron. And more.

As Richie said: "he's locked in a prison of his own making". He read him to filth. LOL!

Syd is the only one who can change that. She's the twist 🔗 in his plot.

*(I've been saying this 🔗since S2, BTW in about 20 posts, tyvm).

Now, Syd is going through her own shitstorm and has a bunch of unsolved issues too, that she deals with or not, differently. She's a very layered character too who's caring but also as self-destructive as Carmen Berzatto. She is fearless but super insecure as well, she's not a workaholic but she's an overachiever and a perfectionist, she's a G woman with a huge heart, full of juxtapositions, just like him. And they chose each other, 🔗probably for all the reasons I just mentioned, knowing what they were getting into all along. They are adults. And they are brilliant. Not that emotionally intelligent, but brilliant nonetheless. He, in particular, has the emotional intelligence of a cactus and Syd is more advanced in that department, but not that much, she's Fort Knox, yet very kind. Precisely that duality of hers, combined with her incredible talent and hardworking nature is exactly what drives Carmy crazy and inspires him because she has what he feels he lost along the way: A HEART. Maybe deep down he even envys that about her... that wouldn't be a stretch. He's capable of that kinda oxymoron. And more.

Their "partnerSHIP":

They are not you, they are not me, they are just 2 people who need each other on an existential/evolutionary level to work on their issues and to grow as people through their partnership. They need to do the inner individual work but they won't do it unless they are together, that's the conflict/loophole of their love story.

The fact that this love story happens in a professional context is just that, context. The point is that it affects them on a personal level and that's exactly what they need because they need to make personal changes to grow as human beings, not as chefs. Although the professional growth, in their case, will be a by-product anyway, of course.

The Root of this conflict is: (we're getting soooo close, BEAR with me, chefs)

In Carmy’s world, deep inside, all that exists is Syd. He's not capable right now of any other level of reasoning. We could say he's incapacitated. Temporarily. She's his compass. This will pass. He will find himself again after this crisis. But not without her. The end of Carmen Berzatto.🔗

He doesn’t really care about the rest of the team, or about Claire for that matter except for the muddy guilt 🔗and frustration he feels surrounding their short-lived relationship, and he most definitely doesn’t care about himself in any way shape, or form other than being Syd’s star bearer. He has re-defined his entire identity based on the life goal of getting HER that bullshit star, out of love for her. She's HIS STAR🔗. That love that he feels for her is self-destructive (which he in some capacity knew all along before embarking on this journey with and for her) and yet he willingly and freely chose it, although he fought it at first. Well, quite frankly it's not like he put up too much of a fight...

Yes, he went about it all wrong BECAUSE he is an asshole:

He went all Donna about it and that rendered him Machiavellian, which means that according to him, his end of getting that star for Sydney, justified ANY means. He's a man of extremes, not of middle ground. Wanna take a walk in his hell? Be my guest → click here.🔗

BTW: That mind is actually Storer's because Carmy is based on him, as I mentioned here.🔗

Syd didn’t make him do that, of course, she inspired him. His love for her inspired him and still does. Yet he is not brave enough to admit it fully, he just sublimates it in this toxic way because it’s the only way he knows how to show it, for now. 🔗And of course, it’s not the right way. That’s exactly my point, he is wrong and if she walks he will NEVER get it right. She’s his muse.

Baby-sit vs Support - not the same thing

Does that mean that Syd has to sacrifice herself for him and his toxic ways of showing affection? Absofuckinglutely not! All Syd has to do is be there, set healthy boundaries because she’s the only one he listens to, and stand up for herself to show him, like only she knows how to, what’s right, and what's wrong. Sounds a lot like baby-sitting, or mothering, I know. But in this case it's called: SUPPORTING, because he's in need and they are partners. While he can be a piece of shit, as Syd is perfectly aware of, this is not a permanent state, it's a crisis and if it was the other way around, he would try to help her, and she would not let him. Because that's what they do, that's their dance. She knows how to ask for help, but prefers not to. He just doesn't know how to, and she's the only one who understands him well enough to provide it anyway and he accepts it from her, and from her only. If you don't get that nuance of their relationship, I'm sorry to break it to you, but with all due respect: you don't get THEM.

We are now even closer to the whole point I am trying to make -thanks for your patience-

Only if she chooses to prioritize their relationship over taking the risk of repeating this same pattern elsewhere with another chef, at another restaurant, for more money and the same role, no promotion, as I went over → HERE, 🔗she will be helping herself AND Carmy. "And" is the operative (and inclusive) word here. The other scenario requires the use of the EXCLUSIVE term "or" and that would be OC for her. And for me, TBH, but this is not about me.

We've reached the key point to really getting it YAY!→ The C word

There is a certain level of codependency here at this point of their relationship, yes. I hope you've noticed. It's inevitable. And that’s what happens in partnerships. Both parties depend on each other at times because they have to rely on each other, it’s not necessarily wrong or unhealthy although it can be, the line is very fine and it can easily be crossed. Yes. That’s another risk. And that is why real and healthy partnerships require adult people and compromise. The end result of a healthy codependent partnership is synergy. Very much like in a functional family dynamic. Compromise and family are intertwined concepts, not just when children are involved. This show is about love and found families.🔗

If the fine line is crossed and the codependency turns inadaptative/dysfunctional, then that desired synergy that allows all parties involved to mutually benefit each other, turns into chaos, where everyone hurts each other. War, which usually leads to the dissolution of the bond. They, and I mean The Bear's team, not just Syd and Carmy, are currently dancing on that line thanks to Carmy, but have NOT crossed it yet. Why? Because they fucked up on the Vibrant Collaboration part.🔗

The end of S3 left them standing on the verge of choosing to go for the synergy and mutual benefit (this will require compromise and hard work from both and everyone else around them) or for the dissolution of their bond (this will entail pain and loss for all parties involved and no one will gain anything but a lesson learned on what not to do, even if Syd leaves The Bear behind, and I don't just mean the restaurant, goes to work for Shapiro and wins a bullshit star). I hope we're clear on that. That latter scenario does not automatically guarantee Syd's happiness or success and it certainly implies Carmy's destruction. That’s why it’s really hard for me to wrap my mind around why some “Sydcarmy truthers” prefer that alternative. But again, this is NOT about me. This is about the fact that given the current circumstances, he will be a hopeless case without her. And she can guess it, that's ONE of the reasons why she can't make herself quit. The other is this one. 🔗(*check RB notes about the Joker). And I'm going easy on this one because I'm fully disregarding the assumption that Syd is down bad for Carmy but, just like him, she doesn't wanna feel that, she is in denial, and doesn't allow herself to feel it, not because she deems herself unworthy of his love in her current state unless she wins a Michelin star but because she's absolutely aware that Carmy Berzatto is a piece of shit. But yet she fucking loves him.

The catch:

But here’s the catch: whilst both choices are valid and should be respected if made freely, only one of them takes into account the current disparity of one of the parties involved at this time. In other words: The timing (that's why I don't oppose her going to Noma with Luca eventually or leaving The Bear to open her own dream spot, and I'm 100% sure that even though Carmy wouldn't be too crazy about it, he wouldn't oppose either, if she's happy. I actually expect the Sydluca/Noma storyline to unravel in S4 ). BUT right now Carmy is at his lowest. So it's just wrong, it's just not the right time. It can't happen on a show called THE BEAR, he has to fulfill his redemption arc and can't do it without her at this time.

On the bright side, there’s no way but up from here, but he is at his absolute worst right now because he has EVERYTHING to lose, a lot of people who depend on him and not enough energy left in him to start over if he fails. Syd, on the other hand, still has it in her, whether she stays or leaves. She’s fucked right now too, which is her responsibility and not Carmy’s -even though Carmy definitely contributed- but Syd, as she is, can still make it anywhere. Whether she stays or leaves, she is still at a good enough point where she can still work it out, no matter what she chooses. Unlike Carmy.

And even when Carmy’s best interests are not 100% her responsibility, they are part of that partnership she chose to be in, she cares about it, and it’s in her nature to want to nurture, support, and inspire those around her and right now who needs that the most is... you guessed it: Carmen Berzatto, the piece of shit. Not at her expense, of course. That is the part of the job SHE has to do in herself so this “support” doesn’t entail her own harm. That's HER arc.

There is a way in which both can win and Carmy doesn’t have to lose so she can choose herself. That way is based on full and mutual honesty, open communication, compromise, and patience. It is NOT based on bottling up feelings, not voicing needs, not setting boundaries and reinforcing them when needed, resenting each other, and most importantly: denying emotions, which is what they both excel at. Because emotions are on the left-hand column🔗. Their emotions are the game changers. Especially when you lead with your heart.

Bonus track: If you think for a second that Carmen Berzatto doesn’t lead with his ❤️, just like Syd does, then you’re wrong. You don’t know him. He might be too much in his head right now, and that is a very dark place, but he's all heart, which makes him extremely dangerous when he crosses over into his dark side. Hence → S3. And here's another catch: He knew this all along, he knew what getting that bullshit star (for her) was gonna trigger in him, he expected this. He tried to protect her and talk her out of it. But there was no use because they both lead with their hearts. And that is why, no matter what it looks like right now, no matter how many detours they take, they will always end up HERE 🔗.

Summing up: I'm not worried 💅

[ckret2]

Actually, that other anon makes me wonder how that whole plot line will be effected when everything is edited for compatability. If it's not to spoilery would you be willing to share what you have in mind? Will it be a significant change?

Nah, barely changed at all. For the statue, only a couple small things will change:

In earlier chapters i'll insert a couple mpments of Bill thinking "i can get out of this if i can find my statue, wherever it is, and get my soul back into it"; that way in ch 44 i can change his outrage from "you knew [that it exists]?!" to "you knew where it was?!" with only slight wordinc changes; plus it'll punch more if people remember he was holding onto that as his guaranteed escape just to find out it doesn't work

MAYBE, insert a stinger line to the effect of "Ford tries not to feel guilty about the unicorn hair barrier he and Mabel put around the statue last year, since that's prob why Bill can't get into it but he's totally not about to tell Bill that." There's a few issues with that though:

We know ford wrote about this incident in a journal. It probably wasn't J1, 2, or 3, because they're probably mostly full. I wrote that ford's J4 got stolen by Shmebulock in the fall and he started writing J5 then; next summer Bill stole J4 from Shmeb and has been using it since. So this incident CAN'T have been written about in J4 or Bill would know about the unicorn hair barrier & that Ford knows where his corpse is. Did Ford write it in J1 or J2 before tossing them into the void? (Can't be J3, i think we're all out of Secret Lost J3 Pages thanks.) Did Mabel (and Mabel's brother) take a trip back to GF in the fall after Ford had lost J4, and that's when Ford & Mabel made the barrier? This is an annoying detail i'll need to resolve.

when Bill finds out about the unicorn hair barrier, obviously he's gonna wanna go back and break that barrier and try shaking his hand again; and like, that's just gonna result in exactly the same thing we already did in ch 44, with him trying to shake and being devastated it didn't work. We only need that scene once. It's not heartbeaking the second time, it's just tedious. Gotta figure out how to make it non-tedious.

I can't NOT have him try again though, because if I don't, then readers will go "ooOOoo the only reason it didn't work is because of the barrier, so we're obviously building up to the big moment where he tries again and this time it works!!" Which we aren't, obviously. My original writing plans never included the unicorn hair barrier because it didn't exist yet, i'm not building up to the reveal that the statue actually works.

And I'm not interested in making people think it'll work the second time, 44 was MEANT to be the It Totally Doesn't Work scene. A red herring is only a red herring if you put it there on purpose; otherwise it's just a dead fish distracting everyone with its dead fish smell.

So the barrier's annoying. I'll solve it when I get to it.

For the overall plot arc (not just the statue chapter), the only thing I need to change is rewriting "Bill's scared the Axolotl's coming for him because maybe he wasn't supposed to come back to the 21st century even though he wasn't told not to" to "Bill's scared the Axolotl's coming for him because he escaped Theraprism." Which is WAY WAY BETTER. Honestly I thought Bill's motivation for thinking the Axolotl was gonna Get Him was the weakest part of the eclipse arc, so I am deeelighted that the Theraprism gives me something so much more frightening to substitute in. It'll also give me an opportunity to begin working in some info about the Ax's own character & motivation that otherwise I wouldn't be able to include until way into season 2.

This will require me to substantially rewrite Bill's conversation with the Ax—for the better—I've already rewritten like 70% of it. And... basically rewrite nothing else.

That's it. A tiny tweak to Bill's wording in ch44, MAYBE throw in a single line about the unicorn barrier once I decide how I'm going to handle it in the rest of the fic, rewrite his conversation with the Ax, the end.

All the other edits will be fluff from TBOB plumping things out and tiny nudges toward better TBOB compliance—slide in a hint of medical trauma to Bill's refusal to let Ford call a doctor, make a mention during the chess scene that sometimes Bill used to let Ford win, that sort of thing.

[raayllum]

I've been thinking about the two-headed snake from the beginning of the show, and the Law of Chekhov's Gun is telling me that it's going to be coming back and causing problems sooner or later. Thought/theories?

The soul switching spell is definitely one of the most interesting plot and thematic elements the show has introduced and it looms over most of the fandom's thoughts regularly, I think. So let's go over it:

Plot

Obviously the biggest question here is "did Viren use the soul fang serpent to successfully switch Harrow's soul with Pip?", which people have speculated for years with about the same information (s1-s2) until s5 recently kicked things up a notch in terms of like having something new to turn over. @kradogsrats has a great meta here in regards to what exactly we can glean from 5x02 and how it may re-contextualize what we already 'know'. I highly recommend giving it a read.

That said, two things are true to me regarding the "is Harrow in Pip" theory:

Something happened in that room

Harrow is not going to come back

With these in mind, it's important to note that we know that TDP develops its seasons in batches simultaneously. The team didn't go from s1 to s2 to s3, but instead developed all three around the same time. Obviously production and some stuff was going around in order, but the only decisions that have been noted as changing was 1) Callum and Rayla were decided upon being a couple when storyboarding 2x04 as it wasn't originally in the cards and 2) Ezran going back to Katolis at the end of S2 was a surprise.

I make note of this because season two is absolutely the last point in show where you could angle things so that a Harrow who survived in Pip could come back and it wouldn't be Fucking Weird, basically. This is for two reasons:

1) We spend a good chunk of the season worrying about what the boys will do when they find out and actively mourning Harrow, with only one episode (2x07) not touching on it at all. That is a lot of time to spend on a character death you're going to ultimately undo. Conversely, we get less episodes dedicated to Rayla's relationship with her parents (1x05, 3x03, 3x08) in the first arc because it is widely implied that she's going to get them back; no point seeing her heavily mourn them when that's going to get reneged.

2) Harrow coming back wouldn't have much of a plot or character standpoint on the bulk of the trio — Callum largely received his dad/family related closure back in S2 and it'd let Runaan off the hook, so his and Rayla's relationship would be easier, not harder — but it'd nuke Ezran from both an emotional and a plot standpoint. His main arc is intrinsic to being royalty of a prince-turned-king, pushing him to make more decisions and figure out how to manage the difficult road to peace.

If Harrow comes back, he'd either stay on as an advisor (but that'd still kinda take weight off Ezran's shoulders that's currently there and arguably should be) or step away, leaving his young son to shoulder it alone. The first lessens Ezran's emotional poignancy within the theme(s)/show, and the second makes Harrow like, a bad father in ways he absolutely never was in life.

As pointed out in Krads' meta, Viren is likewise surprised when he sees Harrow alive and well in his 5x02 dream, and we get this exchange:

While we could read Harrow's initial "Surprised to see me" (because if the show points something out in dialogue, they really want you to Know) as "surprised to see me [out of the bird]" the show itself quickly does away with that reading. Viren is surprised that Harrow's survived, period. That doesn't bode well for "Viren is 110% sure that he, himself, put Harrow 100% into that damn bird". But like I said, something had to have happened, and Viren's behaviour with Pip is real fucking weird otherwise if he didn't at least try for something.

[ Side note: I also think it's worth noting what, exactly, is happening in the initial stages of Viren's dream with Harrow. This is decidedly not real Harrow, but the Harrow Viren wished for: someone who would not only forgive him, but embrace his dark magic use (aka him) rather than reject it. Not only is Harrow here alive because of Viren, but this Harrow loves Viren for what he did, and accepts Viren's act of devotion not only as one of family, but reciprocates it: "You're not just a servant. You're my family. You're a brother."

And Viren, for his part, is giving the reasonings behind Harrow's refusal ("I was frightened" / "They were coming to kill you") on both ends, without actually addressing the dark magic elephant sized rift in the room, still citing that it was about circumstance rather than principle or perspective. Moving on. ]

Remember how I said S2 was the last possible point things could've been shifted to accommodate a "Harrow comes back in full" plotline (most likely)? Yeah, well the other side of that is that S2 is the last time the show could've accommodated a retcon of "Viren didn't do anything to Harrow, actually, at all" the way that fans have often implied, and it's largely because of this otherwise very unnecessary scene all the way in 2x09 (in which other changes, like Ezran turning to go home, and Rayllum's romantic route, had been more than well decided):

This to me is the singular biggest sign that something did happen, and it's something we will uncover in the future, because otherwise, there is literally No Reason to not have Pip in Katolis upon Ezran's return. If the writing team truly intended to fully nullify Viren and 'retcon' the Harrow-bird situation, keeping Pip in Katolis and having him interact visibly and non-life alteringly with Ezran was the way to do it. But Pip has been MIA since 2x09 and has not interacted with anyone other than Viren since 1x04, and so it remains a Mystery that, likewise, the 5x02 Harrow dream went to completely unnecessary stakes to remind you of Pip's existence in the first place.

Moreover, you simply do not have a main character who can Talk to Animals (a power that outside his connection with Zym has not been incredibly plot relevant in ways that couldn't otherwise be achieved since like... 1x08-1x09 itself) and then Remove an animal he could talk to unless you decidedly Do Not (or cannot) have that conversation happen yet.

Which reaffirms what I said earlier: we can be 100% sure that something happened, and we can be at least 95% sure that Harrow is not being fully brought back in order to not lose narrative weight to Viren and Runaan's responsibility in his death and in Ezran's series' long arc.

So what did happen?

One possible answer (that I've posited, of course there are many) is that Harrow's soul got split in two.

We've seen people be separated from what would let them 'go on' before (Sarai's last breath yelling no as her spear sinks into Avizandum's chest; the Moonshadow assassin troupe in TTM). This would allow for a part of Harrow to exist in his own body (since there's a hot second between the spell being over and when Runaan's binding falls, though that might just be linked to bodies > souls, but the Lotus flowers are clearly linked to souls, so...?) and for part to exist in Pip. Pip could offer a solace and goodbye, that part of Harrow ultimately needs to be freed (literally) and left to be at peace, which could be effective and tie in both Ezran and Callum's emotional needs about their father.

Of course, this is all speculation. Harrow could be brought back as an advisor after everything, helping but not telling Ezran how to rule because the new generation should pave the way; something else could've been put into Pip entirely that we just don't have the Star or Deep magic context for.

Thematically and symbolically though, I think a lot of the actual concept of "switch souls with somebody else" > actual Pip-Harrow plot line has been brought back somewhat in full already, so let's talk about it.

Theme / Symbolism

The switching spell is, textually, a warped collision of Callum and Claudia's brains, and we see it repeatedly echo throughout both their arcs from S1-S5:

Some of this is quick-paced and obvious, such as when Callum literally switches places later just this episode and says he's Ezran, preparing to die in Ezran's place. (This is one of the reasons Callum, Claudia, and Viren circle each other so closely in the series; not only are they our three primary mages; Viren and Harrow's rift happens indirectly on Viren's end, after all, because of Callum and Claudia's collision here.)

Some of this is more of a slowburn — Claudia, collapsing on the floor and clearly having done a number on herself to spare her brother; Rayla with Callum's scarf to make Sol Regem chase her instead; Callum, taking Finnegrin's deal that was originally to set himself free in hopes he'll let Rayla go — or taken onto the shoulders of other characters (Ezran and Viren's literal king exchange in 3x04) simply because the idea of Exchange is so intrinsic to the series and to dark magic use in particular. Sometimes transactional, sometimes selfless, occasionally necessary in the eye of the beholder.

However, in a more literal sense, it sets up the series' long association of dark magic with snakes, and all that comes with it (poison, losing your soul, knowledge, chains, etc):

When Callum does dark magic, he's crushing a snake's rattle tail, a literal warning sign. Claudia for the entire first arc has a literal (snake) chain on her wrist that she uses for dark magic. The fact that the series routinely uses Christian symbolism for its villains (Aaravos eating an apple, Viren dying and being resurrected, sacrificing your "only beloved son" etc etc) only heightens this more negative association.

We also get mentions from the Book 2 novelization that the true sight serum Viren uses to try to see the mirror is 1) inherited from Kpp'Ar, which never bodes well and 2) made from the venom of eyeless vipers under moonless nights by the Oracles of Ophidia, just to double down on the "snake shit obscures your sight with dark magic and madness" angle.

But at the end of the day, thus far, snakes are just a symbol.

The more interesting way the soul-switching spell has come full circle though, already, through the possession plotline. Case in point:

Aaravos sets up his pawns to suffer and take the fall for him in the past (Ziard) and present (Claudia). He's hidden within Viren's body before (3x07 siege of Lux Aurea). He takes this to be a more literal, threatening embodiment through his possession of Callum. His soul and will overtakes Callum's body. Callum asks to die so Aaravos can't use him; in this lens, Callum will be dying for not just Aaravos' mistakes, but Aaravos' choices. Aaravos will 'hide' inside Callum's body and enact his will through it, and it'll lead to bloodshed either of Callum or of Rayla (or both) inevitably while Aaravos, in S6, will presumably get off scot free. (To be clear, Callum's not going to die, but this is the idea/risk of the concept and one of the reasons why it's so terrible.)

Which makes sense, honestly. The soul switch spell is the first real dark magic spell we get to see the context for, as Ziard's 1x01 spell takes time (3x01) as well as the moral reservations against. It just makes sense that Aaravos, the 'originator' of dark magic for lack of a better understanding, would then take said spell to its natural conclusion in which case even the consent of the vessel isn't just violated, but completely terminated and disregarded. Because, y'know — dark magic is awful, and it always has been.

[magicalgirlsirin]

hi rly enjoyed ur post on elysian realm! ik ur a new fan (i am too) but i heard that before retcon, elysia was a lot more morally gray. would you happen to know how exactly?? im rly curious bc i think it would be a severe improvement obviously. we deserve complex women who do wrongs

So when I say retcon in relation to the elyrealm arc it's less so "things they changed because of the story evolving and wanting to expand previously established events" and more "things they straight up forgot about in service of making Elysia a herrscher". It's not like hi3 is a stranger to retcons though?

For example, Durandal being the "original" Kiana is a retcon. The fact that our Kiana was a clone remained the same, but it's clear from older story stuff (iirc it's Everlasting Memory/Theresa's chronicle set?; second eruption manga doesn't focus on the Kiana part) that Durandal wasn't originally there. Otto refers to Kiana as K-423, and that Theresa needs to retrieve her, which implies that Theresa knows it's not Siegfried and Cecilia's kid, but her distress remains the same. The later game retcon by Thus Spoke Apocalypse is that OG!Kiana and Siegfried were going to go retrieve K-423, but OG!Kiana ended up injured and so Siegfried only left with K-423. And if you're confused then so am I because the details don't really super line up with the presentation, but it's like, fine, because at the end of the day the current writing intention and trajectory is for Durandal and Kiana to be sisters, and to both be Siegfried's daughters.

Anyways, for Elysia, a lot of her retcons occur in a very rapid pace from the first realm chapter set to Elysium Everlasting. Like I mentioned in my last post, the herrscher reveal is nonsense just going off of basic information like the fact she received MANTIS surgery like all the other Flame Chasers. However, there are other plot threads that are completely dropped for the sake of making Elysia a very special good girl who you should love because she's so nice and never did anything bad.

[About Betrayal 1 - Chapter 2]

[About Betrayal 2 - Chapter 2]

Elysia the traitor plot is something I was, well not hopeful for (a friend had already warned me that the game wouldn't do anything interesting with it] but I still ended up mulling it over a lot because it was such an interesting hinge piece for her initial presentation.

What stands out to me is the phrasing. Kevin says she never endangered humanity even if she was a traitor. Kevin says that Elysia made a decision. This implies agency, like Elysia was actively choosing to do something dangerous for the sake of the Flame Chasers. However, if Elysia was a herrscher from the beginning, then none of this makes sense. She doesn't choose to be a herrscher if she was one from the beginning, so why even make it seem like her betrayal was her choice at all?

[Traitor - Chapter 1]

It doesn't stop there though. Mobius' active disdain implies that whatever choice Elysia made, it was enough to make Mobius of all people consider her a lost cause. Mobius, who body mods and injects honkai energy into anyone with a pulse (hyperbole) to try and make humanity last just the slightest bit longer.

[Traitor - Chapter 1]

Mobius wants us to doubt Elysia's intentions. If you go through all their shared information, you'll find that the worst Elysia really does is just... coerce Mobi to wear pink dresses, and while that is obnoxious, it wouldn't warrant utter contempt for Elysia as a person.

There's actually a lot of stray text that implies there's something wrong about Elysia's existence, which I guess in generous terms could be interpreted as setup for the herrscher reveal? But it just feels like it's just there to add to the mystery that won't go anywhere.

[The Blind Spot - Recollection]

This right here nags at me. Deeply so. Elysia isn't so much a character as much as she is just a concept, the idea of a story that could be told. Not even in the canon-compliant weird endgame hook meta-textual breakout in Transcending Finality about the power of stories... Although, there's a way to introduce it here and tie it to Elysia to give some semblance of connectivity.

I went this long without actually giving my thoughts on how to make Elysia's writing good though. Disclaimer for clarity sake I know not everyone will agree with the changes I want to make and I'm also not claiming to be a more skilled writer than anyone in the hi3 team, they're all people with enough talent to be employed by the company.

That out of the way.

This isn't so much about making Elysia morally grey as much as it is about giving her an emotional core, because right now she's pretty hollow. Rather than a pristine girl who never did anything wrong, I'd rather cast her as a romantic, tragic heroine who would move heaven and fate just to seem noble.

Elysia was born human. Maybe she loved stories, and how they transported her to far off places, far far far away from the tiny town she was growing up in. When she was old enough, she traveled the world. Honkai descends. Because she was a globe trotter she ended up connected to many people, and was given the chance to join the MOTH organization. She gets MANTIS surgery. As the number of soon-to-be Flame Chasers grow, discussion begins about if the strength of the soldiers is enough.

'Maybe, if I had power comparable to a herrscher, we could fight with less casualties.'

She doesn't say this out loud, of course. It's a dangerous thought, a line that shouldn't be crossed. But she's curious. She breaks into Mobius' lab [Miss Pink Spy - Pristine Memory] to find the information she wants. Mobius figures out her intentions and warns Elysia off. It's not even in consideration, so keep whatever plan you have in mind off the table before you do something irreversible.

Mobius thought that Elysia gave up on the plan after the seventh erruption. The haunted look behind Kevin's eyes, the sadness creasing Elysia's face, all of it makes it seem like a simple consideration forgotten by the sands of time.

Elysia doesn't have a discipline. She told Dr. Mei it wasn't needed since her combat performance was well above standard margins anyways. (She is on par with Kevin in strength, after all.) At least, we all thought she didn't. A deal is made with Aponia.

Aponia, Aponia, apostle of fate, I offer you my 'humanity' to become a 'story'.

Elysia cannot receive any more disciplines. The target has to be "human". Elysia as a story, unchanging, pristine, capable of remaining as she is without blemish, can reach out and become a herrscher while remaining herself. She's desperate. She wants to help. She reaches into the deep, the start of the universe, and gathers the power. She names it Origin, since it's something she found at the source.

She's a herrscher.

Herrschers are an enemy of humanity.

Kevin runs her through with Shamash.

Elysia is still herself though, talking like she would as usual.

-Oh Kevin, I wanted to know if your tears would freeze, but I was hoping it wouldn't be like this. They're so warm, though. Thank you for crying for me.

-I see no herrscher here, just... the flame chaser, bearing the signet of ego.

The Elysian Realm keeps a secret. Aponia keeps it, the fact that Elysia gave up her humanity. The final banquet? A polite way to refer to Elysia's own demise.

It's sad, isn't it? That strength she wanted to give fell right through her fingers. Her own undoing, the desperate plan of a foolish girl who wanted to be a hero, but only ending up as a villain to oppose. It's so much more meaningful, then, that Elysia's gift, the power of sapience, is kept on to the next cycle of humanity. Held again, the power of ego, of humans, to someone with a kind heart to move beyond the past she's trapped in. Thank you, Raiden Mei, for carrying on the ideals of the thirteen trailblazers, the moths who chase the flame.

so anyways yeah i think elysia couldve been interesting whos to say

[usagi-luna01]

here is a post i wrote from when i first finished omori. these are my first coherent thoughts after finishing the game

omori ending spoilers aheaddd

So, I finally got around to playing and finishing Omori. I know that ending/plot twist discussions are old news, and that the game is 5 years old at this point, but I've never felt such a strong desire to write and share my thoughts after finishing a game like this because- wow.

I knew absolutely nothing about this game going in. I am a big fan of Earthbound and Undertale so of course I was sucked in right from the beginning. I was incredibly impressed by how likeable the characters in Dreamspace are.

From discovering that Mari was dead, then later discovering it was a suicide, I honestly felt like I was going on this journey of mourning in Omori’s shoes alongside his friends. I was pretty desperate to find Basil, to the point I started feeling frustrated the more side plots we were going on. I wanted Omori to discover the truth of Dreamspace so that he could let himself go of the grief of his sister's death. But when the characters started to forget about Basil, I started feeling worried and I wasn't as sure I knew where the plot was going to go anymore

And I really did not. The plot twist of finding out the Truth totally caught me by surprise. The feeling of confusion, to disbelief, to shock, and finally to actual disgust and anger as you go through the photos was \*insane\* work by the writers. I genuinely felt disgusted and angry. I couldn't believe the boys would do that. Not only the shock of Sunny killing Mari, but especially the framing of her suicide. I couldn't sit with it. Honestly makes me kind of sick thinking about it

It genuinely left a bad taste in my mouth afterwards. I was angry at the game for pulling something like that, and I honestly felt betrayed. Spending 20 hours playing as this character sympathizing for him and mourning with him just to be hit in the face with the horrible truth in the last hour and a half

I accidentally got the bad ending first. I lost the Omori battle but then had to get ready for work, so I chose not to retry and triggered the bad ending. I knew it was not the true ending, but it honestly left me shaken to my core. I was thinking about the game my entire shift

The distaste stuck around for me. I kept finding myself in disbelief, like I couldn't believe that is what really happened. there are obviously logistical issues with the writing (I won't get into that too much though since I've seen it mentioned many times before and it seems to be personal preference whether people can suspend their disbelief enough or not) I'll be honest, for me it's a bit of a stretch because, obviously it would not work in real life. I do also understand that there is no way to get that kind of emotional impact out of the player without the Truth being something of that calibre, though. It wouldn't have been enough for Sunny to just have accidentally killed Mari. It needed to be something sick.

What I realized from my feelings, the sense of betrayal, shock, disbelief, disgust... Those are the feelings Hero, Aubrey, and Kel will be feeling. When I realized that, it all clicked. I felt exactly what the devs wanted me to feel. Because now, we as the player, who played in Sunny's shoes for all those hours, have to decide whether we can forgive him or not. The same way Sunny's friends will have to decide whether they can forgive him. The same way Sunny had to decide whether he could forgive himself. That's what made the final fight with Omori really drive home when I replayed it to reach the good ending. Can't even lie, I was crying reading Sunny's memories of his friend's while using Cherish, and reading what Omori was saying to Sunny. That fight illustrates how hard it would be to overcome and accept a secret of that weight.

When reading discussion posts from closer to the game's release, it was interesting to see people's reactions to the Truth. I saw lots of people calling Sunny and/or Basil murderers or sociopaths right off the bat and I kind of feel like they missed the point- Sunny is lucky those people aren't in Hero/Aubrey/Kel's shoes. I also think it's interesting to think about how those comments are similar to what Omori was telling Sunny, as well. I think this game really requires you to put yourself in Sunny's shoes (which, we literally are for 20+ hours) and understand from his perspective. There's the disbelief of logistics yes, and honestly I do think deep down maybeeeee the writers could have workshopped something different that would make a little more sense, but I think it would've been difficult to change it too much while still having the same emotional effect and still being overall the same story. I think there's just enough from having to control Sunny/Omori to do all types of things that most players will feel close enough to him.

I also saw comments that people were unimpressed we didn't see the friends' reactions to the Truth and........ I definitely think that was the correct way to go. There is no way their reactions would have been anything rational or calm. Think about the way we as players reacted. The point the game is trying to sell us, I believe, is that shit like that is going to be hard, VERY hard, and you're going to have to persevere and \*hope\* and believe that it will all be okay \*eventually\*. And for Sunny and his friends, I think that is definitely possible, but I do not think the original confession from Sunny would *not* have been very happy and would not have been a good note to leave the game off especially with the message it was trying to share.

This post is already incredibly long. I could go further into although I know logistically the framing wouldn't work, I DO think it's plausible that Basil and Sunny would actually end up framing it that way, especially after reading the truth photobook captions on this sub. Those kids are not okay. And I could go on forever about the rest of the main cast, both their real world and Dreamspace counterparts. The scene where they all visit the tree stump together really, really got me. They're just KIDS MAN!!!

I need to stop myself here. This game and its writing has absolutely blown me away and I am impressed with Omocat for taking that risk of making a very disturbing and upsetting plot twist for the sake of driving the story they wanted home. I am glad this didn't end up to be a more generic story and message. I will be thinking about this game for a very long time