#i wont act on them though

[blackkat15]

It would be so easy to crash my dad's car into a tree right now.

I AM TRYING.

I have to do TAFE work but you won't let me.

I am in a low glucose episode and you still want me to work.

It would be so easy to crash the car into a tree.

I am not lazy dad.

I am trying so fucking hard.

[cheaploafs]

the calm before the storm

[leynaeithnea]

Hellowww obssessed with EPIC still

Had a thought

Listening to Mortius and Casper react to the Ocean Saga, they pointed out that theres a considerable tone shift for Odysseus in "Luck Runs Out" especially considering he just lost the first men in 10 years, including his best friend

Now the question

Could the shift of tone in "Luck Runs Out" to Odysseus sounding weirdly optimistic be because

1. he's in denial and desperate, straight up "ignore the past and go home asap have a mental breakdown later"

2. he's putting on a brave face for his crew so they still believe in their captain and general who got them all through the trojan war even after what just happened

3. he's trying to live up to Polities ideals as a way to "Remember Them" as he promised three songs ago

4. he's slowly descending into madness; and its all three of that

Or is there another reason (canon or not) that could explain that?

My personal favorite will be number 4, he's taking another step towards madness, being in denial about what just happened and trying to hold out and show a brave face to his crew to show them he's still capable and wanting desperately to believe in Polities ideals

[the-acid-pear]

Having thoughts about Davetrap... Honestly the fact that he's So sentient is so tragic to me. It's like he said he's still a person he just looks different. Even the fact that he still needs food and is eating rats (which he ripped foxy's leg to do so better, unforgivable) yet seems capable of leaving but thing is WHERE to, y'know... I think this is a reality for most non human characters in this game but him being in such a state of disrepair definitely doesn't help, i mean, he literally couldn't be sold off, something he was clearly upset about (I also like that he called the maze shit a gig like that's cute, that's just his job).

Like its just, Dave was never much of anything, at all, we don't even know if this guy has a fucking home, but he still had some things in his favor, he was still somewhat well put and social and shit, so for him to be left like this it's like... I said it like thrice but its tragic its just tragic, man OT2

[autisticlee]

sometimes people who struggle like to make jokes or find positives about their condition that causes them to struggle so they can escape the constant negative and struggle. sometimes autistic people will say things like "the 'tism" or use the "autism creature" or say their autism helped them have a *positive trait* to feel better about their struggles. because living your life only focusing on the struggles and negatives is depressing and makes it hard to want to live, even if those struggle take up 100% of your life and you can't actually escape them. sometimes any little seemingly positive thing can help a lot.

but there's so many other autistic people that hate when we do that and call it "reducing autism to a cute trendy thing" and say it takes away from *their* struggles and is bad and shouldn't be used. maybe *you* want to only focus on your struggles, but some people can't live in constant negative and need some positive or to find ways to make their condition more positive so they can feel better about living with their struggles. life is hard. I take anything I can get.

I cant get jobs. I can't make and keep friends. I can't get help and support for doing "normal" things so sometimes I go weeks without being able to shower and without eating more than a bowl of cereal a day. most times can't even do things I like. struggle to communicate. have meltdowns. i'll never be able to live independently. I struggle a lot. but instead of sitting here always depressed and having no motivation to live, i'd rather try to joke about "my 'tism is acting up again" when i'm struggling (just an example. don't think I ever actually used the 'tism thing but i saw others use it) or say "i'm just being a creature" when I need to stay in my dark room because everything is too much and I personally find it cute to be a little creature meant in a positive way. i'm not actually downplaying mine or anyone else's struggles. I still acknowledge them and that silly jokes dont make them go away. i'm not trying to be trendy. i'm not doing any of the things people say we do by making silly little jokes. i'm using the silly little jokes to convince myself life can be a little more than pointless, painful garbage all the time.

(continue in tags)

[httpiastri]

paul is a 100% a boob man OMG

and, also, WHYYY do I think he's the type that whines . theres a prema video where they're trying to guess the circuit blindfolded and when they ask paul to confess to kimi that hes been cheating he starts to literally WHINEEEEEEEEE those 30s lives in my mind rent free and im not kidding

!!!!!! im HOLLERING!!!!!!!!!!!! that's one of my fave vids ever omg and paul freaking whining is like music to my ears istg. it's so on point for him too.... i wrote a little about that in the paul nsfw alphabet that i never finished 🫠🫠 but yeah like we've been through, i think he has a slightly submissive streak and he enjoys being teased. and to hear those sweet sounds as rewards when you tease him, or kiss him with a bit of force, or roll your hips on his.... 😶

[deus-ex-mona]

has chizuutan been sitting this close to aizo in class all this time…?

[thinking-through-some-things]

Curious about your EPIC rework because I was also disappointed by it

like i mentioned in my other post here (before i gave up), this definitely isn't the only possibility; you could focus the musical around something else. for my version, though...

as i said, i would build the musical around the idea of duty vs desire, and tie that into mercy vs ruthlessness. i think it would focus less on odysseus's guilt overall, which seems to be the real focus of the musical, and focus it more in this direction. still plenty of angst, but a little more pointed.

a lot of my changes probably take the musical further away from the odyssey. i'm actually not too concerned about trying to faithfully follow the source material; i think it's more important to actually tell a coherent story, and when you're abridging the material, you need to cut stuff. just be clear that's what you're doing.

(also i'm not going to cover everything i think needs to be fixed. mostly just elements to support my theme.)

i think it's a given that the saga format doesn't work for the final draft of a musical. no shade, it was a really smart way to gradually release the musical. ultimately though, it limits the story because then they were blocked into sticking with a theme, and you end up with too many epic finale songs... but i'll stick with it to help organize here. i'm just not sticking with a "theme". mostly because i'm getting rid of the wisdom saga to better distribute its songs.

unsurprisingly, i've written far too much and it's poorly organized, so this is just act one. i'll reblog with act two.

act one

overall, i would say act one is by far the stronger of the two. i'm probably going to cut at least 30% of the current act two, but act one mostly just needs editing. some songs might need more work, but mostly they still get to stay in the same place. add some spoken dialogue and you've got a pretty decent start.

the troy saga:

most of the troy stuff is fine. i think it helps to set up this idea of ruthlessness, and shows the peacekeeping side of odysseus. could it be stronger? yeah. but i like it setting this whole thing up. i have 2 main changes here.

1) every time odysseus mentions penelope and telemacus, he needs to mention anticlea. the musical has a bad habit of not introducing characters/elements until they're relevant, and i think it suffers for that. including odysseus's mother in the list of people he wants to get home to makes her death more impactful. i was so confused when she showed up the first time; she needs to be in here from the start.

2) to go with my theme, i would do this: the reason odysseus needs to kill the baby is because the baby would grow up to kill him; however, that doesn't necessarily mean ithaca would suffer. zeus can word it really carefully - i don't think that distinction needs to be immediately clear to the audience, but after you know how the story ends you can go back and realize that when you re-listen to it. this doesn't require much tweaking, but it helps to really set up the idea of making decisions for the greater good vs for selfish reasons (maybe he could have raised the kid? and only he would have died in the end? i want the audience to question this!)

moving into the second half of the saga, i think we need to introduce odysseus's men earlier. maybe a scene of him commanding them in troy? since i'm talking about a full musical instead of the current format, this might just be dialogue, not a song. but i think we definitely need a little more of polites before he dies. i don't really like having odysseus start out untrusting and jumpy, which is how he comes across to me in open arms. it doesn't make sense for this to be a lesson he needs to learn now, after being king of ithaca for well over a decade. originally i was just going to cut him, but my fiance persuaded me to let him stay. plus his death to polyphemus is a very brutal turning point.

instead, i would have a song/scene where we set up eurylochus and polites as odysseus's two advisors, two different sides of his leadership. you could rewrite open arms to fit here. polites argues for presuming peace, and eurylochus views things with suspicion and wants to attack first to keep the men safe. this really helps set up mercy vs ruthlessness. it shows odysseus is already a leader who balances peace and action, and it makes polites's death all the more tragic, because he represents the death of odysseus's inclination towards peace.

finally, i find athena's introduction and focus on being ruthless in this and the next saga confusing. she's mad at him for not being less emotional and more ruthless, but i don't see what that has to do with him being a "warrior of the mind". instead, i would make it clear that she thinks he isn't being cautious enough. she's mad because she thinks he isn't being shrewd, not because he's being nice.

athena and eurylochus should be coming from the same place: we need to be overly cautious and strike first, because that's how you stay safe. and rather than having a jumpy odysseus being taught to trust people by his soft bestie, i think he should be a general, exhausted from fighting for 10 years, jumping on the idea of relying on trust so he can relax and not feel so jumpy. his duty is to balance these two ideas, mercy vs ruthlessness, but because he chooses only mercy without remaining vigilant, polites dies and now he only has eurylochus to give him advice, meaning no one else is trying to suggest mercy. (i don't think eurylochus is bad - actually, he clearly prioritizes the crew and is always suggesting whatever is best for them. but often what is best for you isn't the best for those you come across, which is why it's the leader's job to balance those two things - again, the theme i'm going with in this version.)

anyways, athena needs to focus on pushing odysseus to be more suspicious and calculating, not more ruthless. she scolds him at all the same points, but now it actually makes sense. i don't love their flashback, but i don't have suggestions to fix it, so we'll leave it alone for now.

the cyclops saga

not too many notes here. getting to see the crew more gives it a little more weight (the stage production needs a tiny dialogue scene where you get quips and comments from nobodies so they're a little more recognizable when they die! make people even sadder!), but this is a really chilling series. the exposition bits need rewording (and again, a stage production has the benefit of 1) spoken word, and 2) stage directions so you can just show things happening).

odysseus's convo with athena needs work. as is, this doesn't seem like a good place for "what good would killing do when mercy is a skill more of this world could learn to use." this is supposed to be the stance athena takes at the end of the musical, but this particular act of mercy seems to lead to the death of most of his men in the very next act - which really makes it weird that athena apparently agrees with that sentiment.

i don't hate everything about this line, especially if we actually see athena ruminating over the line over the next 10 years. but it needs to be clear that it is not mercy but pride that leads to the death of his men. or, if we want to make it about mercy instead of pride, it shouldn't be as the sort of threatening brag that it currently is; instead, frame it as "even now, when we've beaten you, we're still choosing to let you live. because i, odysseus, king of ithaca, have chosen to show you mercy." obviously yes it's still his pride, but then when everyone blames his "mercy" for getting his men killed it makes more sense.

(coming back to really hone in on the idea that mercy isn't the problem here - maybe eurylochus notices something is off before polyphemus starts singing, tries to point it out, and gets brushed off as being too suspicious and bloodthirsty? yet again, i find the musical's stance on mercy confusing. is it good? they seem to want it to be - that's definitely what open arms implies, especially since it gets repeated so often. except the musical stresses that mercy is *why* everything went south here, and it rarely actually shows mercy working. it's confusing. i think this whole thing should feel more like odysseus was reckless, the only thing athena calls him that actually makes sense, and that's why this didn't work. the characters don't need to say it directly, but the musical needs to better frame it that way.)

(an aside, but they still grab sheep on their way out? obviously they're still starving but like. i'm side-eyeing the way everyone (in the musical) acts like he was so "merciful" for leaving polyphemus alive, but even after he learns the sheep are polyphemus's friends and their deaths are what drive him to violence, he still makes a point of stealing and killing them... this isn't a serious criticism i'm just poking fun at it. but hypocritical much?)

athena's anger in my goodbye makes no sense to me - not that she's not justified, but that her reasons make no sense. she calls him "sentimental" and "soft", but that's absolutely not the problem here. she should yell at him for being prideful and cocky. accuse him of sparing polyphemus just to feed his own ego, or of being short-sighted - she mentioned the danger of leaving him alive in the last song, why not bring that up again? why doesn't she scold him for foolishly giving up his name? it's really weird that she keeps harping on the idea that he's "emotional".

odysseus's retort is good, but also a bunch of people just died so it's weird that he's so confident about how right he is. "my friend is dead, our foe is blind. the blood we shed, it never dries" from the last song, and "unlike you, every time someone dies I'm left to deal with the strain" in my goodbye are really good lines. more of his position needs to come from his exhaustion, because odysseus is smart. he's a brilliant general. this does a better job of explaining why he's making so many mistakes early on, and why he's pushing back against athena so hard despite the fact that he just fucked up real bad. he was wrong. he should have acted faster like she warned him to. but making him a man, exhausted from a decade of fighting, desperately trying to grant mercy where he can? his pushback makes more sense.

also, him jabbing at her for wanting "to be known" and being alone? really weird. the musical frames athena as this loser whose only friend was odysseus. i don't get it. especially when you're calling her a goddess who doesn't understand feelings right before that? which is she, a powerful goddess or a lonely girl? stick with him accusing her of not understanding human emotions and interactions. it still gives her a reason to stick around - she can be offended by the insinuation that there's something she doesn't understand, and it gives her a reason to dwell on his comments and eventually change.

the ocean saga

eurylochus needs to call odysseus out; if he'd listened to him, if they'd acted faster against polyphemus, they might not have lost those men, including polites. obviously that might not be true, but it feels like that's what his position should be. it's really weird that they're nervous about the wind god because "your luck might run out" rather than "you did just make a bad call that got people killed". especially when odysseus says "i took 600 men to war and not one of them died there." sure, not there, but you just lost a couple to a cyclops. this more deliberate questioning makes the sidebar with "i can't have you planting seeds of doubt" a little more serious. it's not just "what if you're not lucky," but also "what if you're not as sharp? what if you're making mistakes and bad calls?" the luck thing works for the rest of the crew, but eurylochus's role in this musical is to question odysseus and challenge him as a leader, to make sure odysseus is doing what will keep the men safe.

eurylochus questioning odysseus more pointedly makes the betrayal in the next song make more sense. we should already have the sense that he's starting to doubt odysseus's judgement. his "luck running out" doesn't really explain why you're doubting him with the wind bag; but if you think he's hiding things or making bad decisions, suddenly it makes a lot more sense. i think the implication in the show is that it's just curiosity, and we don't even hear eurylochus asking about it. now, if we have already established eurylochus is already questioning odysseus's judgement, it's a little less weird when we learn he's the one who opened it.

again, we need a mention of anticlea, and she should sing with penelope and telemacus.

honestly? basic take here but i like ruthlessness. i'm fine with not changing my theme to use a better word because this one is a banger. and the one animatic with him as a creepy horse? more horse poseidon imagery, please.

i think poseidon needs to call out specifically how hypocritical odysseus is more. lean into that "false righteousness". the problem is that he isn't being "nice" or "merciful", at least not in those moments, not in how he's currently behaving. most of this interpretation is already there; honestly, just changing the delivery of some of the lines would go a long way. "you are far too nice" needs to have the last word almost spat out - poseidon doesn't actually think odysseus is nice; nice is just a word odysseus is hiding behind to justify his actions. i'm sure it could use more work, but at a glance i really like this one.

it goes without saying that the ending sucks ass though.

i can't imagine anyone thinks that was a good ending. idk how to fix it because the current one is so bad it's hard to think of any way to have something good there. you just can't have the jaunty "open this bag" music in there at all. i know they like to mix in motifs and call back to other songs, but it fucking kills all the momentum in what is otherwise a very dramatic song - and we need to be able to take this song seriously, because it's what the entire rest of the musical is based on. i'm open to a completely different ending, but if you want it to stay relatively close to the current staging: poseidon and odysseus stare each other down. poseidon asks "any last words?" and you think odysseus is about to say something dramatic and instead... he yells "eurylochus!" poseidon is confused, but eurylochus responds with "captain!" and, understanding what he's asking for, throws odysseus the wind bag (he helped odysseus close it, so maybe he got it then, or at some other point, idk). and then odysseus opens the bag in poseidon's face. then everything poseidon does is the same, the effect is the same, you just don't get the musical equivalent of a wet pool noodle slapped across your face.

the circe saga

first! an addition! the musical wants athena to be a foil to odysseus, but they do such a poor job of exploring her character or logic at all, it just doesn't work. her character revolves way too much around odysseus. she says goodbye, and then we see her 4 sagas later (half the musical) where, apparently, she's decided odysseus was right because... maybe if she'd agreed with him they would still be friends. and then she defends everything he's done... look, i'm getting rid of god games, so i won't go into that now. yeah, odysseus is still what prompts her to change her mind in my version, but he's just the start of that journey. she's going to have other reasons. i want to add in a couple songs throughout the musical, just to show the transition a bit. additionally, they can help show time passing in odysseus's story by breaking it up a bit.

this first song is a small one. it's just telling us what athena is thinking and what she's going to do. it's basically her mopey and angry that odysseus insulted her. but she's a goddess of wisdom and intellect, so she's kind of intrigued - maybe there is something to learn about leading with kindness. i haven't decided how she ends up back in ithaca, but she's decided to investigate this. i know the popular (not academic, more fandom-related) interpretation of greek gods is that they're all stubborn and that's the whole point, but for the sake of this story and the theme (and also the character), i think athena should take the stand that if there is wisdom to be gained, it is her duty to learn it. again, this one is pretty short - a verse of angry, and then she talks herself down, and then she's setting out to investigate - a little bit to learn something new, maybe a little bit to prove odysseus wrong.

the athena song can also go at the end of the circe arc. i was going to put another one in there, but the pacing and time line don't match well, and monster is definitely the finale to act one. i wanted to fit something along the lines of the start of the wisdom saga in here, but i think i'm going to put it at the beginning of act two, so. only one extra song for now.

onto the actual saga: i think it's done pretty well. some of the phrasing is awkwardly fit into songs, but that might just be me, and it's overall not egregious. i will confess that "she had us in just two words" "come inside" "damn" does make me giggle every time like a 12-year-old boy. i didn't mention it in my post on the musical's women because i don't think the text directly addresses it, but there's a definite implication that circe is as harsh as she is to protect her nymphs from sexual assault, which they might have faced before. removing the undertones of that from her relationship with odysseus was the right call - i don't think that's a conversation this musical actually wants to have, and it muddles her justification for how she handles the men.

circe is also gives us someone to compare odysseus's leadership to; she's basically the only other leader of a cohesive group that we see. her harsh policy stands in direct contrast to odysseus's earlier choice to start with unchecked "mercy". in turn, her nymphs are safe. we see her later learn that there are times where you can extend mercy and trust, so she even has character growth. (you could make a very interesting comparison between circe & her nymphs and the sirens, but that's a discussion for outside of the musical, so i'll leave it for now.) i wouldn't be surprised if other people have criticisms, i just haven't been able to find basically any critical discussion of the musical, so.

you could mostly leave this saga alone, but i'm inclined to take my red pen and make some bigger changes. i'm just not sure how to. i really don't like hermes and the flower being inserted here - again, i think there's too much bloat in the musical of "oh here's a thing that's in this specific bit, clearly just because that's what happens in the odyssey, and then we won't talk about it again." hermes does appear in two songs, but actually, does he need to? i'm of the opinion that the musical needs fewer characters so that it can better focus on developing the ones that actually need to be in here. the only problem is that odysseus needs the flower from hermes to explain why he has magic in the next song. okay, so what if no magic is used, and he just uses his wit to convince her? except that's basically what the plot of the next song is. so at this point i've basically gotten rid of two songs and completely changed the third, and that doesn't really work. or need to happen.

i stand by wanting to remove hermes. i think you can just give odysseus some line to eurylochus about having heard about a plant on these islands that makes one immune to being transformed by magic for a time. i don't think it's important - it's literally a small, one-time detail just to explain why circe doesn't immediately turn him into a pig. he doesn't need magic in done for - he can just fight with a sword while circe is slinging spells at him. and then you can still go into there are other ways.

the one change that i think does need to be made is that odysseus needs to spend a year on the island. he needs to be stuck here. it does mean you have to basically cut the song in half, but that just means the second part, where circe decides to help odysseus, needs to be a reprise. i think you have circe trying to seduce odysseus, and then she's shocked when he rejects her. the difference is that he doesn't fully win her over; instead, she decides to give him and the rest of his crew one year. for one year, his remaining crew recovers on the island and rebuild the ship, helping the nymphs with whatever tasks they ask and basically proving "not all men" are terrible. finally, odysseus shows that there's payoff to being a merciful leader! he saves all of his men! as they're finally preparing to leave, penelope shows up, we get the reprise, and she sends them to the underworld. all is well!

the underworld saga

or, all is not well.

this is where i spell out my theme: while a good leader is merciful, mercy takes time. and that extra time can be detrimental to personal goals.

this is why it's important to mention anticlea earlier, and why the crew spends an extra year on circe's island trying to save the rest of the men. taking a year to save his men makes odysseus a good leader, yes, but it might have cost him a chance to see his mother before she died. it doesn't matter when she actually died in the odyssey - what matters is that this is really what makes odysseus question the cost of mercy. this is where he starts to put his own desires over the safety of the crew, because the cost of taking too long is suddenly real - as is the cost of taking time to be merciful.

i actually don't have too much to add. some edits might need to be made to fit with other changes, but overall it's fine.

okay, there's act one! this is definitely long enough, so i'll reblog with act two. suggestions and conversation are welcome; again, my fiance already changed my mind on one part. i haven't actually see any discussion on changes yet, so i'm happy to consider other changes, or for mine to be challenged (by something other than "actually this is perfect").

[mint-is-here]

ok so i read @cherrly moana x lmk fic and i really liked it!!! but it gave me an idea on macaque's powers

so, you know how macaque is refered to as the Moon?? the moon shines on the sky every night, but how does it do that?

it reflects the light of the sun

now, macaque is shown to be able to absorb Wukong's powers by MK, apparently by just spending time with him

but its never quite the same.

the moon can reflect the light of the sun, but it will never be able to shine as bright as it. it only holds a glipse of the power it has.

(also. macaque is the only one shown to be able to use LBD's ice powers without being possesed. like yeah bai he and wukong could also do that but a) possession b) wukong is wukong, he can mostyl handle it and C) bai he was the main host. she might have been able to posses wukong but it's shown how her using her powers might have destroyed bai he if she wasnt careful. Not even the Mayor could use it and whatever was inside him was strong enought to possess The Great Sage. just something to add)

idk its just something i thought ramdonly byeee-

[beneaththebloodylake]

「You're thinking 'people from Kansai are stingy' aren't you. ... Actually it's just me who's personally stingy.」

literally me but with uk/europe/whatever distinction americans decide to assign me

[rivilu]

Help people on twitter are now saying that da:i had stakes bc war was everywhere and you had to build an army to defeat 1 guy 😭

Ndndjfj See, it did, it's just that there's a difference between just having a high stakes situation and utilising one properly.

The stuff people smarter than me talk about relating to setup and payoff? Feeling the effects of the Big Evil you're up against everywhere in the atmosphere and then when you SEE the Big Bad it gives everything a face and to yourself a Goal?

Origins I don't think I even need to talk about how well it does this, 2 is exempt since it's made up of smaller conflicts (though if I'm allowed to say the chantry is the big enemy from the start it is set up very well in that too).

Inq? Inq sucks. Personally I am far more luckily to call what inq was doing a case of severe power creep over literally anything related to stakes. It throws all its cards on the table way too early when Cory shows up at haven and from that point he has virtually 0 presence up until the very end. They just keep telling you there's going to be a big scary fight ahead therefore be worried. Does not work, does not compute with gameplay where you're running around unblighted land for hours upon hours collecting rocks. Very tell don't show and even the tell part is ineffective.

And that? What was one of my greatest concerns pre-vailguard release if I'm honest. In the game of bed setup and power creep - setting up that the next Big Bads will be GODS? Having faith in that being executed well was plain impossible. So you can imagine how much of a pleasant surprise the result was.

[phantajam]

my hot take about descendants is that NONE of the core four were ready for a relationship until maybe like, the third movie (rant in tags)

[mestos]

CoAi moments in the old DetCo Games (part 1)

idk if anyone else knows this but detco does have a bunch of games ranging from Gameboy colour all the way up to nintendo switch era. around 3~4 years ago a friend at the time and i went through and watched some playthroughs and i vividly remember thinking that the DB focused games were so CA heavy ...

The gameboy advance games were especially impressive, they had full voice acting and animations plus the cutest pixel sprites

(The Greatest Partner - The Old Magician and the Playing Cards Mystery) (GameBoy Advance)

first, context. the plot of this case is that while the DB were visiting a theme park (it's sort of a weird fusion of a zoo and an amusement park...) a magician that they went to see gets a phonecall where his grankid gets held hostage. the magician gets a heartattack from the shock and is sent to hospital, leaving the DB to figure out what it is that the kidnappers want from him.

when they're splitting up, haibara says she's going to sit this one out, but conan asks her to go with him

(conan's voice is very gentle throughout this whole game, actually. he's very sweet to the kids, which is twice as effective bc he asks her to come with him so gently.)

(and she didn't mind at all ;) )

(haibara's voice here is very gently nudging.)

(ai says this. she's very calm. the music has a romantic, relaxing vibe lowkey but i might just be delusional)

its worth noting that they spend this moment at the park going back and forth about the case.

case in point:

i already mentioned this, but depending on the director on the anime conan's aggression or snarkiness changes per episode as well as his parental instinct towards the kids. but he spends this game acting very sweet towards the detective boys and haibara.

since this is a coai moment list i wont include it, but there's a scene where he comforts ayumi while she cries and its very worth watching if u need a reminder that conan/shinichi canonically can be very kind towards the children and cares for them despite everything

anyway, next scene is SUPER CUTE, but the kids stick their nose in danger after fooling conan, leaving him to save them and they all take turns saying they believed in him—especially, because haibara told them to.

(should note—he says the first line in a soft, relieved way, and haibara has a very teasing tone while he fondly says her name. it drives me crazy.)

haibara actually leaves the group at this point in the game to go meet with agasa, so there arent any more moments for this case. the other two cases in the game are The Masked Knight Murder Case (with Conan, Ran & Sonoko) and The Greatest Partner (with Kogoro and Ran, no Conan). not really interested in those so that's all for this

the next game that has a DB focused case is in The Great Deduction of Three People—where you can play as Ai, Heiji and Conan. i'll cover that in a diff post since this is already so long

[no1ryomafan]

I’m saying this only out a vague of a irl even though I feel bad for this but someone please tell me there isn’t a collective of people who haven’t seen a lot of mecha yet played super robot wars and act like because they played that game they have authority to talk over mecha shows they know exist thanks to it despite still not watching them and ignoring the fact SRW butchers plot sometimes-

Because as much as I hate gatekeeping in mecha circles and hardly dabbled into SRW this basically happened to me irl with a person I already don’t like and I’m just like:

[lupismaris]

..

[mc-pickle-archive]

questions I have about astarion romance storyline, I have lots of thoughts about him and want help from people who have played already, uh spoilers for his early romance plot below

does anyone know if you have to have sex with astarion for his romance scenes to lead up to you both working together to figure out what you both really want?

haven't gotten to play yet, and while he's undeniability charming (like he's trying to be) I'd like to refuse him without it shutting off the romance if that's an option? I'd still want to pick flirty options when I think they'd be fun but the character I have in mind would see through the more performative bits and wouldn't really be interested in sex with someone they think is lying to them, it would fit the character more if they refused.

I'm okay with mild spoilers if it relates to his story.

I feel like the answer will be no, and given the story stuff with him I've seen I could understand why, but this game has a lot of branching options so thought I might as well ask!

and if it is possible and because of everything astarion is dealing with we don't end up fucking ever that's totally okay with me