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omgthatdress · 4 months

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An Analysis of the Ubiquity of Mall Brands in the late 1990s to early 2000s, or

I Fucking Hate These Guys

by OMG!thatdress

If you were a tween to teenager from roughly 1997 to 2004, chances are, you were left with profound life-long trauma caused by someone wearing Tommy Hilfiger, Abercrombie & Fitch, Ralph Lauren, Nautica, American Eagle, The Gap, Old Navy, or, if you were came along a little later, Hollister or Aeropoastale.

I cannot overstate to my young followers how over-saturated these brand names were in teen culture at the turn of the millennium, the extend to which EVERYONE was wearing them, and yet, in a weird way, how light the imprint they actually left on fashion history was.

Watching iconic teen shows of the era, you don't see any of them because a.) TV teenagers tend to be way cooler and more stylish than awkward and desperate real teenagers actually are, and b.) these brands were all copyright protected, which kept their names and logos off the airwaves.

Look in a middle school yearbook, however, you'll see it. Look at your aunt and uncle's high school photo albums, you'll see it. Ask any late Gen X or early Millennial. It was real and it was fucking awful.

The big question is why? Why? WHY, GOD WHY?! There's a lot of answers to that question.

First of all, I'm going to cite this absolutely wonderful article from Collector's Weekly about why everyone's grandma had a hideous orange couch in the 70s, and give the most simple and straightforward answer: it's what was available.

This is when the concept of online shopping is still very much in its infancy, and the hub of American consumer culture was still your local mall. If you needed new clothes, you went to the mall. And guess what stores were at every local mall? You guessed it.

For the second answer, I'm going to dig up this utter relic from the early days of internet meme-ing, that has nonetheless stuck with me and had a profound impact of my understanding of how popular fashion works:

I'm pretty sure that the reason Abercrombie & Fitch manages to survive as a brand today rests solely increasingly middle-aged Millennial men whose sense of style has refused to evolve past the shit their mom bought them in high school.

And why the hell would they? Nobody wore Abercrombie because it made them stand out or feel special. I'm still pretty convinced that nobody actually *liked* the aesthetic or thought the clothes actually looked good. You need not look past the basic color palette to understand these were not brands meant for uniqueness or self-expression.

While Britney Spears pranced around stage in her iconic neon colors and body glitter, American teenagers existed in a never-ending hellscape of washed-out neutrals, faded denim, and American flag primary colors.

All of which served its exact purpose: it was safety. It was a way to appear cool if you didn't want to go through the ordeal of actually having a personality or a sense of style. Which, of course, goes back to point number one: it was just shit you bought at the mall because you needed clothes.

It wasn't enough to save you once the school bully caught that whiff of autism and/or queerness on you, but it was enough that you could blend into the herd and pray no one ever noticed you.

Underneath it all was a very subtle undercurrent of class and classism: to wear mall brands was to declare to the world that you could indeed afford to shop at the mall. It meant you weren't, god forbid, poor.

Status symbol clothing goes back to the invention of clothing itself. The concept of brands as status symbols is still very much alive and well, its just more limited to actual luxury brands nowadays. One need look no further than your favorite high-end children's clothing website to see that rich parents still very much think it important that you know their five-year-old is wiping its boogers on Versace.

None of these brands were actual high-end luxury brands, but they still advertised and presented themselves as such. Their ads featured signifiers of "all-american" (read: White) wealth: yachts, skiing, horses, beaches, shirtless dudes with chiseled abs playing verious sportsballs.

The color palettes and cuts mimicked the preppy "Ivy" style of the New England old-money elite, along with their hobbies and lifestyle. You may not actually own a horse, but you can wear a polo shirt. You may not be able to run without breaking your ankle, but you wear the same shirt as the dude holding a football in the ad.

It was an elitist, White and skinny image that didn't age well into the diversity and body-positivity of the 2010s.

In 2003, a lawsuit was filed against Abercrombie & Fitch alleging systematic racial discrimination. People of color were rarely hired, and if they were, they were given jobs in the back, away from customer view. In 2005, the U.S. district court approved a settlement of $50,000. A few years ago, Netflix released the documentary White Hot: The Rise and Fall of Abercrombie & Fitch which admittedly I haven't watched yet because my hatred runs too deep to remind myself of its existence.

youtube

It was a hatred of Abercrombie & the (white, thin, neurotypical, heterosexual) conformity that it represented that drove me screaming into the loving arms of Hot Topic and Linkin Park. Jordan Calhoun wrote an excellent article for the Atlantic about his experience growing up poor and Black and not fitting in to the Abercrombie aesthetic.

I would be very remiss if I didn't bring up the "urban" mall brands of the early 2000s: Fubu, Sean Jean, Ecko, Baby Phat, among others. They were favored by Black teenagers and White teenagers who wanted to be Black. I know there's a lot to be said about these brands, but I'm too Caucasian to really be able to talk about them with nuance. Maybe someone else will, and I will be very happy to listen.

As much as I hate Tommy Hilfiger, I really do have to give him credit for recognizing the incredibly lucrative "street wear" market and selling power of hip-hop. While most of these mall brands kept their image sparkling White, Tommy made Aaliyah his brand ambassador and regularly appeared in the wardrobes of popular rap and R&B artists of the time.

It'd be very easy and very reductive to say that the changing ideology of the 2010s was the downfall of preppy mall brands, but really, the thing that truly killed them was the downfall of the mall itself. Shopping habits changed, and logos and brand names no longer held the power they once had.

The moral of the story is that being a teenager is fucking hell, and these popular brands both offered the safety of conformity and a status symbol to hold over the heads of the poor and uncool. The irony is that everyone who hated them as teenagers (read: ME) and the freaks who grew up to truly love the power of self-expression through personal style (read: ME) became the truly cool people. If you wore Abercrombie you grew up to vote for Donald Trump.

GO GOTH. PREPS SUCK. THE END.

#1990s #2000s #Tommy Hilfiger #Abercrombie & Fitch #Ralph Lauren

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disneyprincemuke · 11 months

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fly on the wall * fem!driver

she crashes in her third race of her f1 career, but she's more concerned about its repercussions than the concussion

pairings: sebastian vettel x fem!driver, lewis hamilton x fem!reader

warnings: crashing the car

notes: ooooh my god i had to rewrite this 5 times because it wasn't up to my liking initially, and then tumblr was having some issues saving my shit so i lost it?? it's very sad fr

(series masterlist) | (📂 the rookie season)

"are you alright?" sebastian's voice comes onto the radio.

his eyes are trained on the big screen, cameras focused on the car parked into the wall out of a turn. he couldn't get an answer out of his driver so he had to resort to the third party.

if his assumptions are correct, she would have hit her head on her seat hard at impact. but things like that can lead to so many bigger things that he might not even be prepared for.

her vision slowly returns, blacking out for a mere second as the car went into the barriers of the baku track.

she had issues with her brakes for a few laps. sebastian had suggested retiring the car if she didn't feel safe, but she pressed on. the issue didn't seem so serious and it seemed manageable.

at first.

it's a driver error - missing the early braking point to accommodate her already tweaking brakes. she missed it by a millisecond, clipped the wall and got sent straight into the wall.

she sighs, pressing the button on her steering wheel. "i'm okay," she answers shakily, tears now filling her eyes.

"okay, that's the important part. don't think about anything else. i'll see you in the medical centre." sebastian is quick to shut her thoughts down, clearly prioritising her wellbeing and not the car.

"i'm sorry," she sighs, voice shaking and lips quivering. “i’m so sorry, seb.”

this is only her third race in f1, how could she have already crashed out? on a race where she was so close to that podium. it would have been such a monumental moment — a woman on the podium.

with 20 laps left in the race and her in 5th place, it wasn’t all that far out of reach at the time. yet, here she is causing a yellow flag as she starts to notice the smoke surrounding her.

"like i said. don't think about anything else."

she sighs to herself as a marshal appears above her halo, greeting her with a soft smile. she nods, letting herself get helped out of her car.

but only one thought eats away at her: she crashed on her third race. what's everyone going to say about her now?

“let me talk,” sebastian sighs, hands up in the air as he tries to calm the girl sitting on the examination bed. he’s barely able to get a word in.

she’s slouched against the wall, purple balaclava in her hands as she traces the thread that holds it together at the hem. the minute he walked in, she looked up immediately with tears in her eyes and a string of apologies.

it hasn’t stopped since he poked his head through the door, cutting him off before he could even ask if she’s okay.

“do you not see the problem?” she shrieks, eyebrows furrowing at sebastian. “i just crashed out! imagine what the media has to say about my performance today? they’re just going to use this as a reason to justify that i shouldn’t be on the track!”

sebastian drops his hands to his side, deciding that he’d just let her get it all off her chest. it might make her feel better.

though, it doesn’t make him feel good that she’s continually talking down on herself. he vouched for her for weeks for a reason, and it’s because he believes in her. more than she does in herself, it seems.

“i didn’t work my ass off my whole life just to be undermined because i’m a woman!” she tosses the balaclava aside, now picking at the loose skin by her fingernails. “i didn’t get this far for everyone to count me out because of one crash! can you fucking believe that shit? it’s a fucking rookie mistake, seb! i’ve been racing for years!”

she drops her hands by her side and groans again, rolling her eyes. “i’ve earned my rightful spot to be where i am! they are not going to care about that!”

sebastian shrugs slightly, overlooked by the infuriated woman across him. he can barely get a breath in before she continues, shutting his mouth immediately as she continues her rampage.

“imagine the headlines tomorrow! a driver is as good as their last race — i know that! don’t try to sugarcoat it. you know i’m right!” she rambles on, eyes darting all over the room. she’s pushed herself off the wall slightly, clearly flustered over the course of events.

she avoids sebastian’s eyes, the fear of fully breaking down in front of him prominent. crying over a crash seemed like such a silly thing to do, but there’s no denying how demanding the sport truly is.

in her short three races in the season and people’s neverending criticism of her abilities, it makes her lie awake at night rethinking her position on the grid.

following her crash, sebastian hadn’t expected for her to ramble on for this long. he initially thought that the crash would have sent her into a shocking silence, so while her anger is warranted, it was definitely not on his list of things to be ready for.

“imagine what they have to say about me!” she throws her hands in the air, scratching her head gently. “imagine what they’ll say about you! it’s not going to be good, trust me! i’m a woman in a fucking racing car in a male-dominated sport!”

“hey!” sebastian’s voice bounces in the room, making her lift her head with her eyes narrowed into a glare.

the sudden movement reminds her of her restrictions, hands coming up to nurse the back of her neck. she feels a sharp pain shoot through her head all the way down to her shoulders. “what?” she hisses, quickly looking down to hide the pain.

“you literally just crashed head-first into a wall at 250 kilometres per hour! you’re lucky all you got was a concussion and whiplash! it could’ve been worse!”

“if i was lucky, i’d have been able to recover and get on the podium as we discussed! i was already 5th!”

“and you didn’t! that’s okay! you learn from things like these!”

“no, it’s not! i’m already hated as it is!”

“it’s part of the sport! fernando alonso has crashed, lewis has, and so have max and charles! every other big name in formula 1 has had their fair share! you’ll be okay!”

she finally meets sebastian’s eyes, slouching even more as she audibly sighs. he watches her body deflate, leaning back dejectedly. “it’s still different.”

she’s still in her fireproofs. her race suit had to be taken off during her short time with the doctor, hanging on the back of the plastic chair in the small medical room. her helmet sits next to her, underneath the balaclava she’d thrown on top of it.

her hair is in a loose ponytail with stray hairs poking out and resting on her face. the adrenaline has yet to leave her body, chest heaving as if it’d just been over and beads of sweat still scattered all over her.

“i know it’s different. but everyone else who says whatever isn’t the person behind the wheel, you have to remember that,” he says in a soothing tone, finally coming up to stand next to her. he sighs, putting a hand on top of her head. “and i know it sucks.”

she shakes her head. “no, you don’t. we’re different; our problems are different.”

“the way they used to hate me, and things they say about you are different, yes,” sebastian nods in a low voice, his thumb now tracing circles on her head. “but you still can prove them wrong. you just started driving in formula 1 — you’ll have way more chances to shut them all up.”

“i could’ve already. if i just controlled the car a little better.”

“it’s okay.” he slides himself onto the examination bed, sitting next to her. he intertwines his fingers and rests his hands on his thigh. “everybody crashes at one point in their career.

“let the media say what they want, but not all that criticise you have been in a race before. nobody on that grid thinks you’re lesser than you are just because of what happened today.”

“you don’t know that.”

sebastian just shakes his head, refusing to elaborate any further. he leans back into the wall as well. “oscar is on the way with some snacks for you.”

crashing out during a race is never easy. years before he decided to retire, tapping and crashing out of a race has always been demoralising. it always feels like the first time when he does.

“i don’t need snacks. i need to go back to 4 hours ago when i was still on track for a podium finish in the first half of my rookie season.”

“with your talent, i can assure you that this will not be your only opportunity in formula 1. i will make sure of it, of course. wherever i go, you go.”

the door creaks open, cutting her off before she can throw an answer back as sebastian. “i’ve got your favourite snacks. i also stole a couple of twix bars from your backpack, i hope you don’t mind.”

“well, why’d you take them and still tell me about it knowing i wouldn’t even have given it to you in the first place?” she reaches for the nearest object next to her, yanking it towards oscar by the door.

“because it was calling my name,” he shrugs, pushing the door fully open to reveal who he’s strung along to the medical centre.

“i took a packet of haribo,” logan shrugs as he steps in. he flinches when she clenches her fist, scrambling to pull something out of his paper bag. “but i got you a can of sprite to make up for it! don’t be mad!”

her gaze softens when she notices lewis hamilton standing behind her friends, a paper bag hanging on his fingers as he grins at her.

“how are you, sweetie?” his voice is empathetic and low, giving her a look that she’d seen from everyone she’s passed on her way here.

she sees lewis and sebastian exchange glances, almost making her roll her eyes again.

she doesn’t talk to lewis that often, but he has addressed her before when she would trail behind sebastian on the track. she would often greet him softly as she hid behind her mentor, or simply excuse herself when she sees either oscar or logan passing by.

he’s a role model and the last thing she ever wanted to do was be too overbearing. to see him come to her aid is only a dream come true.

“i hope you don’t beat yourself up because of that. you drove a brilliant race today,” he smiles. “everybody crashes out. don’t even care what others have to say about you. you did well.”

lewis understands being cast out as a minority. he will never understand the struggles and pressure put on her, but he can at least relate to a certain extent. “don’t even sweat it. you’re now one of the world’s greatest in a fast race car. you’d smoke anybody who would dare challenge you.”

oscar tilts his head. “why would someone random just challenge her out on the street?”

“oscar, shut up,” logan shoves the australian slightly, landing a warning smack on his shoulder after. “let her have her moment.”

lewis laughs but does wave oscar off as he returns his attention to her. “what they say will string, but trust me, this is not the end of the world. i know it feels like it.”

she nods to herself. “okay, hand me the snacks so i can eat away all my pain. i deserve it.”

taglist: @wcnorris @treehouse-mouse @laura-naruto-fan1998 @mindless-rock

#sebastian vettel x reader #sebastian vettel x you #lewis hamilton x reader #lewis hamilton x you #f1 fanfic #f1 fanfiction #f1 x reader #f1 x you #formula 1 #formula 1 x reader #disneyprincemuke #disneyprincemuke imagine #disneyprincemuke imagines #disneyprincemuke f1 #fem!driver #female driver #f1 grid x reader #formula 1 fem!driver

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ohwormwood · 2 months

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breaking down over in stars and time's use of tarot cards

[woe, spoilers be upon ye!]

[no seriously, this contains spoilers for the entire game. proceed with caution]

BECAUSE IF I HAVE TO BE TORMENTED BY THIS KNOWLEDGE, THEN SO DO YOU.

Act 2

Six of Swords

Transition, change, rite of passage, releasing baggage

Siffrin is, in the start of Act 2, beginning a new journey. This card is pretty self explanatory, but also is a form of major foreshadowing. Six of Swords has a heavy implication towards evolving and bettering yourself as a person, going on a journey that is absolutely essential to growth. Whether or not this journey is at all pleasant is entirely left up in the air, but given the rest of the game, it’s more of an indication of hard-won lessons.

Siffrin asks “How does the boat not sink?”, which is kind of hilarious, given that they end up almost sinking into complete despair by the end of the game, only saved by getting help and changing, completing their journey and starting a new one.

The Star (Reversed)

Lack of faith, despair, self-trust, disconnection

Stars play a huge part in this game (it’s literally in the name), so this card felt kind of inevitable. The most important part of this card is that it serves as a sort of omen for what is to come. In Act 2, Siffrin is blissfully unaware of the overall impact this will have on his psyche, of the turmoil it will bring him. But the most important part of this card for me is the idea of loss of faith. The very first line in the reference site’s description is this; “The Star Reversed can mean that you’ve lost faith and hope in the Universe”. This is likely indicative of the gradual crumbling of Siffrin’s hope over the course of the game. The site also notes that “You may be desperately calling out to the Universe to give you some reprieve but struggling to see how the Divine is on your side”. Siffrin pretty much does this in the latter half of Act 3, as things become more and more hopeless. This is, for lack of a better term, a test of faith. Given how the Change God mocks Siffrin for the Universe never talking to them directly, this is nailed home pretty hard. But, in Act 2, a lot of the concept of The Universe and Wishcraft isn’t introduced, so this serves more as a premonition than anything else.

Another note: Loop. Loop is a star. Or ate a star. Either way, they have a deep connection with stars (and The Universe as a result). I bring this up because of the general meaning behind the UPRIGHT version of this card, which is a sign of hope, faith, and guidance. Loop serves this purpose throughout the game as Siffrin’s “helpful companion~”, so the connection here there is nice. But the entry states this; “When confronted with a challenging situation, you can either crumble like The Tower or stand firm in your conviction that the Divine is everywhere”. Because of the 2 Hats situation, we know that where Siffrin eventually overcame the challenges of The Star/The Universe, Loop did not. Instead, they made one last plea to the Universe for help, and The Universe listened. But we know the obvious twist of fate here is that Loop is literally helping themself by helping Siffrin. They gave in, crumbled, and lost their faith in the end, only to be the thing that helped Siffrin keep theirs and eventually free themselves.

Ace of Wands

Inspiration, new opportunities, growth, potential

Most of Act 2 Siffrin is spent with this idea in mind. At this point, Siffrin is pretty lax about the true meaning of the loops, believing them to be an opportunity to beat the king, each loop full of potential to achieve their goal. But the twist here is that for the Ace of Wands, there is always potential but never a guarantee of success. Siffrin experiences this first hand at the end of Act 2.

Eight of Pentacles

Apprenticeship, repetitive tasks, mastery, skill development

Another nod to Siffrin’s frame of mind in Act 2. The slow mastery gained through the overall leveling system in the game actually accomplishes this card’s meaning pretty well- you repeat everything, over and over, and it is only when you master it that you are able to defeat the king. Siffrin notes a lot that in a couple of loops, he will likely be able to remember interactions by heart, and some he actually does recall completely, like when the very first interaction with Mirabelle in Dormont at the start of each loop. He’s essentially memorized the script, mastered the actions, the choreography, and now is faced with the fact that he has to do it over and over again. It will turn into monotony by proxy of being so familiar and easy.

Siffrin also notes that “they seem happy to be working”, which is another nod to how he sees the loops towards the start of the game, less of a curse and more of a boon that requires effort to properly utilize.

Act 3

Two of Swords

Difficult decisions, weighing up options, an impasse, avoidance

There are a lot of hard choices to be made in Act 3, so this likely isn’t referring to any one instance. This is where the Eight of Pentacles card comes back into play, in a sense- there is still more to learn here, more to master, but a lot of that requires decisions that have greater weight than those in Act 2. People’s lives are at stake. However, it is only by doing this and making hard choices that Siffrin eventually learns more about Wishcraft and the way things work in the loops.

Interestingly, when Siffrin describes this card, they describe someone holding scissors. An intersection of 2 blades, but the thing here is that no matter which side you’re on, they can still cut you. Alternatively, this could just be a representation that Siffrin, who is the main Scissors Craft user of the party, is the one stuck with these decisions.

Six of Pentacles (Reversed)

Self-care, unpaid debts, one-sided charity

Siffrin is the king of never giving themself proper self care. They are also the king of tearing themselves apart to give everything they have to the party. They are willing to sacrifice everything they have for a “perfect ending” where everyone is happy… everyone but themselves, that is, because they do not receive the same fulfillment in return. They give and they give and they give, but the party does not give in return, not in the way they need. Not soon enough to prevent them from falling apart at the seams over it.

The note here mentions that it shows “someone walking on the sky and offering flowers to sky people”, but then when flipped shows “the man is touching the ground, and giving flowers to normal people”. This kind of struck me as strange, as no matter what orientation the card takes, they will always have their feet on the ground. This also isn’t the last mention of sky people, but I haven’t really delved deep enough into theories about that to understand what that really means in the context of this card.

The Hermit

Soul-searching, introspection, being alone, inner guidance

Hilariously, this is something Siffrin completely lacks for most of the game. They avoid thinking about themselves and their own sense of self for a vast majority of their character arc, and it isolates them. While this card means well in its message of introspection, it’s also key to note that this withdrawal from the outside also can lead to being alone with your own thoughts, something that Siffrin experiences more as the game continues. And their refusal to acknowledge what they want almost breaks them.

The loneliness aspect of this card is further hammered home by the fact that Siffrin says “they look sad and alone”.

Five of Wands

Conflict, disagreements, competition, tension, diversity

Misunderstandings and miscommunication is at the heart of this card. And oh boy, does Siffrin deal with a LOT of that in the loops. My brain immediately goes to the whole “touch therapy” arc and Siffrin’s refusal to clarify that they don’t dislike touch, which eventually leads to Memory of Touch. It’s also a bit of foreshadowing of what is to come, especially in Act 5 and the breakdown of the party’s trust in Siffrin because of their break in communication and understanding with each other.

Siffrin asks “Why are they fighting?” when this card is drawn. The answer is that they don’t really understand themselves. This is conflict driven by a lack of communication and understanding of the other parties at hand. As the description for this card says, “No one is listening.”.

Act 4

Eight of Swords

Negative thoughts, self-imposed restriction, imprisonment, victim mentality

Act 4 starts with Siffrin experiencing quite possibly one of the worst endings to the loops he can imagine, so it’s safe to say that at this point, their deterioration is rapidly worsening. They begin to spiral, and the idea that there is no way out begins to appear. However, the main crux of this card’s significance is that there is a way out, but it lies in freeing oneself. There is a gap in the swords, and if one was to take off the blindfold they could get out. The description of this card calls this “imprisonment”, which ties in pretty nicely to one of the screens you can get when you loop back; “You are in a prison of your own making”. The description for the card also reads “You surrendered your power to an external entity, allowing yourself to become trapped and limited in some way. You may feel that it isn’t your fault – you have been placed here against your will”. This is heavy foreshadowing for the idea that Siffrin’s own wish to The Universe that got them trapped in the loops, not the wishes of The House or The King.

Siffrin asks “Why is he alone?” when drawing this card, which kind of projects onto themselves. They feel alone, they feel trapped, and they believe that there is no one who can help them, but that isn’t true. They have the ability to change things, but they are afraid.

Ten of Swords (Reversed)

Recovery, regeneration, resisting an inevitable end

There are good aspects to this card, but the main focus in this case is likely the idea of resisting the inevitable. This is pretty much what the whole deal with the Head Housemaiden is, the repeated attempts to find some way to change something that, by the nature of the wish, cannot be changed. And yet, Siffrin is unable to let go of this. It’s also noted that this card represents past trauma that is still being carried around and still hurts the bearer. Siffrin spends this Act searching into their past, tearing up painful memories (or lack thereof) in the process. They carry the burden of being without a true geographical/cultural home to go back to. They cannot let go of this, nor do they want to. But the card’s description notes that “these old pains need to be dealt with once and for all. It may be difficult to delve back in, but it's the only way to release yourself of this pain and allow it to pass from your life”. In a lot of ways, this nods to the avoidance of pain that Siffrin displays when they are unable to cope with their trauma from the past and the loops. It is only through promising to tell the party their wish and deal with the pain and fear of their trauma that they can move on and begin to heal. This card pretty much represents the whole crux of the story’s meaning.

Five of Pentacles

Financial loss, poverty, lack mindset, isolation, worry

Loss is a major theme of Act 5. The loss of memories, the loss of a home, the loss of faith, and, perhaps most importantly, the loss of hope. The card’s description says “You no longer feel safe because it has all been stripped away from you in one blow”, and this is pretty much what happens. Siffrin is in a crisis. They are exhausted, they are alone, and they are profoundly terrified of what that means. At this point, they are searching for help desperately, but are unable to ask for it. This card explicitly deals with fear of rejection and reaching out for help- the situation is dire, but, as seen with the card’s depiction of lit church windows, there is help nearby. The issue is that one must be willing to accept it. There is fear that you may lose something important- in Siffrin’s case, his found family- but there is no telling if that will actually come to pass.

To further nail the loneliness aspect of this card home, Siffrin says that the figures on the card “probably don't have any friends”, something he starts to believe in the latter loops as the group loses their identities to the script. The in-game card also is different from the real card, and is said to show empty glasses, a pretty on-the-nose reference to Siffrin’s “glass half empty” mentality as they lose hope later in the game.

The Hanged Man

Pause, surrender, letting go, new perspectives

The Hanged Man gets a pretty bad reputation if you don’t really understand what it means. It’s a card about acceptance, pausing, and entering a new phase in life. But this change is heavily implied to come via unfavorable circumstances, situations outside of one’s control. The description says that when a person is unable to pause when they need to, unable to stop their actions, “The Universe will probably put things on hold for you, in the form of continued obstacles, ill-health, and breakdowns”. And this is pretty much what happens in Act 5. Siffrin is ground to a screeching halt by their own body, exhausted, starving, and mentally/physically fatigued to the point of actual sickness. On the topic of “surrender” and “giving in”, things get more pointed. Siffrin gives in to Mal Du Pays (very ‘L'appel du Vide” style), almost dying as a result, but then conversely gives in to the party’s urges to tell them what they wished for, to let go of their fear and stop looping.

Siffrin notes that the Hanged Man “Look(s) like they're about to die, but they're smiling”. This is more of a connection to the end decision of Siffrin to let go of the loops and tell the party about their fears. They are facing down something that they are terrified of, something seemingly insurmountable, but rather than continue to fight and avoid letting go like Loop did, he instead chooses to surrender and tell the party.

Act 5/6

The Fool

Beginnings, innocence, spontaneity, a free spirit

There are two versions of The Fool, technically. In Act 5, if you take the card and inspect it immediately, Siffrin will give a manic laugh and tear it to pieces. In a lot of initial interpretations of the card, some people will assume The Fool to be what the card says they are- a fool, someone stupid and tricked and hopeless, about to send themselves to their doom. But the reality is that this card is not really about that- it’s about new beginnings and the start of a new journey, but specifically through a leap of faith- a leap of faith that Siffrin has to take at the end of Act 5. While he is going through The House during this act, however, he is unwilling to accept this advice, either because it is misinterpreted or consciously, and instead tears it apart.

When the card is examined after the game, rather than during the final loop, Siffrin seems to recognize the card for what it actually means. He says “It's a traveler. He seems to be starting a new journey”. Siffrin’s title in the Profiles is literally “The Traveler” (alongside having the Traveler’s Hat), so this is a direct statement of new beginnings for the party and Siffrin’s life, a new journey they are taking with their family rather than alone.

annnnd that does it for me, i've spent no less than two hours writing and researching for this post so ima go take a nap now, gnight

#in stars and time #isat #just chatting #liveblogging #in stars and time spoilers #isat spoilers #tarot reading #tarot cards #dear god this post had me locked in a chokehold the entire time #im so tired #worth it though #insertdisc5 you are a genius and you have all my respect you absolute mad lad #wormwood rambles

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frigidwife · 2 months

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i would like to ask ur opinion on this bc u are one of maybe 5-6 iwtv blogs that i trust and i don't know if i am simply biased but i think u are very thoughtful and fair in ur analysis of iwtv. because even among self-proclaimed louis lovers/understanders, i have seen the idea that louis "could not and would not" save claudia from the fire, or choose her over armand, or that louis was also abusive to claudia if not the Most abusive, or that he "let" lestat/armand destroy her. and i agree that louis failed claudia in some ways (though saying that feels much too vague at this point) and that liking characters doesn't mean apologizing for their flaws and i understand the reflex to spotlight claudia's mistreatment as many fans are so quick to dismiss her importance. but i think people get so caught up in emphasizing claudia's tragedy that they end up falling into victim-blaming rhetoric and ironically de-legitimizing really important aspects of her character and impact. so i wanted to ask though, how do you think louis actually did fail claudia? and should we call claudia's death louis' failure?

ty for valuing my opinion 🥹 i agree w you completely people emphasize claudia's tragedy at total expense of her personality...which sucks bc i love her personality...i think louis actually primarily failed claudia in the exact way that every single parent fails their child. if you've read frankenstein it's about the inherent monstrosity of creation--inherent hubris of creating something whether it's a creature, a work of art (the novel itself!), or a child (shelley's miscarriages and her relationship with her parents haunt the novel). you create something that is a part of you and a mirror of you, you confer your expectations as naturally as breathing, even with the best of intentions, but now the creature/novel/child exists outside of you, outside of your body and your imagination, autonomous, with desires and effects you couldn't have dreamt of, and there is something terrifying and painful in that chasm even in the best of conditions. and this is more broadly true of loving anyone. and in that sense i don't think louis's turning of claudia is really more selfish than having a child ever is. it's not an aberrant or evil desire. so that's one layer.

and then the next layer is the conditions. louis cannot stop seeing claudia as his daughter, even if he calls her sister. she'll always be his daughter. and again this is an almost fundamental condition of being a parent. even if ur parents make an effort--and louis is making an effort--to see you as equals, that foundation is underlying it and can't come undone. the problem is that normally, even if maybe you're always a baby to your mom deep down, you're also functionally an adult in the real world. but claudia is an adult who is constantly belittled and condescended to and treated as a child from all corners. so she goes from louis who can't see her as her own person because he cant stop being her parent to an outside world that can't see her as her own person bc it's structured to deny children's autonomy, and girls' in particular, and especially black girls'. AND THEN the abuse. “you chose lestat over her again and again” i think people take daniel as word of god a lot even when the show has demonstrated that daniel is less than careful talking and thinking about abuse, when it comes to both louis and claudia. Louis chooses to take lestat back, can’t kill him for good, chooses to commit to armand, tells her to put up with the coven’s abuse. those are choices that hurt claudia terribly. but they also exist in the context of abuse. over two decades of debilitating destroying violence and then a new man who tracks him down and dangles his and claudia’s life over him as penalty from the jump. louis is constantly calculating risk based on what they’ve experienced and the same way claudia’s trauma drives her into the waiting arms of a cult, louis’s means he sees enduring as his strongest means of survival . and even from before that from keeping his family afloat under jim crow —performance, self sacrifice at the expense of closeness with grace and paul; using “weakness to rise”. so when louis tells claudia to endure its bc he cannot imagine a way out. which is a failure sure and something claudia can and does resent him deeply for but is entirely and categorically different from what lestat and armand inflict on her . his “choosing armand” is never really about him liking armand particularly it’s him deciding he knows what’s best for both of them—again seeing claudia as his child—to the extent that he won’t even tell her about armand knowing their secret.

this isn’t selfless it’s foolish it’s prideful but the story very clearly is not Louis picking a man over his daughter. (claudia calls out what he wants in a companion in 2.01—“if he can’t call you pretty and take you ballroom dancing” Armand won’t even light his cigarette). i think people have constructed this narrative which funnily enough is the exact same one armand uses to gaslight louis with in 2.05 ("you threw around her name for cover, but you always went back to talking about him" or something like that). Which is really obviously a victim blaming narrative lol like the amount of joke posts that r essentially saying Maybe if louis wasn’t so cock hungry his daughter wouldn’t be dead. Okay?? i think its absolutely fucking insane to call her death louis's particular failure when she was lynched. by armand

and you can tell by episode 6 claudia has realized louis isn’t picking armand over her. her frustration with him is with this martyrdom that she never asked for or wanted, that clearly isn’t “you and me” either. Like you cannot tell me she believes “imagine me without the burden of her” means louis is happy and relieved to see her go Bc she’s not stupid and she’s seen him happy before. If she really thought he meant something like that she wouldn’t behave towards him as she does in the rest of ep 6 and doing the trial. completely ignoring her personality

there is also a hopefully really small subset of people who think pointing out how patriarchy works Is gender essentialism who posit louis as the primary perpetrator of misogynoir in order to justify their fundamental queer human right to call lestat femme . and then expect pats on the back for acknowledging #intersectionality . which is. absurd.

#sorry for talking so much about frankenstein

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m1d-45 · 1 year

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second chances

summary: baizhu knows he isn’t your favorite, but he still finds himself hoping for the impossible. maybe, with enough prayer, he’ll get it.

word count: ~2k

-> warnings: major spoilers for baizhu story quest + lore + liyue archon quest, based on me and my experience (vaguely disliked baizhu at first due to partial information, immediately changed my mind w his quest and now adores him, doesn’t have kirara)

-> gn reader (you/yours) and unspecified traveller (they/them)

taglist: @samarill || @thenyxsky || @valeriele3 || @shizunxie || @boba-is-a-soup || @yuus3n || @esthelily || @turningfrogsgay || @cupandtea24 || @genshin-impacts-me || @chaoticfivesworld || @raaawwwr

< masterlist >

baizhu knows he isn’t the most favored.

from the first moment the traveller set foot in his office, he knew. he wasn’t met with anything special, no big flair from his god when you first saw him. it was to be expected, with how much time he spent praying—could gods have regulars?

it was simple. a quick ‘oh, the snake talks?’ thrown his way, a comment or two about his choice of outfit or the jade pendant hanging off his vision, and that was that. mostly, you seemed preoccupied with qiqi and the funeral parlor’s consultant, something to be expected. he was a quick stop on your journey, a note in the margins about the doctor you met at the pharmacy. it made sense, of course, that you’d be occupied with the death of rex lapis during the failed rite of descension, and the return of osial and beisht surely took priority over him. he offered little, only a dialogue or two actually shared between him and the traveller when you were present. he’d gathered as much of his energy, saved it for your arrival to make a good impression, so… it made sense you’d fret over qiqi, constantly forgetful as she was.

it made sense. he’d… made his peace. he had more to worry about, surely, what with orders to fulfill and his own condition to manage. maybe not more important—never, not maybe, what was he thinking?—but certainly more.

when your attention on qiqi flared, spurred by some unknown whim, he delighted a bit in being close to her, even if your thoughts on him weren’t entirely positive.

it was fair. you liked qiqi, and were concerned. it made sense you didn’t know every detail of teyvat, and since he’s never had the chance to come to you and spell out his story directly, it made sense you’d make some assumptions.

“i guess that makes sense, but still… qiqi deserves better.”

she probably did, in truth, but hearing it from you…

he’s had his vision for years by this point. he’s hd it for as long as he’d had changsheng, to be exact, and she was always able to remind him of exactly how long that had been.

“ssseven yearsss, four monthsss, thirteen daysss, and counting…”

“ah… thank you, changsheng.”

he knew he wasn’t special. out of the thousands of vision wielders across teyvat, only a handful have started having their constellations appear in the sky. just under a hundred, by his approximation, but he tried not to count. if he sought out the proper numbers, tried to pin down a percentage of those with a vision that had a chance to hold their god’s attention, then he’d start trying to find patterns. he was a doctor, patterns and rhythms were his literal job, but he knew that wouldn’t end well.

(a librarian, an alchemist, a lawyer: did you perhaps favor more studious types? a bartender, an exorcist, a detective: or those with a drive in their lives? a nobody, a traveller, a wandering samurai: or those seeking one out for themselves?)

there wasn’t a pattern. it was random. and part of him hated it.

baizhu had had his vision for seven years, eight months, and thirteen (was it fourteen? the sky was growing dark) days, and had never once seen his stars in the sky.

he had one. he had a constellation, something he knew was rare among vision wielders, but it didn’t guarantee him a spot in the sky any time soon. kirara had hers long before she had her chance in the heavens—they’d spoken about that, both hesitant to show the other their divine gift, but willing to speak of its existence.

and now kirara’s turn had passed. though her vision didn’t shine any brighter, he could see the pride in her smile when she dropped off another delivery at the pharmacy. sign here, check these, make sure this is what you ordered, goodbye have a good day, pretend like yours doesn’t weigh more after seeing hers.

it wasn’t as if he was unremarkable. a perfectly healthy man who had thrown himself into illness to find the cure for all of them? surely that was interesting, wasn’t it? but it wasn’t his time, he was being impatient, slipping back to the same mindset he condemned his patients for.

“patience. medicine doesn’t work in an instant, and you’ll need to be taking this for the next week at minimum.”

“but it’s so bitter!”

“then tell me, what tastes worse: bile, or this pill? if you want to stop being sick, you need to take it.”

patience.

qiqi was blessed with a place in the stars near instantly after she’d gotten her vision, but she was not the norm. perhaps his expectations were weighted, then? or maybe you disliked his work entirely? he didn’t like entertaining what ifs, but when various aches kept him up, there was little else he could do while he waited for his medication to take effect. patience, he tried to remind himself, counting his breaths. be patient. wait, be calm, don’t agitate yourself. count in, count out, are your breaths getting shorter? just stay calm, be patient…

the first time he saw you, he knew you were coming. he’d saved as much energy as he could, doing his best to make a good impression. but now, with changsheng nudging him awake urgently, pushing him into his shoes and putting his glasses on for him, the first thing he’d expected was the millelith, maybe, or perhaps the ministry of civil affairs. maybe he was needed urgently, maybe something had happened to qiqi, maybe he was late for his medication and he’d get terrible headaches if he wasn’t quick- oh, but then why would she bother to coil around his shoulders?

and yet, out of all those possibilities, none were correct.

“hey! who’s talking about me behind my back?”

“changsheng, qiqi meant that as a compliment. there’s no need to be upset.”

it had been so long since he’d felt your light, far longer since he’d been properly healthy. he’d forgotten how it felt to walk without the dull ache in his joints, and yet here he was. standing by gui and a familiar looking child, speaking with your traveller. it was easy to say words he didn’t choose, his throat not getting dry despite the lack of his morning tea.

the quest was long, and by the end he should have been exhausted. between taking on jialiang’s sickness to turning him into a zombie, he should have been out of commission for the next few days. as it was he had a nasty cough, his breath coming shorter than typical… but that was it. he took his regular medication at the dinner with your traveller, the linger of your aura on them still seeming to dull his pains. how curious, that you could cure ailments even he couldn’t name anymore…

“baizhu, are you alright?” idly, he wondered if the traveller noticed the change in their voice when they were speaking for you. it always sounded a bit lighter, a bit of your emotions bleeding through… a pity he’d never know why. “today must have been taxing for you…”

all eyes were on him now, even qiqi’s. “i’m doing fine,” he said simply, taking another sip of his tea. “better than normal, if anything, which i have to owe to our guest.”

paimon still seemed nervous. “but what about when we leave? what if everything hits you all at once? normally you stay at the pharmacy, and using your power so much…”

a fair assessment. while he was no stranger to combat, to be thrown in the middle of a pack of such vicious hilichurls was a shock. still, he had made it through—even if, privately, he doubted it would have been so clean without you there. “i will be fine. even if my condition declines, i am well equipped to handle flare ups.”

it seemed the whole group was hesitant to let him go. changsheng insisted he stay up until three hours had past since the traveller left, when his limbs again felt heavy and his head began to hurt. something odd was stirring in his chest, and he was eager to get to bed before it sparked into anything more. it was reasonable, he knew, but there were only so many prescriptions to prepare before he had nothing left to do. gui had long since went to bed, leaving just him in the lobby of the pharmacy, quietly double checking his stock of herbs.

eventually, he stood from his seat, returning the sweet flowers to their proper place. he held up an hand to let changsheng climb up his arm, closing up the pharmacy. she curled around his shoulders twice, a familiar weight. the night was cool, a slight breeze bumping the chain of his glasses against his cheek. it had been a long few days, and he was happy that everything was settled. he’d done all he could for jialiang, and he and his family hopefully wouldn’t be coming back for quite some time. back to routine…

“…baizhu?”

he checked the lock with a quick tug, “yes? what is it?”

“the ssstarsss… they’re due, aren’t they?”

ah. the cycles of constellations, switching through the sky. if he thought about it.. yes, they were, weren’t they?

“by my memory, they are. why?”

her head was turned, looking off to the part of the sky not obscured by the roof of the pharmacy.

“…changsheng-“

“look.”

“it’s late.” his heart began to pick up, false hopes being raised. patience, he chided himself, but what follower did not wish for acknowledgment from their god? “we should go to sleep before we fall too far out of schedule.”

“baizhu! i know you have better sssenses than that.”

perhaps he did. his vision burned where it was clipped to his side, invisible vines creeping up toward his heart. “don’t be too hasty,” he said quietly, the words tasting as bitter as his pills.

don’t be too hasty. you could still be wrong. don’t get your hopes up. be patient.

one hand went to his hip, undoing the clasp of his vision, the other settling on the railing. a few clouds dotted the sky, but he lifted his vision anyway, searching for any stars tinted green.

everything happened at once. the terrace was replaced with an ocean of skies, the slight mumble of “i do have a guaranteed…” getting lost in the whirlwind around him. he was weightless, trapped in by an invisible box, only dimly aware of the fact that his pain had once again disappeared. he was floating, dressed in the attire he normally saved for formal events—dressed in what he’d put on when you’d first arrived—with no sight of the pharmacy below him. it was just him and changsheng, him and changsheng and the bright light that came from everywhere, lifting him from his unseen prison.

a laugh, a smile, a rush of power flooding through him, and when he next set foot in front of the pharmacy, he did so with a new gleam to his vision. he could hear a door open behind him—qiqi, if he had to guess, as why wouldn’t she be drawn to the power the adepti could only hope to imitate?—but couldn’t turn, breathless.

“welcome home, doc.. it’s good to see you.”

it had taken seven years, four months, and 25 days, but he was here. and it was more than he could have ever asked for.

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zombie-eats-world · 1 year

Text

Luffy's Linage and the Connections to God's Valley

I think we all know that the history of God's Valley is going to be very important to the story and to our protagonist, Luffy. But I think I've realized why it will be the biggest reveal in the story and intertwined intimately with Luffy's creation and destiny. This might sound crazy but I believe wholeheartedly that:

Luffy is the grandchild of Rocks D. Xebec.

Luffy is the child of Crocodile.

Crocodile's mysterious history is interlinked with every important character in the Grandline. Now, let me explain.

Let's first lay out what we know about the God's Valley incident. We know the Celestial Dragons were on the island, which prompted a young Garp to trust a young Gol D. Roger with an alliance to fight against the Rocks Pirates. Together they won, the incident was covered up, the island disappeared, and Roger found a baby Shanks in a treasure chest as he sailed away.

There is so much about that incident that we don't know, but we do understand just how much it has impacted the world of One Piece. And that goes double for the relationships born from the incident.

Whitebeard and Roger's friendly rivalry, Big Mom's vitriol for Roger, but by far the most interesting thing to come out of the incident is Roger and Garp's mutual respect. Roger respected Garp so much that he trusted the marine with knowledge of his child who was about to be born.

This is the million-dollar question, why would Roger entrust his child's (and at this time, Rouge's) life to this marine who could have become a massively different person in the years since they last met. For all Roger knew Garp was now corrupted by the marines and agreed that Roger's bloodline needed to be eradicated. Well, I believe Roger trusted Garp because he witnessed Garp save a child before against the World Government's wishes; I believe Garp saved Rock's child.

We all understand by now that one of the overarching themes of the story is 'history repeating itself', which is why I think the hunt for Roger's child happened once before with the God's Valley incident. The WG would obviously want to completely erase Rocks from existence (they basically have to with how little we know about him), which would include any children he had fathered to carry on his bloodline. As the fight on God's Valley raged a group of marines, or possibly Cipher Pol, would arrive with the orders to kill anyone with even a passing relation to Rocks. The survivors of this being Rocks top members (Whitebeard, Big Mom, etc.) AND his child; who I am willing to bet real money on was Crocodile.

Crocodile is one of the most interesting characters in the story by far. And while that might be a lot of bias from me, I still think the evidence speaks for itself.

Crocodile is one of the only major villain's that we lack a backstory for, we know more about Warpol's backstory than we do the very first Warlord we ever fought and defeated in story. The man has a strange relationship with animals that is never once explained. Lizard mail runners that we never see utilized by anyone else? Yep, Crocodile's got them. A trained otter and condor being given more trust than the humans in his secret organization? Yes, Crocodile did allow that. Gigantic reptiles that are known to attack Sea Kings? Crocodile kept them as pets and had them so well trained Robin was able to casually pet one! (This doesn't really add to the theory beyond showcasing an odd character trait giving to Crocodile of all people and without any explanation. No one even thought we'd see him again before impel down!)

We also know that Crocodile's inspiration was Roger, from the cover on chapter 408 we learn that Crocodile dreams of being Roger. (very similar to Yamato's dream of being Odin, just more history repeating itself.)

I'm not understating this, Crocodile as a character is so weird. He's got connections to everyone, (Whitebeard, the Revolutionaries, Ivankov, Mihawk, etc.) and yet we've never got any explanation for any of this. We know from how intertwined Crocodile is with the Grandline that he's been a pirate a very long time yet no one in the story seems to know anything about him outside of his Warlord status. In fact, Crocodile seems to be comfortable with the secrets, even being alright with Buggy taking the credit for Cross Guild.

This mans strange relationships with powerful characters like Whitebeard is the reason for the prevalent theory that Crocodile is Whitebeard's only biological child instead of Rocks.... but what if it was both?

No matter how I think about it I've never been able to get over the strangeness of Crocodile and Whitebeard's dynamic in Marineford. Whitebeard definitely doesn't treat Crocodile like someone he cares about, less so like a child that would automatically count in the family that was HIS DREAM. But there is a familiarity in how they address each other, like their history goes back far further than the battle we know they had when Crocodile was a young pirate.

So I propose this:

Crocodile was Rocks child, witnessed Roger take his own father down after standing up to him. This is the reason for Crocodile's dream seemingly being to be Roger. And this would eventually be mirrored in the relationship between Kaido, Yamato, and Oden.

Garp impressed Roger by helping Crocodile to safety instead of following orders and killing him. This would stick with Roger over the years and be why while sitting in prison waiting for execution he decided to put his child's life in Garp's hands.

The safety Crocodile was brought to was Whitebeard. Crocodile was 8 when God's Valley happened, so Whitebeard raised the boy for a few years before Crocodile either ran away or was sent away. We don't know why Crocodile and Whitebeard's relationship turned sour but whatever it was caused Crocodile to see him as an opponent he dreamed of defeating.

This all spurs Crocodile to go to East Blue to witness Roger's end and motivates his desire to defeat Whitebeard as he is now the father figure he must overcome in order to be like Roger. (Kinda like Ace's original desire to defeat Whitebeard huh? Again more history repeating itself.)

Now onto what this means for Luffy, and the story as a whole.

I've already outlined all the evidence for the Trans! Crocodile and Crocodad/Dadodile in many, many, many posts. So I'm not doing that here, you can find my main posts on it here and here. In this post, I want to discuss the ramifications of Crocodile being Rock's child and Luffy's birth parent if this theory proved true.

First of all, this would mean the person that literally gave birth to the dawn and the future sun god Nika/Joyboy incarnate had their life undeniably changed at GOD'S VALLEY. I don't think I need to explain the almost heavy-handed symbolism with that entire naming scheme.

It would also mean that almost everyone who had an impact on Luffy's life was at God's Valley. The person who gave birth to him (Crocodile), the person who inspired his dream (Shanks and Roger), the person to raised him and trained him (Garp), and the person to validated his dream to the world (Whitebeard). All that is missing is Dragon, but for all we know he was there too!

Also I simply love the symbolize that revolves around this entire theory. Luffy would be born from the son of the man who was push into the spot light after God's Valley, praised as a hero. And came from the child of the man who was wiped from history, his family memory thrown to the darkness. Its a clash of opposites, light and dark, a total contradiction, also could be described as a dawn. Not even mentioning the beautiful irony of Joyboy being born from someone taking the name of a predator known for its menacing smile.

If this proved to be true, Crocodile would be centered and primed to possibly be the link between the crew and Gods Valley. Maybe the last Road Poneglyph is there!

But what do others think? I'd love to have a discussion about this if anyone finds counter evidence, or finds evidence that gives more credence to this theory!

Here's an additional link to a great post about this topic I found while looking for evidence.

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this-insidious-dawn · 1 year

Text

This Insidious Dawn is a dark fantasy IF wherein you play as a vampire, employed under the clandestine League of the Third God to hunt down anything -- everything - that does not belong in this world. But you do not belong here either, Warden. Demo tba.

☼ SYNOPSIS

The League saved you. Rewrote your life- gave you a chance to be more than a bloodstarved vampyr. Or did they?

You remember nothing of your past before the League; nothing but blood and indescribable agony, nothing but the thrumming of your heart stilling- and then beginning again, stilted and wrong. That was over a decade ago, the memories now faint and the connection quivering. They've been replaced, overwritten by years of blades clashing, body aches, and hollow hunger.

You started out weak. Starving, skin-and-bones, desperate for any reprieve you could get your hands on. Now, you're strong, each hunt -- each cut - giving you just enough energy to keep your worn body going. Some people would call it cruel, to keep a sentient being on the edge of death. Most people, though, would say that you're a vampire, so you hardly count as sentient.

Regardless of the morality of it, the method was effective. You were one of -- no, the most - efficient Warden the League had to offer.

And then a hunt went wrong. And now you're dead. But- a vampire (no, not a vampire; a vampyr) can never truly die. So you're back. But is it really you?

☼ FEATURES

↠ Customize your Warden. Appearance, gender, pronouns, and personality are all up to your choices as the player.

↠ This is a psychological horror first and foremost. It will have themes of dehumanization and derealization, amongst others. CWs will be offered.

↠ A character-driven plot where your choices impact the story.

↠ A cast of four consisting of The Acolyte, The Commander, The Savior, and The Forgotten, any of which you can optionally romance no matter your Warden's gender.

☼ CAST

↠ THE ACOLYTE

As with any vampire, you are accompanied by an acolyte to keep you in check and ensure that your hunts go well- as well as to mend any Gorges that riftspawn might crawl out of. Constantine Nimecidus fills this role, in your case (ae/aer). Ae is sharp-tongued, with a chronic lack of patience towards the people and world around aer, and can come across as snappy or rude. In other instances still, aer sarcastic, dry, and often untimely humor can offer a quick relief from the tension of any situation- or make it several times worse. Despite aer casual, laidback nature in the face of most events, ae places utmost importance on aer job, and quickly becomes intense whenever ae feels as if ae or aer position are being in any way threatened. You've spent years going on hunts with aer at this point, but the connection has never transcended the necessary 'I save you, you save me' exchange. Ae seems wary of you.

Constantine is a bit shorter than most, standing at 5'3. Ae has broad shoulders and hips, and is thickset with both muscle and fat. Aer amber skin is dappled with symmetrical pale patches, especially prevalent around aer eyes and mouth, and the lack of pigmentation has bled into aer hair in some spots, giving the dark auburn eye-catching streaks of white. Said hair is curly and cut shorter along the sides than the back is, and ae spends an awful lot of time preening it. Aer eyes are a striking, slightly luminescent bronze, and aer pupils appear instead of black as molten gold, shifting slightly in color to match aer emotions at any given moment. Ae has full lips and slightly upturned, monolid eyes. Ae favors shades of brown, tan, and orange in aer outfit, and ae near-constantly dons a rich red capelet with fur trimming around the hood.

↠ THE COMMANDER

Ex-commander of the Serpent's Guard-turned vampire. You'd personally never had a run-in with Alvaros Vepir until just recently (he/him). He's gruff, jaded, and withdrawn- exactly what you'd expect out of the man who gave his life for his queen only to nearly die (again) for it. It's hard to say, though, how much of his time as the commander he truly remembers. Alvaros is a poet's dream, the hero in an epic-turned-tragedy. He keeps everybody at arm's length, never allowing them to learn more than what the stories and theatrics tell of him. This is especially true of you- the vampire who was sent to reign him in, turn him from a rogue vampyr into a soldier of the League. Despite his emotional avoidance of you, though, he seems quite interested in you. Maybe it's the fact you're one of the few to have bested him in combat. Maybe it's just that 'vampiric charm' that old legends tell about (but that never seems to work outside of fights). Maybe it's because he remembers you.

Alvaros is intimidating in every manner. He stands at 6'4, his whole body is lean and scarred, and the black sclerae encircling dark green irises certainly does him no favors in lessening the effect. Before you were dispatched to retrieve him, you couldn't have said what he looked like; as the commander, he'd worn the veil regular of high-ranking members of the Serpent's Ring, leaving nothing but the back of his head exposed. Now, you know of his face well enough that you could probably recognize him in a crowd. With fawn skin dotted by freckles, hooded eyes, and a distinctive hooked nose, Alvaros is exactly what one would expect of a native of southern Ghel- save for his hair. Instead of the expected brown or black, his hair is a muddy blonde, and it has slight waves that turn into full curls at the tips. He maintains it short, never reaching past his chin. His face is scarred (his everything is, really), with a particularly nasty gash reaching from his left eyebrow down to his right jaw. It just barely misses his right eye.

↠ THE SAVIOR

An acolyte? You think so, anyways. Suri Revlece is the woman who saved you (she/her). You don't know whether or not she's even with the League, but she certainly looks like an acolyte. You don't know what she was doing there, either, but she seems willing to answer any of your questions while you recover- as long as they aren't personal. She's kind enough, but seems a little...off. She's finicky, always looking over her shoulder. She's running from something, but she doesn't seem to know what. She appears to believe that she and you have some type of camaraderie, although you've never met. But there's something to be said for the sheer strength of her magic- you've never seen an acolyte's shimmer burn a riftspawn like that. Never seen one with an eye glowing that bright, either. She's an anomaly- one that you're sure the headman at your partner's spire would be more than glad to have amongst their ranks, but then the mere idea of it had her denying it with vehemence. It seems like she has a history with it.

Suri has a mesmerizing look to her. The deep brown of her skin, near-black of her hair, and dark garb are contrasted with bright pops of color. One eye is a brightly glowing orange, the pupil nearly white, and the other is a misty grey, its almond shape deformed by the burn scars warping the left side of her face. That dark hair, braided and reaching down to about her hips, is decorated by light brown and gold beads engraved with runes that seem to serve to channel her magic. Her frame is lanky and she's long-limbed, reaching just above what most would think of as an 'average height', at 5'8. Below a brown leather cloak, more runed jewelry decorates her wrists and fingers, and her hands are tattooed in shades of bronze. The burn upon her face is not the only such injury she has suffered; her palms are burnt the slightest bit, and similar scars wrap around her arms. She has a broad nose and thick heart-shaped lips, and light stubble sits above the top lip.

↠ THE FORGOTTEN

You don't know who they are anymore. Who are they? (he/they/she)

A shadowy form, the silhouette of a memory. There's something not quite right about them. What have they become?

☼ LINKS

Demo - tba

Other blogs - @azraels-bad-choices (main IF blog) and @a-firsthand-murder-ballad (other project)

#interactive fiction #writing #interactive novel #if wip #twine game #if intro #this insidious dawn if

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showtoonzfan · 6 months

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Now I want to talk about Charlie cause good GOD. I never cared much for her in the pilot, I’ll admit that. I always called her boring compared to the other characters because of how developed they were compared to her. However the show takes everything that the pilot build up for her and just made her 10x worse to the point where she’s INSUFFERABLE to watch.

When I got to the very end of the season, I realized that she barley did anything progressive or had an impact on any character, at least what we’ve seen on screen. I understand this was the first season, but what exactly was her arc and what exactly did she do? Nothing. Throughout the season she wasn’t a leader, the most she did was help Sir pen with lessons and have that fight at the heaven trial. In the end they try to act like she overcame some arc about learning to lead and take charge but…she didn’t really. She was helped constantly by people around her, mainly Vaggie/Alastor/Rosie and she never really did anything on her own that was enough to signify her independence as the MAIN character or even the princess of hell. I love how she needed to be TOLD that her girlfriend cared for her…like wow. Vaggie also states that she’s “done so much and touched so many souls”- and all I could think about is how I actually wish we saw that on screen. Husk said she “wants to fix everyone’s problems but her own” and I never got that vibe out of her??? If she was more like Luz from the Owl house where we constantly saw her avoid her own emotions and problems and focus more on helping other people, then it would make sense but guess what, we don’t see any of that because the show is so disinterested in ACTUALLY focusing on Charlie shining at the front and helping people. They scrapped the main premise of her wanting to help sinners and instead used up all the time they had to introduce new characters. It’s all tell and no show as expected.

She’s painted as someone who’s desperate to save her people but when she’s not the focus and actually helping someone, she’s a whiny frustrating crybaby who needs to be coddled or steered in the right direction, and it’s SO hard to watch how her character is treated like a child who can’t do anything. This character has existed for 200+ years canonically but she isn’t written like that. She’s dumb. The fact that she’s such a doormat that she can’t even realize Angel is being abused by Val or even DO ANYTHING about it is fucking baffling, she’s THAT useless. There were so many moments in the show where she could have used her authority or powers to save trouble, but she just doesn’t do it because she’s useless, and I’m tired of people trying to say she’s a pacifist to excuse the shitty writing. She’s also basically Viv’s self insert in a way, an unfunny woman child who’s a hypocrite. Like Charlie is the equivalent of dry white chicken. There’s no seasoning or flavor to her character, she’s SO bland and boring that Lucifer and Alastor end up being more important than her and having more screen time, she’s ATTACHED to them and it really shows, rather than her being at the front. And I know we’re on season 1, but you’d think that Charlie’s childishness would actually be a character flaw and something she needs to overcome and grow up about. But this isn’t really seen as an issue and more of a quirky thing cause Viv thinks being a woman child is funny, the “fuck you you old bitch” scene made me cringe so god damn hard. Everyone has already said it, but Charlie cursing so so forced and unnatural for her character. I don’t like how she’s supposed to be a cinnamon roll but then at the same time swears and acts feral at times. It doesn’t fit.

During the fight scene in the end, she also does absolutely nothing. She made a whole deal about how she wants to defend her people and get back at the angel’s, but aside from throwing Adam and hitting him once, she needed to be protected or saved, Lucifer ended up actually doing the work and it was so hilarious. Speaking of that, Charlie’s daddy issues arc was also rushed, her and Lucifer reuniting and then making up within the same episode was a mistake. Then you realize that her daddy issues was mainly all Charlie had to her in terms of depth and what was explored in the show. I’m so tired of Viv giving her characters daddy issues, it’s getting old lol. But regardless of what Charlie has to her, in general the show just doesn’t focus on her. She’s not the main focal point of the show when she should be. SHE’S the one who wants to redeem sinners, the hotel was her idea. Even tho the pilot was a mess I still felt like she was determined to take the lead due to her beliefs. And yet she still feels like a side/background character who only occasionally gets focus here and there but certainly not compared to the others. The potential is there but due to the favoritism of the writing she’s such an empty and boring character and stayed like that till the very end.

#vivziepop critical #spindlehorse critical #hazbin hotel critical #anti vivziepop #Hazbin hotel #Hazbin hotel Charlie

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calisources · 9 months

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THE ROYAL TREATMENT. all sentences are either taken from fantasy or fictional and historical novels about kings, queens, royal blood and some sparked romance and magic. change all pronouns and names, locations as you see fit.

“You are enough to drive a saint to madness or a king to his knees.”

“She was a ray of sunshine, a warm summer rain, a bright fire on a cold winter’s day, and now she could be dead because she had tried to save the man she loved.”

“He was a man known for the violence of his temper as well as the deliciousness of his touch.”

“Am I making you nervous, Natalie?”

“Sad it is, the fate of kings.”

“Go to this masquerade ball with your new friends, put on a pretty gown, and dance the night away.”

“Repentance is like a royal cheer.”

“Even the small joys are worth cherishing, and they will lead to greater ones.”

“when you become king shall find many difficult tasks and you shall have to hurt others and yourself.”

“The throne brings trouble and grief along with the glory.”

“Anger is a feeling afforded only by royal blood. Ordinary people ask for mercy in such situations.”

“True leadership is serving others; follow Queen Elizabeth's noble example.”

“Success isn't wealth or status; impact matters.”

“The power of empowerment can change the world, one person at a time.”

“Leadership is service, not a throne to seize.”

“I have in sincerity pledged myself to your service, as so many of you are pledged to mine.”

“Proper training is key, it allows one to accomplish a great deal."

“Oh honey, someday a real man is going to make you see stars and you won't even be looking at the sky."

“Royalty comes with a cost. My great-great-grandfather was one, and he left me no royalty but loyalty to empower people.”

“At all times an empire is more important than emperor and empress, prince and princess.”

“You might have to ask yourself, however right your claim is, if you are the leader the realm needs and wants.”

“You’re Royal. Get used to it and that involves a lot of burdens and things you don’t want to do.”

“I’m in awe of you, Rowan Palotay.”

“Slow down there, princess. How do you know what kind of first impression you gave me?”

“Prayer is a royal power.”

“You forget yourself and who you are speaking of.”

“Anyone young, famous and beautiful who dies young is forever frozen in time and fascinating to all of us.”

“Youths are the life blood of any nation.”

“I am not yet come of age, my lord. How can I be queen?”

“To crown her is to kill her.”

“He didn't marry you to become king. He became king because he wanted to marry you.”

“Little by little, the old world crumbled, and not once did the king imagine that some of the pieces might fall on him.”

“I believe we are what we make ourselves, and as such, you, Crown Princess, are nothing.”

“Rule with the heart of a servant. Serve with the heart of a king.”

“There’s a fine line between gossip and history, when one is talking about kings.”

“We kings do develop a certain ability to recognize objects under our noses.”

“...alone is such a nebulous state when one is queen.”

“I respect you as my king, and I respect you as my father, but I do not respect you as a man!”

“She was made to be a queen, just like her mother.”

Protect Myrcella with your life. Defend her... and her rights. Set a crown upon her head.“”

“You’re my princess, right? You were always going to be my princess, no matter what you were born.”

“For dogs we kings should have lions, and for cats, tigers. The great benefits a crown.”

“This marriage had resulted from impulse.”

“The king is a saint and cannot rule, and his son is a devil and should not.”

“One does not ask if one likes the Blood Royal. They simply are. It is like asking if one likes the Gods.”

“You are a king worthy of their allegiance . . . with a queen full of fire and promise.”

“The idea that how you are born or the name you are given dictate the sort of person you really are.”

“You seem to think that you can still turn back, but it’s too late. You’ll have to face it, Princess. Maybe not today or tomorrow, but soon enough. And you can’t be this scared when the time comes.”

“Was it worse, she wondered, to be wanted dead or wanted Queen?”

“My royal status is both a shield that protects me and a sword that impales my heart.”

“Respect shouldn't be hereditary; it must be earned.”

“You know, for a pampered princess, you have a certain gift for violence.”

“There is nothing sharper than a well mannered princess’ words.Their true meaning are a mystery.”

“People are born great but yet need to grow into greatness”

“Kings needn’t raise their voices to be heard.”

“She was their witch queen, and they adored her.”

“To be fair, I don't quite see any difference between an assassin and a knight. They both kill people, only one "in the name of Honour '' and the other is just a "monster"

“Crowns belong to those that serve.”

“I have the softness and meekness of a daughter but I also have the boldness and Braveheart of a Son.”

“Will you visit my chambers tonight?”

“A throne won in blood will soon be drenched in it.”

“Even when she's dethroned by hardship, she still wears the sun as a crown.”

“The Princess knew in her heart she is strong, smart, and capable because it is in her blood.”

“There is the matter of succession that has to be settled. You don’t start a reign without settling how it continues.”

“My reign has been anything but traditional. Let’s not start now, shall we?”

“Every girl thinks about growing up in a palace. Few ever ponder living in a cage.”

“Often blessings and burdens comes hand in hand. The bigger the Crown the heavier the burden”

“If stubborness were all that was needed to be a good queen, I'd rule the world.”

“Some girls have a frightening killer instinct. Don't let the ball gowns fool you.”

“You don't turn your back on your destiny.”

#roleplay memes #sentence meme #( cali meme. )#rp memes #rp prompt #rp musings #roleplay prompt

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mania-sama · 7 months

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A Look into Mental Health: Jujutsu Kaisen Analysis

"Being a child is not a sin." (Nanami Kento, Jujutsu Kaisen)

With the release of Chapter 251, I've seen many horrible takes from dudebros saying that Megumi has "sold" the team. This makes me unreasonably angry because of course it does, so obviously my next plan of action is to take all of my hour-long rants about the mental health of JJK characters and put it here, where said dudebros will never see my (correct) analysis in their entire life. Oh well.

One thing Gege is really, really good at is creating believable, undeniably human, and complex characters. Every character has a different set of motivations, beliefs, ideals, and especially mental states. The constant theme of Jujutsu Kiasen has been "Strength vs Weakness". While the clearest interpretation can be seen through the physical attributes of the characters (Gojo being the strongest sorcerer of his time due to his abilities, and Miwa being one of the weakest, again, due to her abilities), it is also directly applied to the mental strength of characters. No two characters are able to withstand the same trauma and come out the exact same, just as no two real people can process the same trauma. Not only is it a result of nature, as people are genetically different and therefore process information differently, but a product of nurture - in other words, character motivation and environment.

This is where we come to the current state of the manga, Chapter 251. The fated Yuuji vs Megumi debate. I keep seeing people wildly misunderstanding these two, and why it's so important that Megumi isn't standing up to fight, why he isn't able to handle his trauma, when Yuuji can.

Gege writes phenomenal characters. And I want to express just how well done they are, making Jujutsu Kaisen actually kind of deserve its popularity, because some people only care about power scaling. I'm going to touch on Megumi last, because understanding all of the other characters' makes his visible struggle that much more impactful.

1. Geto Suguru

I want to start this mental health analysis with Geto. He is the best representation of depression I've ever seen in Shonen. It doesn't take a hundred chapters to showcase a character's downfall. It doesn't take a hundred significant events to cause a character to break down. Gege shows the best, realistic mental breakdown using only a handful of chapters, and still makes it slow and painful.

Depression can start because of a big event, but it doesn't take more for it to worsen. Untreated, depression runs a vicious course that eats a person through slowly but effectively. It isn't one screaming session, hands clutched over the head and cursing God and the world. It's everything piled onto each other. It's coming to the end of that pile and realizing that nothing will ever change.

This is Geto Suguru's story. He has a big event: the fight with Toji and the failure to save Riko. But his mental health journey was fated to decline, even without the fight and failure. The root issue of his depression came from his ability: Cursed Spirit Manipulation. As long as he kept devouring the embodiment of every vile, human emotion, the more he would lose himself to that vileness. He wasn't changing anything; he couldn't help but continue to swim in negativity because that's all he could do.

Gege wasn't making a commentary on Geto's ability. He was talking about people, as they are, and how staying in a bad situation will not always make you stronger. It can, and most likely will, make you worse. A direct comparison to the sixteen-year-old Geto would be a sixteen-year-old at school, surrounded by people who bully and pick on them with harsh words. The kid will eventually consume all of that bullying, all of that negativity, into their being, because there is simply nowhere else to go. School is mandatory; they can't just leave. They eventually feel isolated, with all that vileness piled on. Even if they have friends, those people could never understand what it's like to put up with humiliation and cruelty day after day.

It's not rational to push away a support system, but who said human beings are always rational? People make mistakes. They don't make the right decisions. Geto didn't. He saw someone offer him a chance at change, a possible light at the top of his pile and twisted it to match his overwhelming negativity. He left and swore to destroy the world that made him the way he is, just as that bullied child may turn away from school and society in whatever form that may take.

I want to touch on the physical aspects of Geto's depression, too. I noted this in a previous analysis I did on him (his character is just that amazing, what can I say?), but Gege knew that the mind can't be affected alone. Geto was drawn with deep eyebags, a nod to an inability to sleep or needing to sleep all the time. Depression makes you tired all the time. Everything becomes difficult. He sits with his back hunched, resting his weight on his knees, like sitting upright is too hard. When someone speaks to him, he blinks and takes a second too long to look over or respond, like speaking takes too much energy. To me, it even looked like he was becoming thinner. It's extremely difficult to maintain a schedule of exercise and mealtimes when your mind is fighting an active war against itself.

Again, a beautiful representation of depression. Geto means a lot to me in this aspect.

2. Gojo Satoru

In comparison to Geto, Gojo's horrible mental health is a lot subtler. Depression isn't the correct term, but you don't have to be depressed to be sad. Sadness is his stagnant state; he has moments of bliss, goals to work towards, a reason to keep going, to continue living, to continue chasing the sun over the horizon, but he does return to the same place he is always at when the lights turn off and he's painfully reminded of this one fact: he is isolated.

All of Gojo's problems start and end with isolation. From the moment he was born, everyone knew he was different. He knew he was different. Through glimpses of his childhood and honestly reading between the lines, it's obvious he never played with kids his age. People don't just develop a superiority complex with their only drive to be better than literally everyone else for no other reason than to get better. It comes from somewhere, and in Gojo's case, it's from his young childhood. It seriously messed him up; even now, he can't shake the lesson that "Strength is the only way to success and happiness".

This is what made Geto so important. Geto was somebody who could share the burden of being the strongest. Geto was someone his age who understood him in a way Shoko could not, though they both were able to see Gojo beyond his capabilities as a Jujutsu sorcerer. Gojo then had somebody to base his moral principles on. Because he couldn't connect with anybody else, he had no basis other than strength. Geto taught him why it was important for the strong to protect the weak.

Then everything went wrong. Gojo became isolated again in his strength and lost the only person who could plausibly stand with him. "Are you the strongest because you're Gojo Satoru, or are you Gojo Satoru because you're the strongest?" Gojo was young, then, and fresh-faced into his newfound godhood. He didn't kill Geto in that moment because he wanted to deny the claim that he is nothing without his strength, that he isn't as shallow as he was raised to be.

But he knew better. He grew older, he killed his best friend, and he realized that he was nothing without his strength. He never got over Geto. In order to cope with the guilt of being unable to save him when he left, he adopted a whole kid, thinking that if he wasn't strong enough to save Geto, maybe he could save Megumi. But there it is all over again - he never broke from the cycle of strength defining his worth. Saving Megumi would define his strength, right? It would prove Geto wrong, right? He raised Megumi under the same logic (that the only way to save his sister is to be strong), only ridding the boy of the crushing isolation.

In this way, Gojo isn't mentally weak. He didn't abandon society and everyone who loved him, instead choosing to hone the trauma of his isolated childhood into a weapon and teach the next generation to be better than himself. He isn't depressed, but he isn't happy. You can't be happy if you're alone all of the time. He hoped Megumi could be someone to stand by him, but in the end, he failed to save Megumi. His strength couldn't save him, just as it couldn't save Geto.

He isn't mentally strong. He isn't weak, either. He is horribly, painfully average. He's not weak enough to be saved, but not strong enough to save others. His childhood plagues him, but not to the point where it prevents him from living. He killed Geto but was unable to bury the body. Gojo is everything he never wanted to be.

As it turns out, strength can't buy you happiness. Gojo may have understood that, but he couldn't abandon it, even to the bitter end. Just as a human struggles to shed their conditioning. Not everyone can break the cycle, but we are always trying our best to work with what we've been dealt.

3. Okkotsu Yuuta

I'm putting Yuuta in between Gojo & Geto and Itadori & Megumi because he is, in a way, a bridge between the two. Geto and Gojo have lived their lives; their stories are complete and ended in tragedy. Itadori and Megumi's are not. They are still actively struggling and fighting their physical and mental battles; their stories have yet to be completed.

Yuuta's story isn't technically completed (ignoring everything that happened in the recent chapter with him for the sake of MY mental health), he is still a success story. He is the average protagonist who started from the bottom and ended up at the top. Only he, as Gege has done time and time again, has a slightly stronger focus on mental health than most other Shonen. He is success where Gojo & Geto failed, and the success that Itadori & Megumi are narratively striving for.

At the beginning, Yuuta was depressed and suicidal. He was bullied at school and involuntarily hurting others. Instead of becoming resentful of the world, he pushed all of the vileness inward. His guilt caused him to try to take his life, presumably multiple times, but Rika stopped him before he could succeed. His life was effectively out of his hands; he felt powerless with all of the bodies stacking around him, and he couldn't atone for "his" actions.

His mental health, as it was, was in shambles. Gojo then offered him a way forward. Yuuta's mental health did not improve overnight. It was when he made friends at Jujutsu High, and developed a support system, that he was able to relieve his anxiety and realize that life is not so bad after all. That all of this pain and suffering and loss - it will pass.

The most important thing to acknowledge when it comes to Yuuta is the sheer fact that he was not alone, nor did he allow himself to be alone. Unlike Gojo, who still had Shoko and Nanami after Geto left but refused to connect with them, Yuuta allowed himself to get close to those around him. They didn't know the suffering he'd undergone for so many years. They didn't know what it was like to be him, but that was okay. He knew that they had empathy, that even though they could never experience his life, they could still be there for him now when he falls.

When given the opportunity to surrender, Yuuta stands in the face of one Geto Suguru and swears to protect his friends and fight with Rika. He's so far removed from the boy who tried to kill himself at the beginning of the manga, and that's because he let himself be changed. He did not succumb. He had friends, he knew. People that would miss him if he left, and people whom he would regret leaving.

This stays consistent with his character. He doesn't let himself become isolated in his strength or his experiences. He's much stronger than everyone else in the room, he's a special grade and he knows that, but he still treats everyone like they are equals. Like they are his friends, like they are people who could share this burden of existence with him. This is something that Gojo couldn't accomplish, which lends to the fact that Gojo had a very off-hand teaching method when it came to mentoring Yuuta. Instead of influencing him under this idea of strength conquers all, he let Yuuta develop far away from the ideals of the Japanese Jujutsu Society.

And, in the end, the fact of him being physically strong - a special-grade sorcerer from the get-go - never helped him in his mental health. In fact, it made him miserable until he learned to get a handle on Rika. His winning or losing that fight with Geto wasn't the point of his character, it was reckoning with the fact that he is okay now. That he can embrace the ugly part of him with dignity instead of guilt.

4. Itadori Yuuji

Itadori's entire character is that he has an unbreakable spirit. As the only one who can bear the soul of Sukuna, he started off like Yuuta, only on the opposite end of the mental health spectrum. When we first see him, he's happy, spending his afternoons with the Occult Club and watching movies.

... What happened?

Like Geto, everything piled on very slowly. So slow that I'm not even sure he felt the true effects of everything he experienced up until the fall of Shibuya. It starts with the death of grandfather, whose parting words "Just save as many people as you can" haunt him even now during the final fight with Sukuna. He was never given time to properly grieve his grandfather, just as he never had time to grieve the brother curses, Junpei, Nanami, Nobara, Gojo, Higurama. At the end of it all, when the fighting is over, I have to wonder what will become of the boy that realizes he's lost most of the people he loved.

The one time he did try to process it, when he realized that he couldn't control Sukuna, was when he broke down in Shibuya. Sukuna leveled an entire city. For the boy who never wanted to kill another human being for fear of devaluing life, the weight of his weakness killing thousands was crushing. Then Nanami died. Nobara died (still hanging onto that unknown status but I digress). Both are right in front of him, and powerless to prevent Mahito from disintegrating their bodies. So, obviously, Itadori broke down. The boy with the unshakeable spirit, the only person who could contain the King of Curses, has his psyche completely shattered.

He laid on the ground, and he wouldn't have gotten back up if there wasn't somebody to help him, to be there with him. Todo pulled him back together, stitched back up the broken into somebody who has allies and people to fight for. Itadori has the success that Yuuta had, only Itadori did not come out of it with better mental health.

After the breakdown, his unshakeable spirit was nothing more than the will to keep fighting. He cares little for himself, and he tries to distance himself from people to prevent them from dying from his cursed hands. He is jumping, quickly, down the same rabbit hole that Geto fell down. One big event, and they realize just how tall the pile already is, and that it will never stop growing. Unlike Geto, however, he continues to get overbearing support from those around him. Against his will. He can't push them away, for they refuse to leave his side. Yuuta, Choso, Megumi, even Higurama. They won't let him fall. This makes him better off than someone alone, in a sense. He can withstand his trauma when others may not.

Even so, even so, there is only so much support, the lack of self-isolation, can do when the traumas keep actively repeating. When he says that he will gladly die to defeat Sukuna, it is not said with the same tone that another Shonen protagonist would say it. Take Naruto for example. If he were to go into a battle to protect, say, Sasuke, he would scream, "I'll die to protect him." We understand that his willpower is stronger than his self-preservation, but we don't get the idea that he actively wants to die. He'll die if he has to. Now, Itadori says the same thing, but about saving Megumi. He says, "I'll gladly die." There is something different. His willpower is leaps and bounds stronger than his self-preservation, but that's not only it. There is an undercurrent of severe suicidal ideation prevalent in Itadori's tone. It's not that he will die to win, it's that a part of him wants for this to be his final fight. For it all to be over. To save Megumi, then atone for the sin of being too weak to save Shibuya, or being unable to stop the Culling Games, or letting Megumi get hurt when all he wanted was to keep him safe.

I'd call it more along the lines of passive suicidal ideation. He doesn't plan to kill himself, but what would it mean for him to go into dangerous situations without protection? What would it mean for him to succumb to his wounds after he wakes Megumi's soul and kills Sukuna? To not even try to seek medical attention? He's guilty. He believes everything that happened in Shibuya and after is his fault. When faced with the executioner's sword, he was ready to die for his sins, if not for the goal of ending the Games. There is a fine line between willing to die for those you love versus wanting to die for those you love.

Right now, Itadori is fighting to save one person, like his grandfather said. He is not fighting to survive. And that's what people fail to understand about Itadori when they compare him to the other members of the cast. These power-scaling dudebros don't understand that their favorite OP main character has fallen apart at the seams, that his unshakeable spirit to save people doesn't include himself.

5. Fushiguro Megumi

Here we finally come to the question: Why can Itadori take it when Megumi can't? There is a very similar quote that you probably think of whenever you hear this question asked. It's from The Outsiders: "Dally is tougher than I am. Why can I take it when Dally can't?" The answer to this question that Ponyboy gives is the same we can attribute to Megumi. "And then I knew. Johnny was the only thing Dally loved. And now Johnny was gone."

The entire reason Megumi became a Jujutsu sorcerer was to protect his sister. When he was five years old and probably too young to understand most of the words Gojo said, he accepted the offer of training to become a sorcerer in exchange for Tsumiki's happiness. Every day, he fought to protect her. He only had one goal in entering the Culling Games: to prevent Tsumiki from having to participate.

It's easy to attribute Megumi's constant attempts at summoning Mahoraga to a lack of will to live - suicidal ideation, the same that Itadori now experiences. On one hand, I do understand that he has a fundamental lack of care for his own life, but on the other, I don't think that he intends to throw it all away every single time. He just didn't know any better. Ignorance can lead to death as easily as intentionally seeking it out. That's why he changes his habit after Gojo gives him a lesson in risking death versus dying to win; Megumi still has someone to live for, after all.

Megumi's mental health was already rocky from the start. Not that it was in shambles like Yuuta, but he wasn't fully stable. Like a lot of teenagers, he's moody, somewhat reclusive, and only really likes one or two people maximum. Teenagers aren't known for their sunshine mental health anyway.

Megumi was given time to grieve Itadori after he first died. This trauma of losing him in front of his eyes stuck with him, but he was allowed a grace period of two months to grieve with Nobara. He experienced Shibuya, too, but he still had that one important person to protect. His mental health was alright at this point, all things considered. As long as his sister was alive, he would be fine.

Sukuna knew this. So Sukuna killed Tsumiki using only the Ten Shadows Teqchnique. The one person Megumi spent his whole life dedicated to, was killed by his own cursed technique, his own failure to suppress Sukuna.

In the void of his soul, Megumi was alone. Truly, utterly alone. The only person nearby was Sukuna, the murderer of his sister, the murderer of thousands upon thousands of people. He drowned in the ceremonial bath of crushed curses to hold his soul down in the depths of despair, literally drenched in all of the vileness the world has to offer. Sukuna killed Gojo using Mahoraga's adaption ability, and before that, Megumi was forced to take several of Gojo's mind-altering domain expansions.

Already, he had given up. He gave up when his sister died, but the rest ground a pointed spur into his neck. When Itadori shakes his soul, Megumi is repeating, "That's enough." He was at the end of his rope a long time ago. What more is there to keep living for? He doesn't want to live with the blood of his sister, the blood of the man who practically raised him, and the blood of countless others drenching his hands.

Sukuna killed all of these people, not Megumi. But then, Sukuna killed of those people in Shibuya, not Itadori. Why can Itadori take it? Why can he keep fighting when Megumi lays broken on the ground? Itadori wasn't alone. And Megumi has never been known for his unshakeable spirit. That is the one thing that Itadori can hold over everybody else, the one trait that everyone admires. He was born to shoulder the burden of the world. Megumi wasn't. Megumi wants to die. He is not passively suicidal, for he has no goals left to complete, a plan to die within the body no longer inhabited alone. He is suicidal. He would drive a stake through his heart if it meant relieving his pain. He doesn't want to do it anymore. He's had enough.

And Itadori was in this position once, too? Perhaps not as directly, but he was there. Here is the moment that the protagonist gives the motivating speech to will someone to keep fighting, that life is worth living. I realized today that this is not something Itadori has done yet. He hasn't had a grand speech that's not been about his own willpower. He's never encouraged someone else to keep living in the way that you would expect from the main character. This is his moment, I suppose. He needs to be the person for Megumi that Todo was for him. He has to show Megumi that he isn't alone.

He needs to save Megumi when, all those years ago, Gojo couldn't save Geto.

I don't think some of this fanbase understands how horrible Gege has to be at writing if he just. Let Megumi get up to fight in Chapter 251. All this time, he has shown how Megumi has been defeated. He showed him crumbled on the ground, unmoving. It shouldn't be a surprise that all of the measures Sukuna took to ensnare Megumi's soul worked. Megumi is suicidal after the people he loves have all died because of his technique. God forbid a sixteen-year-old is unable to cope with his trauma alone.

Honorable Mentions:

There are a lot more characters in this story that represent/show mental illness that I didn't go into depth on but are worth mentioning. It was easier to only talk about the major characters since we spend so much time with them and I can fully flesh out everything that should/can be said about them. Anyway, here are a few more that are notably well-written in their mental struggles:

Yoshino Junpei. His story arc follows very similarly to Geto, except he is the bullied student I was making a reference to. Depressed, alone with a mother whose habits he can't stand, he turned to someone he thought could provide him a better life. Interestingly, he is a good representation of the type of children that tend to be groomed. That's surely what happened to him. Mahito used him, then discarded him for his own gains.

Ieiri Shoko. Her main struggle can be seen through her smoking habits. She's been through a lot, lost so many people, and has to keep healing sorcerers only for them to die. Eventually, she was able to come to terms with this. She kicked her smoking habit at the same time she kicked the vicious mental cycle of caring too much about the patient on her table. It's no wonder she picked up a cigarette, for the first time in a while, when Geto led the phantom parade.

Zenin Maki. She works as a very good contrast to Megumi. They both lost their sisters, the people they loved the most, but she turned all of her grief to killing the Zenin clan and gaining Heavenly Restriction. But this, this is because she could do so. There is simply nothing Megumi can do as a soul trapped in his own body. Her grief made her stronger, while for most, it made them weaker.

Inumaki Toge. He isn't seen a lot, but his story is ultimately quite compelling. A boy who hurt many when he was young. He turned his guilt into kindness, a will to protect. He tends a garden to raise plants healthily, for God's sake. He's one of the examples that shows Yuuta that your past actions don't define you, but instead, what you choose to do going forward.

I am not proofreading any of this before I post it. Sorry if it is borderline unreadable with spelling / grammatical errors.

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hereiamforsomereason · 2 years

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Listen, do I love a good sad ending? Yes, a tragedy, a bittersweet ending, a well written horror, villains winning, heroes losing, you know, all that edgy stuff. I don't believe everything needs to have a happy ending and I think for some stories, a tragic ending just makes more sense. I also love when writers go against the viewer's expectations because it's interesting and can really be impactful if done well. However, I still need Stranger Things to have the happiest, cheesiest, sweetest ending of all time.

No one is allowed to die besides Vecna and some demogorgons. They kill Vecna with the power of love and friendship. The world is saved. Everyone gets their happy ending whatever that may be and no matter what, they all stay friends because they are basically family at this point. Bonus points, if the last scene is everyone hanging out and everyone just being happy. I won't even cringe if the last line is one of them saying "well, we've definitely seen stranger things."

Like make it goofy and funny and sweet, the rest of the season can still be dark and serious without there being any more tragedy. I don't think the ending being happy will take away from that.

I know this has probably already been said but it's so important to me that the show isn't a tragedy. You know why? Because it's a mainstream show about outcasts in the 80s. A show about gay kids, black kids, disabled kids, kids that are considered different just for existing. If you take away the supernatural and the sci-fi elements, at its core, that's what the show is about.

So if the show that from day one has been about being different and being who you are, turns around and kills off half the cast and has either a bittersweet ending or just a plain awful ending just for shock value or because it makes the story more "realistic" (and yes, that includes having Will be rejected by the person he loves and being killed off. El sacrificing herself because she's a superhero and that's what she feels she's supposed to do or Max and Lucas having a tragic love story.) It'd be throwing away everything the show stands for and personally, I think it would be god awful writing.

That kind of ending can be done well but I don't think that's the kind of ending ST needs.

There's been enough tragic stories about minorities in both the past and present. This show has evil crispy undead wizards and giant lanky mind controlling spiders, I don't think poc/queer/disabled/female/etc characters being happy and alive is gonna make the show unrealistic.

#al's thoughts #stranger things #st5 #st5 hopes #stranger things season 5 #mike wheeler #el hopper #dustin henderson #lucas sinclair #max mayfield #will byers #byler #independent el #st #lumax #eleven hopper

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sticks-and-souls · 1 year

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Anakin & Letting Go

I always found it to be a little skeptical that Anakin could become a force ghost after it took Yoda, Qui Gon, and Obi-Wan learning and training how to do it, and I always thought “really? Anakin? Finding that level of peace and letting go?” But after this episode, seeing the care and lesson that he imparts upon Ahsoka that he learned so painfully, I understand it from him so much better. Vader was so stuck in his complete self-hatred that he allowed nobody who had known him before as Anakin to reach him (most notably Obi-Wan and Ahsoka) because of the overwhelming extent of his shame. It took his son, who had never known him and yet who still stood before him and believed in him, loved him, sacrificed himself for him, to call Anakin back from the depths of Vader. And this Anakin, let everything go to save his son and to allow his son to save him.

And it felt so impactful to get to see this mature post-Vader Anakin reaching out to Ahsoka to teach her this very hard-earned lesson that he took the very hard road to get. Because she has Vader in her. She is everything Anakin taught her, and we saw the behaviors that led Anakin to becoming Vader—the fear of losing his most cherished relationships—reaching out of Anakin very early in the clone wars (and before) and the two of them are both very aware that he imparted those lessons on her. And then we've seen across this season—and overtly in her clone wars flashbacks—that she believes she is inextricable from these traits.

I’ve always loved Anakin as a fictional character, getting to see his earnestness, his flawedness, and his intensity (to borrow Huyang’s very accurate adjective), but this episode brought a level of humanity to him that has moved me so deeply. Life is HARD, loss gets forced on all of us no matter what, and the lessons that we learn through mistakes that we made can be extremely painful because acknowledging and taking responsibility for hurting people is actually really painful for humans (not owning up to our actions is the emotionally easier choice and George Lucas has stated time and again that the Dark Side is about taking the short-term easier choices). But it ultimately means that learning from your mistakes is an actual choice you have to MAKE. And this is the core of Anakin’s lesson. He is teaching Ahsoka that she has to choose which lessons he has taught her that she will live by, but more than that, that she is empowered to be able to choose. Yes, she has everything that he taught her—the good and the bad—but she is not condemned to live out all of the lessons.

And the beauty of it isn't just the lesson, but that Anakin gets to be the one to teach it to her. The betrayal that she experienced in discovering his fall, the taintedness that she has been portraying that she feels about herself, gets specifically addressed because if he figured it out, then she definitely can too. If he is more than just Vader, then she is too. And THAT is what the "Is that what this is about?" line is actually about. It's so so important that we get to see pre-Vader, Vader, and post-Vader across her vision because the point is that yes, Vader is a part of him, and that brilliant shot of the two of them glaring Sith eyes across the blade at each other did it's job in conveying that Ahsoka is capable of that darkness too, but you are not only the darkness. You get to choose. ("You're more than [death and destruction] because I'm more than that"). And more to the point, you have to choose. Because if you don't specifically choose to fight the dark, then you're ultimately choosing to fall into it. "Fight or die."

So for Anakin to be able to reach out to her one more time, to be able to love her the way he, as Vader, had refused to the last time when they met on Malachor, and to open with “you’re never too old to learn”, because god if he didn’t learn that the hard way too. And to be able to pass on to Ahsoka how to actually let go because he himself had only just finally been able to learn it as well, feels so powerful and poignant.

And that look of pride and wistful sadness that he gives her at the end? That both she and Luke were able to learn so quickly what took him so long? And that maybe, he may have helped save her from the worst traits that he imbued upon her? That’s him having let go of his own shame. He feels grief, he feels guilt—we can see it on his face—but what has happened has happened and he has accepted that, and finally learned that letting go doesn't mean it didn't happen, it means it doesn't have to define your actions going forward.

And finally, it’s also him letting go of ahsoka. By teaching her that she will choose her destiny, he has to accept that he cannot control it either. And he has. “There’s hope for you yet.”

So yeah, Anakin learned to let go, and getting to see him here, in this headspace of acceptance and peace, practicing and understanding what it means to be a Jedi, was so unexpectedly cathartic and revelatory for me as viewer.

#listen this lesson IS HIS APOLOGY. he didn’t get it then but he gets it now so please ahsoka #here are the tools to break the cycle of fear and violence #i love you snips i love you snips i love you snips #i love anakin as a character but I never thought I would feel as proud of him as I do now #say what you will about filoni but to me this episode proved he actually gets the ethos at the core of star wars #I also finally feel like the show has earned the emotional sucker punch of an end credits score that kevin kiner gifted us with #ahsoka series #ahsoka meta #ahsoka show #ahsoka spoilers #anakin skywalker #snips and skyguy #ahsoka tano #darth vader #dave filoni #kevin kiner #my meta #ahsoka shadow warrior #man this was so much longer than i expected. let me tell you im a victim of parental abuse without telling you im a victim of parental abus #writing this out had me SOBBING y'all #ahsoka gets the reparation we all deserve

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trans-luis-serra-navarro · 10 months

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Knowing me I’m gonna absolutely make this into a longer post but like. Isn’t it just SOOOOOOOO SILLY AND SO GOOFY that Luis bestowed the role of Sancho Panza onto Leon even though they’d only JUST met

Like,,,, Don Quixote isn’t just a book Luis loves a lot- he bases his ENTIRE MORALITY on his own ideas of what Don Quixote means and what the messages behind it are. He SURROUNDS himself with chivalric ideals and so, obviously, he holds that book and it’s characters VERY near and dear to him- hell, he doesn’t even let Ada or Ashley in on just how much this damn book means to him!!!!!!! The other scientists who he worked with during his time with Los Illuminados also called him Don Quixote, but realistically, how much would they have known of Luis’ deep-seeded love for that novel??????

So like. Clearly. There is NO WAY IN HELL Luis doesn’t understand the impact of Alonso (Don Quixote himself) and Sancho’s relationship. He ABSOLUTELY understands the importance of it and how vital to the tale each other are and how intrinsically intertwined they are in each others lives and how one would quite literally have not survived without the other and how they’ve gone through hell and back for each other (in Alonso’s eyes LITERALLY) and how Sancho was there for him when his illusions of fantasy finally faded away

So. Like. Luis picking Leon to call his Sancho HAD to be purposeful right????????

He HAD to have understood the weight of his words and the weight of his decision. Maybe Leon didn’t quite understand at first but Luis????? Luis knew DAMN WELL that Don Quixote and Sancho Panza’s relationship went further than two people who just happen to be on the same adventure. Luis picking LEON to be his Sancho was PURPOSEFUL.

He’s not just any old chum he happens to he stuck with; Leon is a man who fully encompasses EVERYTHING GOOD Luis believes in in the world. Leon is EVERYTHING his chivalric ideals want him to be. He’s an inherently kind and caring and selfless human being and he’s everything Luis wants to see in himself. He saved him from certain death and now they’re connected more by just the circumstances of their situation- they’d go through hell and back for each other and they HAVE. He wants Leon not just to like him but to LOVE him. Because Leon sees past his actions; he sees past his mistakes and up until now, nobody has ever given him that privilege. Just like how Sancho still believed in Alonso and still believed that there was worth in his fantastical delusions.

So how does Luis express this gratitude without just straight up saying ‘I love you’????

By using language he understands and is comfortable using, of course.

By projecting a story that has meant SO MUCH to him onto the both of them.

And GOD. THATS SO POIGNANT TO ME. HES TELLING LEON HE LOVES HIM IN A WAY HES BEST AT AND MOST COMFORTABLE DOING. HES SAYING ‘I LOVE YOU’ IN ALL OF HIS ACTIONS AND PROJECTIONS. WHICH MEANS MORE THAN THOSE THREE WORDS EVER COULD. HES USING HIS OWN LOVE FOR THAT BOOK TO PROJECT HIS LOVE ONTO THE PEOPLE HE CARES ABT GODDAMNIT‼️‼️‼️

(ALSO SIDENOTE THIS DOESNT JUST APPLY TO LEON!!!!! THIS APPLIES TO ASHLEY AND ADA TOO!!!!!!!!!!! HE PROJECTS THIS SAME LAMGUAGE ONTO THEM AS WELL, JUST NOT TO THEIR FACES!!!!!!!!!! HE SHOWS THEM KINDNESS AND LOVE IN HIS ACTIONS!!!!!!!!!!!)

And I think on some level Leon knows this too. He probably hasn’t analysed Don Quixote from every angle possible like Luis has, but he knows- in those final actions, when he takes up the mantle of his Sancho and confirms to Luis that, yes, he WAS a fine knight, he WAS his Don Quixote- I think he knew exactly what Luis had been trying to say to him this whole time. Just…. Using words that best describes it in his own way.

#human language is cool man #also there’s just. Yknow. the inherent queer coding of Don Quixote and Sancho that can’t be ignored HDNSHSNSHDNDJDJ #like it’s a GAY BOOK #but even that aside love doesn’t have to mean strictly romantic!!!!!!! I’m talking abt it in a broad sense!!!!#he loves Ada he loves Ashley!!!!!!!! he’s so full of love and these people for the first time love him back for who he is!!!!!!!!#so he uses lamguage he can exprwss himself with to explain it!!!!!!!!!!!#luisposting #serennedy #serrenedy #serrennedy #luis serra #luis sera #luis serra navarro #leon kennedy #leon s kennedy #ashley graham #ada wong

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miquella-everywhere · 11 days

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even if the dlc did make sense in the lore somehow (which it doesn't) it would still suck lmao. like the themes of the cycle of trauma and abuse is so overdone and it's tired. plus it's like 70% dark souls and bloodborne references. and we didn't even really get to meet the titular character. really makes me not want to play the game tbh.

Yeah I agree about the overused cycle of trauma thing somewhat, but y'see I think it could have been done fine if Fromsoft didn't completely flip Miquella's lore on its head:

In the base game Miquella rejected Fundamentalism and the Erdtree because it could do nothing to cure Malenia of her rot and he was appalled by the Erdtree/Marikas treatment of the Misbegotten and other races of the world. He literally created God Fuck Off metal to grant Malenia respite and could also clearly drive away the Frenzied Flame as well as the other Outer Gods with it's potential ... But now Miquella is all about following in his moms footsteps and being a brainwasher who wants to marry his brother???? Huh?????????????

Literally. How does Miquella creating an Age of "Compassion" fix the fact that his sister is infested with an Outer God and his brother is literally unalived cancer and spreading at an alarming rate????

I can somewhat understand the DLC stance where Miquella wishes to purge/atone for all the horrible things that his mother has done, but the problem is that it's conveyed in such a way that makes it quite frankly extremely weak storytelling and boring. Turning Miquella into a a fanatical Martyr really destroys the ideology of Base Game Miquella who did everything in his power to save the ones that he loved, creating a haven for the outcasts of the world, creating Unalloyed Gold to give relief to Malenia, doing all that he could with the Mausoleums and the Eclipse to try a grant Godwyn a true death. The whole "Miquella abandons everything" plot in the DLC in my opinion is EXTREMELY WEAK storytelling and a massive disservice to Miquella's base game character, and ngl, it only furthers my belief that Fromsoft had absolutely no idea how to handle Miquella's character.

Speaking of Miquella's character: Fromsoft did not need to go absolutely full fucking tilt on Miquella's Bewitching Powers to the point that it is his only goddamn personality.

The thing that pisses me off the most about how Miquella's character is handled in the DLC is that everything about him from the Base Game is literally thrown out the fucking window. The Haligtree, the Albinaurics loyalty to Miquella(i hate you gaius oh how i hate you), his character defining bond with Malenia, his relationship with Godwyn EVERYTHING he did to try and grant his beloved brother a true death, THE ECLIPSE!!!!

It just all means fucking nothing in the DLC. Nothing happens with any of the things that made Miquella so goddamn interesting.

Miquella the Unalloyed, the character that I fell in love with doesn't even exist anymore. He's now been replaced with Miquella the Kind, a character who was specifically crafted to give Miyazaki an excuse to shoehorn radahn into the story and to make it so there is a big-bad final DLC boss so that we kill Miquella so he won't have any large impact on the overall outcome of Elden Rings story.

But honestly that's just it though. That's where the problem with the DLC lies; the fact that Fromsoft had doubled down on their idea that their DLCs should be their own thing and isolated from the rest of the main story.

For a game as large and expansive as Elden Ring and for Miquella who in the base game his presence and importance could be felt nearly everywhere, keeping the DLC isolated was a massive MASSIVE mistake, and it only makes the story presented feel disconnected and unimpactful.

Now do I know anything about game design? No. Do I know anything about how hard it is to make games. Nope but I can imagine.

BUT.

I definitely think that Fromsoft and the DLC would have benefited immensely if it were delayed just a bit longer. I would not have minded in the slightest if the DLC was delayed 3 years. 4 years. IDC. The DLC evidently needed much more time to cook and to actually have been made with love and an understanding of its own lore.

And what's even more frustrating is that there are actually SO many ways they could've made the DLC and Miquella have weight on the story while keeping it mostly isolated from the main game; Just like how the Painter in the Ashes of Ariendel was creating a new world as the old one was burning away. Miquella and his Unalloyed Gold could have created a world where the Outer Gods no longer had any influence, just like how Goldmask and even Ainsbach said: "Create a world for men not the Gods."

Except well, that's honestly kind of impossible seeing how the story forces us to kill the one character who had the power to banish the Gods, and going off with Ranni into the Stars leaves the Lands Between vulnerable for the other Outer Gods to swoop in and lay claim to whatever they want, and also Death Root is still very much a problem, still spreading its cancer all over the Lands Between and even beyond time, meanwhile the story forces us to kill the one person who was trying to grant the cancers source a true death......

😒

And yeah

We never get to meet Miquella even though there is a SHITTON of evidence that he was actually helping us in the base game (see the spirit summoning bell, Torrent in general, cut quest/ending involving miq etc)

Just... Absolutely awful writing and sadly... This is what we got. And what an absolute fucking mess it all is 😔

#*sigh*#sorry i started rambling lol #i will die mad 😔#sote could have been so wonderful and fulfilling #but god is it a mess...#uri answers #miquella

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