#in a way that makes more sense like... in the narrative

[infinitelystrangemachinex]

Jayce and the fallacy of the butterfly effect in Arcane's narrative

If Jayce's symbol is the butterfly, then my theory is that we're going into a full "butterfly effect" narrative in Act 2. Either we'll watch it happen, or we'll only see Jayce come out the other side of it changed by the experience, knowing - or more importantly, THINKING he knows - what to do to change the future. Literally, to "defend tomorrow."

tl;dr: Jayce will encounter the butterfly effect in season 2. Viktor and Mel both foreshadowed this in season 1. I think Jayce will fixate on Viktor and will believe that stopping or changing Viktor either in the past or the present - most likely the present - will mean he can save the future. I believe this will lead to an even worse tragedy and may have the same effect as a self-fulfilling prophecy. Ekko's approach to changing the future by sticking closer to the present - considering only tiny increments of time to alter more immediate future outcomes - will be the superior approach. I also think that Jayce attempting to change the future will create the conditions that push Viktor to become the Machine Herald.

One of the most common reactions even the casual viewer had to Arcane season 1 was this: "If [character] had just done this one small thing a little differently, [tragic event] wouldn't have happened!"

Arcane has been called a Greek tragedy for the main reason that because of how well built up the characters' personalities and reasonings are, there's no other way season 1 could have gone. There was no stopping the multiple tragedies that occurred, because with one event leading to another, the chain of seemingly inevitable events goes too far back to identify what one singular event caused everything, what one character made what one decision to put our characters on the terrible paths they walked.

Arcane is about to investigate this idea in its own narrative, and I think that Jayce will be the character to stumble into the flawed idea that you can change one event, or stop one character, and change the future for the better. This is because Jayce struggles with a few very interesting character flaws, one of them being that he believes himself to be the main character, and it is therefore his responsibility to intervene, be a hero, and fix things.

Viktor and Mel both foreshadow Jayce's future encounter with the butterfly effect.

Recall that Viktor said: "There is always a choice."

Jayce sees choices in black and white, believes that he has no other options but to go along with what he's persuaded and pushed into, and acts too boldly with too much power multiple times.

Recall that Mel said: "We can't change what fate has in store for us, but we don't have to face it alone."

Jayce tries to solve big problems on his own, and though he delegates to Enforcers and the like, Jayce relies on his reasoning and his alone to make important decisions if he doesn't simply become persuaded - usually through strong emotions like fear - by other characters. In addition, since Mel is specifically talking about Viktor's plight here, it's worth mentioning that while Jayce did say that he would help Viktor in acts 2 and 3 of season 1, Jayce does wind up leaving Viktor to face his fate alone. When Jayce tries to change that fate in s2 ep1, ep2 shows that only tragedy can come of this as well.

Viktor and Mel's statements here are not contradictory. Viktor makes the point that you can always make a choice. In context, he's literally referring to the classic "secret third option," because given a choice between aggression and passivity, war and surrender, Viktor chooses to defuse the bomb instead. Mel, interestingly, seems to believe that destiny is fixed in a broad sense, and she operates as a politician and diplomat and investor who navigates that line of destiny in the most optimal way possible. In reality, in context, she is referring to the fact that Viktor can't change the way he was born and so he has no way to change his fate and therefore must face it, which is true - she's only missing the information that Viktor actually does have the means to change his illness and his body. Her wisdom still applies however, because he'll have to accept the hand that fate deals him after he makes that choice. Will he face it alone, or not?

There is always a choice, there's even secret third options, because having a fate doesn't mean that you are doomed to make only one possible series of choices. What it does mean is that each choice comes with a hand that fate deals you. It is impossible to know what all of these branching choices and consequences are in advance, and it is just as impossible in hindsight - the branches are too complex and the end outcomes are all equally meaningful, just different. If Arcane season 2 is to be a tragedy, it may show us that each possible outcome is still tragic if you fall for the fallacy of the butterfly effect.

Jayce is counseled by some of the wisest, cleverest characters with the deepest life experiences in Arcane, but he hardly ever takes that counsel to heart. If he does, he still acts on that counsel in flawed ways that have unintended consequences. This will come to a head in season 2.

Viktor and Jayce both have a butterfly following them around in season 1. The butterfly effect refers to one small seemingly insignificant event changing the course of history, and changing that event therefore changes history. Viktor bled over the railing of a Hexgate in season 1:

And Heimerdinger sees what we can only assume is Viktor's blood contaminating (?) the Hexgate in s2 ep3:

This might be the seemingly unimportant "inciting incident" that Jayce (and Heimerdinger and Ekko) settle on as something that should be avoided or erased by changing the past (if they time-travel with Ekko, for example).

I doubt that, if this is what this crew chooses to fixate on, it will be the only event that is considered as something to change. But let's take this and run with it for the sake of discussion.

As silly as it sounds, how do you stop Viktor from allowing his blood to come into contact with the arcane? Stop Viktor's involvement with the Academy entirely? Don't invent Hextech at all? But what if someone else invents Hextech besides Jayce? What if future tragedy befalls Piltover because it didn't invent Hextech?

The possibilities and what-ifs could branch on forever. But because Jayce is who he is, and because his tragedy with Viktor is still raw and recent and frightening, I think Jayce's butterfly effect experience will have to do with Viktor.

My personal prediction is that the timeskip between s2 ep3 and ep4 will be Jayce experiencing a timeline where Viktor, taken over by the Hexcore, brings about an apocalyptic event similar to what Heimerdinger experienced in his past. Either Jayce and co. can't go into the past to change the present, or Heimerdinger and/or Ekko advise strongly against it to avoid a paradox. This will lead to them re-entering the canon Arcane timeline before this apocalypse, but still after the timeskip. Jayce, believing that destroying Viktor and his cult will save the future, and believing that resurrecting Viktor was Jayce's mistake to fix, attacks him. But the consequences don't unfold the way he hopes, because trying to change fate once the cards have already been dealt has led to tragedy before.

The butterfly is a symbol of something other than just the butterfly effect - change, evolution, and rebirth. If the butterfly symbolizes the butterfly effect for Jayce, then I think it has a different meaning for Viktor - the change and rebirth meaning.

I've always found it very interesting that we see a similar-looking butterfly on Progress Day... but made of metal.

Every time Viktor's situation changes, he adapts and evolves. If Jayce attacks him, if his cult is destroyed, if the Hexcore is causing Viktor to decay, if all of these things happen at once - he'll just evolve again, and I think the Machine Herald is the next step. And the Machine Herald will be a triumph for Viktor, but Jayce will believe that he's created something even worse. The resulting feud will be a personal nightmare for both of them.

I think this still allows Viktor to use his own agency to choose to become the Machine Herald (the MH will probably be the "secret third option" that saves Viktor, or there will be a secret third option that ends the feud) while still allowing Jayce to be offended and horrified at whatever the Machine Herald represents or is trying to do in the undercity. Introducing the element of time travel allows Arcane to explore the meta concept of tragedy and fate that season 1 was built on while showing that you can't "solve" a tragedy, because there are other terrible possibilities lurking behind alternate choices. Especially if what you're trying to change is singular people or events and not systems of power.

This is why Ekko's approach with his Z-drive will be superior to Jayce's sweeping attempt at changing the future. Ekko's goal has always been societal change. He creates his own punk society in the undercity, more progressive and successful than anything Vander or Silco ever created, and a better bastion of safety, hope, and progress than what Heimerdinger founded in Piltover. Trying to change systems by going back in time is most likely futile. But taking what Ekko has already built in the Firelights, curing his tree, and fighting for the Firelights' survival bit by bit by optimizing the present with the Z-drive shows that:

It's more worth it to focus on becoming wise (Ekko's mask is an owl) and making choices you won't regret

It's best if you don't face your fate alone (act as a collective and take care of each other)

Consider every option, not just the obvious black and white choices

Maintain and fix what you've already built instead of abandoning it once things get difficult

Adapt as needed if the choices you made lead to dark consequences, and once again, stick together and take care of each other when the bad times do come

That's my Act 2 but, ultimately, my season 2 prediction based on the butterfly symbolism we've already seen. Ekko's involvement is what will give the series the at least partial happy ending that the creators have referred to. I personally don't think that the Viktor/Jayce feud will end quite so well, but maybe, they will still survive.

[nipuni]

Alright, time to share my opinions about Veilguard!! I have both criticism and praise so bear with me as I jump from one extreme to the other 😆 spoilers ahead of course!

The game has a very rough start with the dialogue being formulaic and rushed and the characters overexposing. It feels like a heavy handed attempt at summarizing all of previous games' lore for newcomers or in case you forgot but it's so overdone it feels coddling and trivializes a lot of previous events. Luckily this gets better once all of the introductions are out of the way, though the excessive hints and clarifications continue until the end sadly.

The locations are absolutely incredible and very diverse!! This is a highlight of the game for me. There is so much detail and care in every map and there are so many of them. My pc is struggling to reach medium settings and yet everything looks stunning. The verticality of the maps is so imposing and the graphics have a very dreamy quality that I love. I also enjoy the maze-like structure to the maps, it's more linear but makes everything look a bit more intentional. The color and light direction was amazing, all the visual development really!! it has to be one of the prettiest games I've ever played.

When I started I have to admit it did not feel like I was in Thedas and it all felt a bit theme-parky, if that makes sense. A lot of previously important and established world elements that made Thedas what it is were overlooked or made irrelevant. But the more I played the more it started to feel a bit more similar to Inquisition, for better or worse depending on what you feel about Inquisition. But!! this also feels like a selectively sanitized version of Thedas compared to previous games. In it's attempt to stay safe and uncontroversial in some aspects it loses a lot of substance and it changes the tone. The surface level politics, ignoring previously established major societal issues and a tell-don't-show approach makes the world seem more simple and shallow with no grey areas to explore. ( the humor also falls flat and out of place often too, and WHY is everyone always smirking, enough!! godlike beings are destroying the planet please this is not the time for Marvel banter aaaa )

The pacing at the start is a bit of a mess. It is so fast it felt like jumping from one world shattering discovery to the next with no time to process. The characters also seem to underreact to important information and major developments. It felt like the game was rushing me through all this to get to the part of the story it wanted to tell me while I was still wrapped in my shock blanket trying to catch my breath lmao. I really like all the key story points they touched upon, I just wish they dwelled more on them to give them more narrative weight. ( though blaming every bad thing to ever happen on the Elves was certainly..a choice )

I think the writing could have used more subtlety in the first half and more boldness in the second 😆 but I loved the thematic parallels between Rook and Solas and how every quest informs the main storyline. I do wish Rook was given more impossible choices and put in more difficult situations that forced them to lie or betray their own to better drive the point home though ( listen I just love a Trolley problem!! we need more of those, I'm the Trolley problem's number one fan!! ) I feel like they missed the chance to put Rook in Solas' role and be as vilified and hated for it as Solas was despite their best intentions which would make Rook's regrets stronger and in turn make their escape from the fade all the more impressive and give them a better understanding of Solas to either use against him or earn his respect. The line 'they called me the Dread Wolf, what will they call you when this is over' from the trailers was so good I was waiting for this!! But everyone just loves Rook no matter what!!

But I feel like I stated too many negative aspects in a row so moving on to some things I enjoyed!

The characters were very lovable to me. The romances weren't as long or impactful as I would have liked but I enjoyed all the companion quests. Emmrich is a delight and his quest is so wild and fun. I loved learning about Nevarra and I was awestruck by the Grand Necropolis. The mourn watch was so interesting, it showed a whole new side of Thedas' lore I knew nothing about! and I loved Manfred! Davrin is so charming, he became a favorite. I loved his quest too and learning more bits and pieces about the Dalish was great, I wish we got more. Seeing the Wardens through his quest also made me enjoy them a lot. Assan was very cute too and I'm glad he was treated as an animal and not turned into a goofy Disney sidekick too much lmao 😭 Lucanis is hilarious. The fantasy Spain/Italy was a bit silly and off at times but he is very sweet! and I love the Spite possession, that was so fun I'm glad they kept him that way! Bellara is adorable, her first backstory quest made me cry and I just love a nerd! I wish the second part of her story was written better however, and she sort of devolves into 'it's hard, I wish it was easy but it's hard' dialogues too often sadly. Anaris and the Forgotten Ones' portrayal was underwhelming and anticlimactic which was disappointing. Harding is also very cute and her Titan plotline was the most interesting to me, I bawled my eyes out in her quest!! I love the dwarven lore of this universe I'm so happy we got more of it!! ( she also fucking died in my playthrough?! I was devastated what the hell 😭 'whatever it takes' WEUEUGHHHG I'M SO SORRY) Neve was a slow burn for me because of my choices in game slowing that relationship down ( saving Treviso I mean, perdón amor 🙏 ) but I love detective novels and she is such a badass I ended up loving her. Taash was unexpected, I didn't think they would be so young. The coming of age story was sweet, though I found myself cringing a lot too at the handling of it I have to admit ( and the Lords of Fortune in general, and the Antaam...and que Qun..listen- kajshfgf ) but I also enjoyed learning more about the first expedition and the Qunari in general despite the messy writing and choices. I also loved Antoine and Evka! and Strife! And I haven't even read any of the novels they are in 😆 also Mila!!!! and her dad oh my god and Felassan haunting the narrative!! speaking of haunting, I would have loved for Cole to be in the lighthouse too I think it would have worked well 🤔 especially with the whole 'reading Solas' secret diary' thing the game had going on lmao

Everyone seems to get along except for a bit of friction that is quickly resolved at the start, which is hmm missed potential? I would have preferred more tension personally. I enjoy the drama! gives me more to work with and gives you a better grasp on everyone's personality by contrasting values. I think they wanted to speed run a found family trope for the new hero to establish some emotional stakes early on but it ended up making everyone seem like a group therapy session instead. The group meetings also have everyone either state the obvious or repeat the same opinion or conclusion to each other, I would have loved these meetings to have more bickering, have people get mad and storm out and also get to listen to different takes on a situation. Make Rook struggle more to take the reins and keep the team functional, learning how to be a leader.

Speaking of Rook! ( who in my case has a northern British accent that I loved so much 🥺) They seem to have a very established personality. I was expecting more of a blank slate but I'm lucky that the personality they went for kind of matches what I would normally choose in a first playthrough. Though the lack of range in the choices is irritating and takes away some replayability and role playing potential. Rook is very supportive and selfless, I wasn't expecting this tbh! But it all made my Rook turn into the team's weird supportive necromancer mom so it worked out in the end I guess lmao. I can't wait to draw her!!

I was so overwhelmed by the amount of information we got about Solas and his past!! I was expecting answers but not these many and not for them to be such an integral part of the plot!! The game feels like it's about him more than anything else. His arc is the best written out of all. He is mentioned in every conversation, he's the main advisor and the narrative foil, you get to talk to him often, you work for him and with him and go into his memories it all feels so surreal to me lmao I love him so I'm delighted ngl! but also making the other Evanuris so cartoonishly evil makes Solas into such an obvious choice of an ally, god of trickery or not, that it sort of takes the decision out of your hands and makes some dialogue options and companions' opinions seem almost nonsensical. I have no idea how this game would feel to someone who absolutely hates Solas' guts honestly. I suppose I will find out soon enough 😆

About Solas' story, I loved it! I somehow also feel that I knew it already, all the speculation and theories that Solavellan fans were crafting for years were so accurate that it was all very validating. Even the wildest ones! Solas as the Maker, the elves spirit origin, Mythal giving him a body, the war with the Titans, the origin of the Blight, Solas being on your side as advisor, I can go on, we knew!! Also I have to mention this I'm sorry but they made him look so hot!! unbelievable. And the bloodied teary eyed pathetic look in the end ouurghhh I'm cheering and clapping!!

The romance conclusion was so lovely 😭 the Loki and Sigyn ending we deserved to such a mythological epic!! and open ended enough for all of us to cook!! and we got to see him fight and transform into the Dread Wolf!! and whimper and cry!! and bleed and love!! that's all I ever wanted, incredible we were really spoiled what the hell I still can't believe it 😭 GDL acting was brilliant as usual! the visuals were also incredible and exactly what I had in mind when I imagined where the story may go, the eclipse, the giant wolf, the glowing eyes, the Elvhenan ruins, the statues, even the hair lmao it all aligned exactly to what I've been painting all these years but better I was thrilled 😭

Solas backstory with Mythal also offers players that didn't romance him a chance to see him act out of love and show a side they wouldn't be able to reach otherwise and I think it was smart! also very tragic and sheds more light into all of his choices and words and his relationship with Lavellan too and the parallels and reversals and uughh thoroughly enjoying the emotional distress 👌

Pleasing both the Solas lovers and haters at the same time was always going to be hard with him being such a polarizing character by design and the world states being so different but I think they did a good job! at least from my side of things.

I think my favorite part besides the Solas related stuff was the Blight. I loved how horrific and gross and threatening it was! I've always loved the concept of the Blights and I'm glad it was such a huge part of the story in this game. I also loved Treviso!! has to be the most beautiful city in Thedas ahhh and the Necropolis!! the gardens!! Vorgoth!!! Kal-Sharok!!! I can't believe we got to see it!! and a Titan!!! the giant floating face of Ghilan'nain in the clouds??? and the huge archdemons and dragons!! oh and that warden dragon trap in the shape of a griffon?? and the giant blight tendrils!! the siege at Weisshaupt was outstanding!! and the floating panopticon castle situation in Minrathous uughh there is so much I loved.

OH I also enjoyed the Varric arc even though I saw it coming since the trailer it was still played well and it was touching 🥺

The ending felt a bit jarring to me in tone though, a bit too cheerful considering...the horrors. Over half the continent destroyed and most of the problems Thedas had before the game are still there. Veil in place and all 😆

But I had fun!! I'm nitpicking really, the conclusion to Solas' story feels very satisfying to me which was my main worry so I'm happy. It is a good game!! with a sort of soft reboot feel to it and aimed at a younger audience which is probably what they were going for? You can sort of feel the struggle the team went through during production in the way the target audience seems unclear sadly. I also can't help feeling like this is an ending, so much was revealed and resolved!! but maybe I feel that way because that is what I felt after Shadowbringers / Endwalker in FFXIV once my favorite part of the story was wrapped? They can always pivot to a new continent and expand on the world and cultures we know almost nothing about, but that is always harder to sell so I have no clue where they will go from here 😵‍💫

Anyway I'm still processing a lot of stuff that I will probably talk (and draw) about later, this is already long enough!! for now I'll look up how to get the artbook because the art direction of this game is fantastic!! I would love to hear your thoughts too really, I'm curious about the experiences of players who made different choices and with different tastes to mine!!

[ask-the-rag-dolly]

honestly the idea of ragatha being a master manipulator all along is so funny to me . like . not in a ' because i support women's wrongs ' way but because it doesn't Make Sense Narratively to the point it'll be so fucking Hilarious if it was true .

kinger's more dependent on a pillow fort than ragatha herself , i'm pretty sure things are awkward between her and gangle , zooble's closed off to pretty much everybody , jax doesn't buy into her bullshit in the slightest , and it took pomni attending kaufmo's funeral to even Consider ragatha as a potential friend after befriending an npc First

like wow . she doesn't know how to be evil in the slightest . gold star for effort i guess ??

[dukeofankh]

I mean, nothing I said was suggesting that nothing can or should be done. I have a couple things I can think of but people are already rightly pointing out that my experience, like all experiences, isnt universal. Calling out a shallow take isn't something I'm doing because I'm so so wise and I know how to fix everything.

I have heard the take that part of the fix for this will probably be a lot more white men with podcasts, and that is almost definitely *part* of the fix. It is legitimately difficult for young men to find content about random ass basic hobbies that isn't being served to them by low-key fascists. That needs to change. When talking with other progressive men, something that came up a lot was after school programs, especially ones that bring boys in more contact with their communities and expose them to different kinds of people in positive ways. Hate breeds in ignorance and isolation.

You already seem very anti-terf, which is great. That is also part of it. I don't honestly think that women are the cause of this problem but like, in terms of fixing this and convincing men that feminists are on their side, yeah, some small part of it is probably looking at the state of feminism currently and recognizing that it has devolved in many very public online spaces into reactionary gender essentialism and that radical feminism takes up a lot more air than anyone would like to pretend it does. "Sure I wholeheartedly reblogged something that claimed that any man who seems decent is just trying to let women's guards down to make it easier to assault them, something all men are trying to do to women at all times, but that's just venting. Ignore that broadside that me and my friends just unloaded on you and everyone who looks anything like you, if you think that your hurt feelings about that matter, that's on you for not recognizing that our pain justifies saying literally whatever we want" (to call up a random example) is certainly a standard that it is possible to enforce in some more isolated corners of the internet, but there has been a serious breakdown between the personal and the public, which is hell for messaging as a movement. This is no longer drinks with friends, this stuff gets broadcast worldwide to men who are trying to get a sense of what feminism is about. At some level, what is cathartic to say will have to give way to what is tactically wise to announce. The only men who will willingly share space with that sentiment if it is core to this movement are either convinced that they are personally exempt from examining their own privilege, which is its own problem, or men who agree wholeheartedly that all men are evil, them included, and are trying to atone. I've interacted plenty with both in male feminist spaces. It's not a winning team. I am aware how hard that will be. 4B type political lesbianism/lesbian separatism seems to be having a moment (at least as a meme) right now as people process their grief in this moment. That's understandable. But it's not wise.

Considering this is happening in the wake of the US election, and I'm saying this as a Canadian, it's also worth gently and precisely noting that even if the harm is the same, someone who voted for trump didn't necessarily do it because they despise women. If we're just looking at the raw numbers and saying "we're doomed", that's probably not helpful or, luckily, accurate. The project of changing the cultural narrative is huge and depressingly long. The rise of reactionary right wing populism when a society starts failing its young people economically isn't. That is a different, and much easier project. If you don't want people to vote for right wing populism, you need to give them left wing populism, and infiltrating the democratic party and pulling all the same tricks the right did but towards economic policy that will provide the next generation of men with the opportunity to own homes and pull their weight supporting families will do a hell of a lot more in a much shorter time than systematically changing each and every man's heart, especially considering a lot of the people who voted for trump weren't men. This project will outlast us, but MAGA doesn't have to.

If your vision for the deradicalization of right-wing men begins and ends with "other men telling them that that's gross and to stop it" then I'm sorry, you do not understand how masculinity works.

"Men who hold patriarchal status" and "men who are feminists" are two groups who overlap less than you want them to. I'm sorry. That's not solely because men are so happy with patriarchal status that they don't want to risk it by policing misogyny/queerphobia/racism, It's because being misogynistic, queerphobic, and racist, end expressing other forms of toxic masculinity(and often abusively so) are part of how people establish and maintain patriarchal status. The men who have the ability to stop this via nothing but peer pressure are the very people who are doing it. That's by design. And engaging in feminist intervention is, in and of itself, usually the abrupt end of that status and its associated power to persuade misogynistic men.

Like, I have worked in blue collar jobs as a notably queer person. It was pretty much a constant deluge of verbal abuse. In my experience, most blue collar work environments are exploitative, abusive, and bigoted, and very gleefully so. On the occasions I have spoken up about someone saying something that was super fucking out of line (asking me which of the girls walking by was hottest. We were installing a portable classroom at a middle school), believe it or not, they completely failed to be shamed! Because nobody else on the crew gave a fuck. *I* was the weird one. They ghosted me. A full blown company ghosted me. I suddenly didn't have a job anymore because they just straightforwardly stopped telling me where the next job site was.

Like, this doesn't mean that it's your job to do it, but this vision you have of these big groups of men where everyone is on the fence and there is precisely one shit stirrer who can be shut down by a brave feminist man who can single handedly set the example for all these other guys...you are high. You are describing an "everybody clapped" level absurd scenario. Most of these truly virulent misogynistic guys either have zero friends, because, you know, our society is atomized to fuck, or they are in a group where the feminist guy is actually the weirdo who can be shut down and ostracized much, much easier than the misogynists, because there is no such thing as a man misogynists respect who stands up for women.

You might be saying "well, we're talking about longstanding personal relationships, actually. Like, they need to have to want to spend time with you and then, as a side effect, you can mind control them out of being a threat to us."

Problem with that being:

1: Many feminist men also have no friends, see the atomized society above.

2: Feminist men already stopped hanging out with men who make rape jokes because why the fuck would we want to spend time with them.

3: That isn't just because we respect women so hard. We are in many cases talking about men who are also deeply queerphobic, heirarchical, violent and abusive to other men. What initially drew me to feminism and women was a lack of heirarchical squabbling and constant bullying, and the ability to be openly queer. A lot of men who came to feminism did so because they knew that the patriarchy was not a place they would find success or acceptance. These are not the men who are gonna be able to change right wing minds.

4. Men do not view themselves as a monolith. There is no universal brotherhood of men. The actual meaning of the term "Fragile masculinity" is that men are constantly expected to prove that they are deserving of the status of being a member of their own gender. There are large swathes of men--including most of the men who you'd look to as examples of good, feminist men who you want to undertake this project--who are considered failed men, sissies, f****ts, soyboys, ect. They are. Not. Going. To. Convince. These. Men. Of. Jack. Shit. Much less successfully *shame* them. Jesus.

I know all of this sucks. I know it would be cool to be able to just point at a group and have them be responsible for the work. But nah. It's gonna have to be a societal project, one that will probably outlast all of us. Sorry. The thing you want these men to do is, absolutely, the morally correct thing to do. But presuming that it would be effective is, and once again I am so sorry about this, just ignorance of how these social groups function.

[infiniteaugends]

Okay! I need to get this out of my head. I’ve seen some posts that are upset that people are upset about the BuckTommy break up. The core gripe of these posts is that the show still has HenKaren and so we shouldn’t be upset about the handling of the other main queer couple. Which makes no sense because BuckTommy and HenKaren fulfill different niches. One is a bisexual man exploring a new relationship and the other is two gay women who are settled with multiple kids.

However, this post is to talk about HenKaren. Yes I love them! They were the main thing that drew me to the show long before bi Buck became a thing. They are two black women in a relationship. Neither is ‘conventionally’ attractive. Hen is pretty visually queer. I love them. I want more of them in the show. However I don’t relate to them. Almost all of their storylines revolve around motherhood. There is very limited exploration of them as queer women outside of motherhood. Karen is a literal rocket scientist and that has never even been used as any sort of plot point. Like the amount of physics she knows and understands could be used to great effect. Micheal got to help break into a bank vault with Bobby, but Karen has never been used in a similar way. Like the amount of STEM knowledge stored in her brain 100% could have solved at least a few rescues. Can we explore these amazing woman as queer women instead of mothers just sometimes pls.

I read a fanfic that explored how Don’t ask, Don’t tell could have affected Karen. That she couldn’t become an astronaut because of it. I would love more of that energy in the show.

So yes you are right I am bemoaning the way Buck and Tommy’s break up was handled. I am bemoaning the lack of care given to exploring Buck’s bisexuality within monogamy. I am allowed to be upset. I am allowed to not relate to the storylines given to Hen and Karen. What happened to Hen being kinda witchy and blaming the moon cycle for her cheating? What happened to Hen and Karen and Athena’s wine mom nights? Where is our exploration of Karen as partner to a woman in a dangerous field of work? Where is our exploration of their relationship outside of kids?

You want me to appreciate the crumbs of queer representation being tossed my way? Well won’t you’re right we should be angry that Hen and Karen are treated as second class citizens in the narrative. We should be upset that their importance has been reduced to only motherhood. We should be upset that this show is mishandling all of its queer characters and letting Eddie Diaz have freedom and joy while our queer representation suffers.

BuckTommy was the straw that broke the camels trust in 911 ability to craft realistic queer lives and continue to care about them more than a diversity check mark. I will continue to watch HenKaren clips on YouTube and read fan-fiction. I will continue to engage with Bi Buck fan-fiction that heals the parts of me that Glee and this show have bruised. I will not thank them for the stale crumbs they brush from the table. Do I love Hen and Karen? Yes! Is it enough? Not anymore!

Anyway, I got a little heated and upset, but all this discourse is really just rubbing me the wrong way. Let people be upset and hurt. Their feelings are valid whether you agree.

[unboundprompts]

Hello! I’ve never really used this ask thing before— so I’m sorry if I do this wrong. I love your prompts and other works and was wondering if you could help me figure out how to write and describe accents? My characters have very specific accents (Australian accents, British accents, etc.) and I’m having trouble figuring out how to show that. This is a fantasy setting so I couldn’t just describe their accents as an Australian accent and such y’know? I’m so sorry if this doesn’t make sense. Would you be able to help?

How to Write a Character with an Accent

-> How to Write Character Accents

-> How to Convey Accents in Fiction Writing

Make sure your character’s speech isn’t distracting

When writing dialect or a particular accent, it can be tempting to write a character’s dialogue using phonetic spellings. However, this use of dialect can distract your reader. If your character is French and is constantly saying “ze” instead of “the,” the reader will be focusing more on decoding the line of dialogue than they will on plot or character development. When writing fiction, your reader’s attention should always be on the story, and anything that distracts from that probably isn’t worth including.

Slang and Colloquialisms

Incorporate regional slang, colloquialisms, or idioms that reflect the accent. Each accent has its own unique phrases that can suggest the character's background.

Include Snippets of their Native Language

 If you’re writing a character who speaks a foreign language, one way to communicate their accent is to simply include snippets of their native tongue in their lines of dialogue. This will demonstrate the character’s native language and implied accent without resorting to the distracting eyesore of phonetic spelling.

Don't Stereotype

Writing different dialects indelicately can make you appear condescending towards non-native English speakers or people who use the English language differently than you do. One of the most common offenders is the use of “eye dialect,” which refers to using misspellings or nonstandard spellings in order to depict a character’s accent (for instance, writing “fixin’” with an apostrophe instead of “fixing” in order to demonstrate Appalachian or Southern accents). By focusing on the “otherness” of regional dialects and non-native speakers, a writer may give the impression that they are making fun of the way people speak. When writing different accents, keep eye dialect to a minimum.

Rhythm and Intonation

Accents often have distinctive rhythms and intonations. Pay attention to how the accent changes the flow of speech. For instance, British accents might have a more clipped and precise quality, while Australian accents can sound more relaxed and drawn out.

You might describe this in your narrative, saying something like, "Her words rolled out with a casual lilt, the vowels stretching like lazy waves."

Character Reactions and Context

Show how other characters react to the accent. If a character speaks in a heavy accent, others might lean in to listen, nod in confusion, or make a comment. This helps highlight the uniqueness of the speech.

Physical Description

Consider linking the accent to physical traits or background details. Describe the character’s upbringing or location, giving hints about their accent through their surroundings or lifestyle.

Example: “Raised in the bustling markets of Evermere, his accent was a musical blend of the old tongue, softening the hard edges of his words.”

Subtlety in Dialogue Tags

Instead of writing out the accent in every piece of dialogue, you can subtly hint at it through the dialogue tags. For example, “he said, his voice dripping with the easy lilt of the southern coast” can convey the accent without explicit phonetic spelling.

[eightbitpale]

Op your tags are so interesting. Because i think that they lend themselves well to a conversation about a tension that i see demonstrated over and over in conversations about Padme - is she written like a character, or is she written like a symbol? And it’s so hard to divorce the two, because both in universe and within the narrative itself she’s positioned as this paragon of idealism, in a way that almost makes her more of a structural feature of the story more than an actual character. Its like, of course she loses the will to live and dies in the end! if she survived then the tragedy wouldn’t be complete. She IS idealism and hope, so of course she dies when hope does.

But from a watsonian perspective, I think people often find her death is unsatisfying within the specific context of the movie because it’s just not foreshadowed properly. She’s propped up as a paragon of truth and justice in order to make her eventual death symbolically significant, but the exact mechanism of her death - profound, personal psychological pain, which is indicative of a nuanced internal struggle - is actually undermined by a characterisation that intentionally flattens her into a moral paragon. When she dies, we understand academically that it makes sense, but despite that it still sort of feels… left of field for her character, who until mustafar has given no real indication of suicidal, nihilistic tendencies.

it is interesting that for all the talk of “fixing” padme and making her “more than a weeping wife”, the idea of padme choosing to die while pregnant remains this huge taboo. post after post about freeing her from sexist writing, and ppl still can’t imagine a padme separate from her children. her ultimate purpose remains motherhood. padme refusing motherhood/being unhappy in motherhood is taken as a total impossibility. it has to be sith life force draining, it has to be the force choke, it has to be bad space gynecologists (??). it can’t be that a mom lost the will to live despite her babies. that doesn’t happen!!

[wilcze-kudly]

Something I've always loved about atla is how it handled scars, particularly Zuko's facial scar and Aang's lightning scar.

I've probably spoken before about how, as a burn victim with a ton of skin grafts on my legs, torso and hand, Zuko really was the first character "like me" that I saw on TV. It was, as you can guess, quite a momentous moment for kid me. Which is probably why I'm so disheartened on the live action show shrinking and toning down Zuko's scar significantly.

Too often scars, especially burn scars are seen as gore or body horror and too graphic to be seen on TV that isn't horror or related genres. And often scars, especially facial scars are reserved purely for villains and are used as a signifier for 'evil'. A trope that you'll find is still alive and kicking even today even in big franchises.

And while Zuko does reinforce this trope to some extent, I think it was subverted enough for it to have irs own merit. Atla also steers away from the scars=evil narrative, by having a lot of "good" characters have scars too like Bato and Song. This helps destigmatise scars as a whole, making Zuko's 'scarred villany' seem like a more individual case.

In Atla, scars are more the trademark of victims rather than villains and this rings true for Zuko too.

Zuko is a victim of the Fire Nation in the sense that the Fire Nation's values of war, strength and honour facilitated Ozai's abuse of him, particularly the scarring.

Zuko's scarring does follow a very established trope of a son being scarred by a father, which is surprisingly prevalent, especially with burn victims. Seriously I collect these men like pokemon. This tropiness isn't a bad thing, since I think it leads to us very quickly sympathising with him. I certainly did, since his experience mirrors my own.

The scene of Zuko's scarring is also particularly special, due to it being rather unique, because it isn't quick or an action scene, nor is it shown as an overly gory horror scene, despite it being, well, horrific.

It's... tasteful. Or at least, as tasteful as the scene of a child getting scarred by their father can be, I suppose. It doesn't linger on the violence, but also doesn't sugarcoat it. The scene of Zuko's scarring, and the events leading up to it also give us a good exposition to his better qualities, like his compassion, and a good explanation for why these qualities stay buried.

I can understand why some people in the fandom believe that Zuko's scar symbolises his 'worse side', but I actually believe its the opposite. Very often, when a character has a 'split down the middle' type of scar, their scarred side represents their worse half, like with Two Face from DC.

Because Zuko's scar doesn't symbolise his allegiance to the Fire Nation, it symbolises the fact that he failed to live up to the Fire Nation's standards. It's a physical reminder of the time Zuko actively defied the Fire Nation's standards and mindset.

We get a lot of nods to Zuko's scar aymbolising disgrace and failure to uphold ehat the Fire Nation expected of him. It's literally a physical blemish upon his 'honour'.

This is especially noticeable when Zuko's appearance is contrasted with Ozai, who exists as sort of the human stand in for the Fire Nation's imperialism. For most of the show, we are not shown any of Ozai's features, his face being obscured by shadow or out of frame.

We finally see Ozai's face, it's when Zuko is seeing hik for the first time in years. And Ozai looks so similar to Zuko. An unblemished, perfect, complete Zuko, so to speak. In Zuko's fever dream, where we see an unscarred Fire Lord version of Zuko, he looks exactly how I imagine a younger Ozai would look. I also love that Zuko's adult design seems to lean into this similarity.

Furthermore, Zuko's scar is used time and time again as a way he connects with victims of the Fire Nation. People who don't know him, like Song and Jet, assume him to be another victim of the Fire Nation, citing his scar as the reason why. Which is half true, Zuko is a victim of the Fire Nation, just not in the way they think.

Jet: I think Lee would make a good Freedom Fighter. He's just trying to find his way in the world, like us. Smellerbee: You don't know anything about him, Jet. Jet: I know he didn't get that scar from a waterbender.

One person who doesn't connect to Zuko over his burn scar is Katara. I love the scene of Katara and Zuko in the crystal catacombs. It's a profound scene and one that always makes me a bit emotional, especially in the wider context of atla, a subject I've touched on in this post.

However, the handling of Zuko's scar in this scene is especially dear to my heart. I strongly remember that, when Katara offered to heal Zuko's scar, I actually got scared and upset. I was terrified of Zuko's scar being erased, of the connection I felt to him snuffed out and one of the best parts of his characterisation being erased.

But that's not what happened, and the scene is amazing on that front and all others.

We learn that Katara asscociates Zuko's face with the Fire Nation, which makes sense, since he's been kinda clingy for the entire 1st season. Katara denies it having to do with anything with Zuko's scar.

Katara: It's just that for so long now, whenever I would imagine the face of the enemy, it was your face. Zuko: My face? I see. [He touches his scar.] Katara: No, no, that's-that's not what I mean.

The Katara lover in me believes her. As a a member of the Sothern Water Tribe, she probably has seen many burn victims. And her pursuing healing would also probably lead her down the route of normalising and understanding burn scars.

However, I would not be surprised or disconcerted if the scar did have something with Katara perceiving him as a villain. After all, to a lot of people, scars and "ugliness" denote moral ugliness. The very obvious fire asscociation probably doesn't help someone traumatised by the Fire Nation too. It is a sad fact of life that even those who know better subconsciously react to people with scars and other "deformities" with disgust and distrust.

We also see Zuko explicitly give us the rundown of his previously unspoken struggle with feeling like his scar is defining him as a person.

Zuko: It's okay. I used to think this scar marked me. The mark of the banished prince, cursed to chase the Avatar forever. But lately, I've realized I'm free to determine my own destiny, even if I'll never be free of my mark.

This is something I can relate to as someone with prominent scarring and I'm sure we all sometimes feel defined by things outside of our control. Sometimes It's hard to seperate your identity from your appearance. And it's even harder to seperate yourself from events that influenced you so harshly.

As I previously highlighted, Zuko's scar relates strongly to his failure to adhere to the Fire Nation's ideals and conventions, his failure to be the perfect prince of the nation. And while to us, that is a good thing, to Zuko, at least at first, that is a very, very bad thing.

To Zuko, the scar is a symbol of his flaws, and a just, if not harsh punishment for his percieved transgression. He sees it as a brand, denoting his mistake and shame. He sees it as the physical manifestation of what his banishment and scorn from Ozai means.

It's only when he begins growing as a person away from the Fire Nation's influnece, that he starts to realise that the scar is just a scar. It holds no power over him. And while he relapses for a moment, "demystifying" his scar allows him to do the same to the event of his scarring. It allows him to look back at that moment and not see righteous discipline, but rather see it for what it was and go "hey wait a minute that was actually fucked up.". Which allows him to look at The Fire Nation's conquest of the world and go "hey this is also fucked up.", when the lessons he's learnt in the Earth kingdom finally click.

I believe this is why we see Zuko almost purely from the side of his scar in the scene where he confronts Ozai, especially when it's contrasted with Ozai's unscarred eyes.

Zuko's scar, like many scars in fiction, symbolises imperfection. But rather than an "objective" imperfection, as most fictional scars do, Zuko's scar symbolises his imperfection through the skewed and biased eyes of the Fire Nation. It's a nice subversion of the trope that usually encourages us to equate beauty with goodness and ugliness with evil.

Side note, I know I've been using the terms "ugly" and "ugliness" to talk about scars. I just wanted to note that I don't think scars automatically mean someone isn't attractive/scarred people are ugly. But in a lot of media, scars are seen as gross and ugly, which is why I've been using these terms.

I like that Zuko defies this trope by being drawn as very attractive with his scar, and even being seen as desireable in canon.

Even though it does loop back to the 'attractive=good' symbolism, I don't think it totally invalidates the story Zuko's scar is telling. Plus it WAS an ego boost to child year old me who thought no one whould ever love me bcs I looked like a burnt chicken nugget. So I'll let it slide.

I love Zuko's scar, and I love how it seamlessly fit into the story, while also subverting tropes and invalidating stigmas towards scarred people. It's probably one of my favourite, if not very personal aspects of the character.

I do however, also want to analyse and go over Aang's scar from Azula's lightning and I plan to go over it at a later date, since this post is getting a bit long and overwhelming.

Toodles!

[therevelbar]

breaking the internet

chapter two Hiori discovers Miss Journalist might be a loyal fan of his — and learns the hard way that stalking someone on Winstagram can quickly get complicated. blue lock longfic series pairing hiori yo x reader contains slow slow slow burn, post blue lock timeskip, afab!reader angst, fluff, very hiori yo centric piece, reader is big hiori fangirl i guess masterlist taglist

A few days later, Hiori noticed Bastard München’s group chat buzzing on his way to training. In just a couple of days, your article he had stumbled upon gained traction, spreading quickly among fans and media circles.

To his surprise, the team’s marketing team seized the opportunity to reshape the narrative to their advantage. They shared the article on the team’s official social media account, tagging you, with the caption: “Big W, thanks @/yn_offthepage for the awesome feature! We appreciate the support and dedication from all fans as we push forward this season. Don’t count us out yet!”

The reaction was immediate and electric. Fans who had been hesitant—some even critical—now rallied behind the team. Comments flooded in, sparking a renewed sense of hope for the Kaiser-less Bastard München. It was as if your article had breathed life back into a disheartened fanbase, bringing a spark of energy and support that the team badly needed.

By mid-day, another notification caught Hiori’s attention—a link to an old podcast clip that had resurfaced from an episode a few weeks prior to the start of the season. He opened it, surprised to see that you had been a featured guest in Anri Teieri and Ego Jinpachi’s Japanese Football Association podcast show.

The video began with the three of you sitting around a cluttered table with JFA signage and merch. Anri wore her usual JFA-branded polo shirt, and Ego wore a dark dress shirt paired with his signature bolo tie. 

You, however, were dressed more casually this time—casual but sporty. You donned a simple oversized tracksuit jacket and pants, with your messy bun adding an almost charming touch to your appearance. Your cheeks were lightly dusted with blush, and somehow looked radiant under the studio’s lights.

The podcast attracted attention quickly, and for good reason. The topic of discussion? The top three teams to watch that season. When Anri posed the question to you, Hiori hadn’t been prepared for your bold and quick response: Bastard München. The choice raised an eyebrow from Ego, who clearly hadn’t been expecting it.

In the next few seconds, you defended your choice with a blend of sharp analysis and an unexpected warmth. 

“Bastard München may have their flaws,” you explained, “but this season is about more than just winning. They’re rebuilding, and that means everyone now has a chance to shape the team’s dynamics in a way we haven’t seen before. It’s exciting because of how the team chooses to play things out this season can make or break them.”

As Hiori watched the clip, he couldn’t suppress a slight smile. The way you spoke about Bastard München struck a chord.

Your words weren’t just empty praise. They held conviction, a belief in their potential that was oddly reassuring. It reminded him of why he played, of the love for the game that had gotten buried under expectations and pressure.

“Think of it this way,” you continued, “just like in the Blue Lock project, players are forged through fire and brimstone, transforming into better versions of themselves. But this time, it’s not just individuals. It’s a whole team, shaping their destiny together. Aside from snide fan remarks, the only limiting factor to their potential growth is themselves, with the season a ticking time bomb hovering over their heads. This is where real egoists evolve.”

Not many sports personalities, especially journalists, would have taken the risk of showing open support for a team with uncertain prospects.

She a Noel Noa fan? he wondered.

Regardless, he hadn’t expected to feel that weight behind your statement, but something about it felt... right. 

At practice later that day, the clip had gone fully viral. So viral that the team’s sly marketing team couldn’t resist showing it to the squad. And like clockwork, during their break, Coach Noa and the marketing manager flagged down the sweaty athletes and gathered them in the locker room to watch the podcast clip.

The team crowded around the big TV, and as they watched, Hiori felt the atmosphere shift. The weight of their previous defeats seemed to lift. Your public support for Bastard München—the way you called them the team to watch out for this season—was like kindling to their dying embers. 

Even without looking at each other, they can feel that there’s a newfound determination settling within them. Even Greisner’s grumpy self got visibly pumped, his potty mouth running nonstop, but in a good way.

Watching his teammates respond to the clip reaffirmed what he’d felt earlier. But it was Hiori who felt the impact the most. Your conviction, your words, as if everything was directed to him.

This wasn’t just about the praise; it was about being seen, understood, in a way he hadn’t known they needed. Your words had done more than lift him; they’d awakened the fire within the entire team, making them feel, for the first time in a while, like they were exactly where they were meant to be.

But what surprised Hiori was the next clip that Coach Noa played.

The clip showed Anri bringing out an exaggeratedly large whiteboard titled “Ego’s Top Player Watch List”.

It showed a list of the top ten players to watch this season, paired with a comically drawn cartoon face of a player beside their name. It listed high-profile names and football stars everyone was expecting to see. The usual suspects—Julian Loki, Michael Kaiser, Shidou Ryuusei, the Itoshi Brothers—were all there.

But you interrupted Ego’s explanation mid-sentence.

“Not to be rude, but this looks like a ‘super fan’s’ wet dream.”

The team erupted in laughter. Hiori could hear Anri snort in the background, trying to cover it up with a cough after getting a stink eye from Ego himself.

Even Coach Noa couldn’t help himself, letting out a low chuckle at that unfiltered comment about his former brother-in-arms.

The camera panned to Ego, whose face was now a mix of curiosity and provocation. Through gritted teeth, he said, emphasizing every syllable of every word, “Is that so? What makes you say that, Y/N-chan?"

Realizing how rude that sounded, you bowed profusely, the tips of your ears red from the embarrassment. “I’m sorry! That came out wrong!”

“What I mean is, these are the players that football fanboys usually rattle off,” you said, catching yourself a bit too late. You just called Ego a fanboy. You winced but pressed on.

“These are the stereotypical names everyone expects to hear. But there are so many others who are just as impactful in their own way. Players like Nanase Nijiro, Niko Ikki, Agi, Miroku Darai, Alexis Ness …”, and for a second, you visibly, faltered, hesitating.

But you continued with a smile, “... and Hiori Yo, to name a few.”

“Oooh, that’s some hot take you’ve got there, Y/N-chan.” Anri laughed. “Also, two players from Bastard München?”

“So I’m guessing your favorite player is from the German club then?” Ego pried as he erased names on the board to replace them with Alexis Ness, Agi, and Hiori Yo’s names.

“Is it that obvious?” You chuckled. “Actually, let me show you.”

The team’s eyes were glued to the screen as you started unzipping your tracksuit jacket and revealed a Bastard München black jersey with the big bold gold number on the front.

Jersey number 23.

Hiori Yo’s jersey number.

His jersey.

“Ooooh!” The team erupted in laughter and teasing as they eyed Hiori, who was clearly stunned by the sudden reveal.

And it didn’t stop there.

“He’s a strategist both on and off the field. A true genius." You leaned forward, eyes bright with conviction.

“Everyone’s always focused on the strikers, but for me, midfielders steal the show. Playmaking is the heart of football; without midfielders to anchor the team, you’d just have chaos and confusion. Don’t get me wrong, I love the excitement that forwards like Julian Loki bring. But midfielders like Hiori Yo have their own kind of charm, a different thrill.” 

Your voice softened, your gaze momentarily distant, as if lost in thought. “There’s something mesmerizing about the way they read the game, anticipating moves before anyone else sees them. They make football more dynamic, more unpredictable. What’s not to like, right?”

You paused, catching your breath, and glanced around, realizing you rambled on. Anri and Ego exchanged amused glances, clearly entertained by your enthusiasm. Hiori watched as you tucked a stray strand of hair behind your ear, cheeks flushed as if you'd suddenly remembered you weren't alone.

It was clear you’d been watching him closely, noticing the subtleties of his play that often went unnoticed. And for a moment, he couldn’t help but feel a sense of pride.

As the clip ended, the locker room broke out in playful whistles, the whole Bastard München jeering at Hiori. Grins and knowing looks flew his way, as they egged him on this surprising development.

“Look at you, Hiori,” Ndiaye teased, nudging him. “Got yourself a fangirl.”

Hiori felt his cheeks grow warm as he tried to hide a small smile. But something stirred within him. Was it validation? Recognition? He couldn’t quite tell.  

“Who wouldn’t like Hiori? He’s, like, the ultra-sadist.” Isagi laughed as he elbowed Hiori on the side.

“Ah, shaddap, that was ages ago,” Hiori laughed, shoving him back. “But this ultra-sadist ain’t passin’ to ya if ya play like crap next match!”

“Damn, so cruel, so mean, Hiori.” Kunigami said.

“Guess it’s just my charm, eh?” Hiori grinned as he gracefully dodged a playful jab from a pouty, jealous Igarashi.

“Lucky! I’d kill for a fan in the press, so unfair.” Raichi groaned, casting a jealous look at Hiori.

Theo Sachs draped his arm around Raichi and said, “I doubt Miss Y/N would even write about you, even if you’re the master striker. You gotta be smart, not a smartass.”

“Plus, if we’re judging the team, you’d probably come in just above Igarashi at the bottom.” Yukimiya chimed in, laughing. “Even Gagamaru’s got a better shot at landing a cute fan.” Gagamaru simply huffed in smug satisfaction.

A loud clap broke their chaos as they heard Coach Noa clear his throat. “Alright, that’s enough. This is good publicity, yes, but remember, this puts all eyes on us for the next few matches. So don’t slack off. We’ve got a chance to prove them wrong, and I expect every one of you to play like it.”

The team erupted in shouts and cheers, clearly energized by the encouragement in the video. It might not have seemed like much, but having someone voice their confidence in Bastard Munchen out there for everyone to see lifted their spirits and boosted morale in a way they hadn’t expected. 

Football players are so single-minded, Hiori chuckled to himself.

The team dispersed as Coach Noa dismissed them with a wave, nodding with certainty at Hiori before heading to the field. The rest of the team scattered, eager to enjoy the rest of their break before afternoon training resumed.

He watched them go, but his mind lingered on the clip and on you.

Hiori felt a strange warmth unfurl in his chest. You weren't focused on the typical names, the usual flashy strikers; you spoke about the heart of the game, the grind, the transformation.

And when you mentioned the midfielders—the players who built the game from the ground up, who connected every move and controlled the chaos on the field—it felt like you were talking directly to him.

He couldn’t remember the last time someone had seen that side of his role, had recognized the way he approached the game. He felt seen—not for his skill or his stats, but for the way he played, for the choices he made on the field.

This wasn’t validation from his parents or praise from a coach. This was different. It was like a piece of himself he’d almost forgotten was gently being uncovered again. And in that moment, Hiori realized he wasn’t just another player on the field. He was Hiori Yo, a player with his own way of seeing the game—and you understood it.

Hiori replayed the clip, slipping on his earphones as he sank onto an empty bench under the shade. He let the image of you in his jersey burn into the back of his mind. And that smile.

This feels damn good, huh?

It was strange. Most people dismissed his approach to the game as too quiet, too calculated. But you understood it, and that understanding warmed him from the inside out, like a light he didn’t want to fade.

Without a thought, he checked your Winstagram account he had bookmarked. He scrolled down further before stopping as he spotted the picture he had been looking for. He clicked on it, and it showed him a carousel of images from that podcast episode. He did linger a little longer on a candid photo of you in his jersey.

He tried to zoom in, double tapping the image. “Ah, shit.” he muttered, as a heart-shaped “like” notification popped up instead.

In a panic, his fingers moved before he could even think about it. His heart raced as he tapped it continuously, unliking it, then tapped it again, liking it once more.

He froze, realizing that what he had done probably made things worse.

“Well… no goin’ back now, huh?” With a soft chuckle, he hit the follow button before stashing his phone in his bag and jogging back to the field, a smile playing on his lips.

While in the middle of researching a story, you were drenched in sweat as your phone blew up with notifications. The JFA podcast going viral definitely wasn’t on your to-do list today. While the clip's popularity was undoubtedly a career boost for a budding sports journalist like you, the attention was overwhelming.

Many praised you for your insightful take on the team and Hiori, but others labeled you an overzealous fan, clinging to idealistic views. As you scrolled through the messages and comments, a creeping anxiety settled in. 

Was your conviction really misplaced? Maybe you should’ve just mentioned PXG, like the other “normal” fans.

Instead, you had blurted out your admiration for Bastard Munchen—and, to make it worse, wore the jersey of your favorite player on camera.

What was I thinking, showing that off in a recorded video? So stupid.

As you scrolled further, a few off-the-rails comments caught your eye: 

When she talked about Hiori, she gloooowed.

Hiori Yo's biggest fangirl confirmed?

Your face flushed, a mix of embarrassment and something else, something unexpected. You quickly swiped past the post, your heart pounding. Was it really that obvious? The beating in your chest wouldn't go away.

Your moment of procrastination was interrupted by a series of Winstagram notifications popping up on your screen.

hioyi_yo23 liked a post. hioyi_yo23 liked a post. hioyi_yo23 started following you.

“Shit. Shit, shit shit shit shit. What now?!” You choked on your iced latte and scrambled to open the notification.

You couldn’t tell if the universe was playing some twisted prank on you. Because when you saw what photo Hiori Yo—Bastard Munchen’s midfielder, jersey number 23, THE HIORI YO HIMSELF—had liked, it felt like the entire world had just shifted on its axis.

It was your photo, wearing his jersey. He saw. He watched the clip. And he knew your Winstagram account.

Wait—did he like it and un-like it?

You quickly opened his profile, you fingers trembling. His account was a stark contrast to yours. There was barely anything personal—just a handful of Bastard Munchen-related posts, a few photos of teammates and friends, and some glimpses of his personal life, like the computer games he played or events he attended.

Everything was cryptic, like the man himself, showing only fragments of his life.

“Well, here goes nothing,” you muttered, butterflies exploding in her stomach as you tapped the follow button.

You stared at the screen for a moment, holding you breath. A smile tugged at your lips as you read it again: hiori_yo23 follows you.

author's notes: after so many revisions, it's finally done! i rewrote this chapter and it turned out longer than i expected. but i wanted to show both hiori and reader felt, their internal thoughts and feelings. a friend (who hasn't read or seen blue lock) has been helping me with proofreading. i was pretty happy because he said, he's liking hiori's character and how the slow burn is unfolding. anyway, i hope you guys enjoyed it! lemme know what you guys think!

[sepublic]

            I find it interesting that even in the epilogue, four years after Camila has had time to be more acquainted with the Boiling Isles under non-threatening circumstances, she’s still creeped out by it. And this is fine! The narrative isn’t condemning her for it. It’s not demanding that she enjoy these things like Luz does; It’s just asking for her to respect its existence, and to support Luz’s interest in it and love her too.

            In For the Future, we see Camila horrified by what she encounters in the Boiling Isles; But she also spends the whole episode pushing through it anyway for Luz’s sake, being there for her as much as she can. Because she knows these are just feelings and nothing more, and she’s choosing to be kind in spite of them.

            By contrast, in this same episode we find out Belos does feel empathy and guilt towards his brother and nephew, he wasn’t purely 100% only interested in what they could do for him; And yet, he’s still just as cruel and violent towards them. He’s still cruel and violent towards witches and demons, sometimes using the ‘tragedy’ of Caleb as a justification. Hell, he even resents the ghosts for making him feel guilty, telling them to “Shut up.”

            Isn’t that fascinating? Disgust is portrayed as a morally neutral thing. It’s not an indictator of morality, it doesn’t mean something is bad… But it doesn’t mean the person who feels it is bad, either, people don’t consider that enough. It’s just a gut reaction. Sometimes people have internalized biases they need to work through, but other times, it’s pretty harmless as long as they’re self-aware and don’t do anything bad over it; This even applies to the process of unlearning the aforementioned biases.

            Likewise, empathy and guilt don’t actually, necessarily make you a good person. The example with Belos shows how some people will actually be crueler because of empathy, because they resent people for being upset, and thus making them feel upset because they naturally empathize. Hence those who get angry at people in pain and need for “ruining their vibe,” because now they feel bad too.

            There’s a juxtaposition in how Camila seems genuinely more scared and creeped out by the isles on a visceral level than Belos, and yet Camila has the common sense to still respect and fight for its existence; Whereas Belos chooses to make a mountain out of a molehill because it’s not just hatred, it’s pride. It all boils down to his ego at the end of the day. In many ways, other characters struggle with dilemmas more difficult than Belos’, yet still do better than he ever has.

            This all plays into my thesis that TOH is arguing your feelings are secondary to your actions, and that the latter is what decides whether you’re a “good” person or not. In the end, someone who’s had a good life and was a dick for selfish reasons, only to choose to be better, is more sympathetic and morally superior than someone who suffered a million unfair grievances, and proceeded to dole out a million unfair grievances, with no sign of stopping; Especially from an IRL perspective, and I think our IRL feelings sometimes influence how we engage with media, and vice-versa.

            That’s why the finale –and the show as a whole– emphasizes choices, over inherent, instinctual feelings. A decent chunk of Camila’s arc could be summarized by the word Squick; In the sense that it’s meant to describe things that one feels personal disgust and discomfort towards, but otherwise has no moral condemnation or problem with; It’s just a Me thing, is the point of Squick. Camila is like that sex-repulsed ace who nevertheless supports kink at Pride.

            That gets me to how my ruminations were prompted by a similar observation; How some people lump sex-repulsed aces in with the oppressive Puritans who hate sex in anything, but that’s not true at all. Obviously there’s the rare Exception, but as a whole, sex-repulsed aces are on the side of other queers who ARE sexual and are demanding to let these things be normalized; It’s not for them, but they have no moral condemnation and will fight for it in solidarity anyway, especially since both are hated by the system regardless. Sound familiar?

[fairy-spring]

I’ve read over this essay several times over the past few weeks. It wasn’t because of a profound realization or anything, but more because with each successive read I was squinting my eyes harder and harder as I sat there thinking, “None of these words are in the bible.” I also had to dig around and find your proper, published essay from 2017, as this post is simply an abbreviated version of that publication which is missing essential points of your argument and kinda muddied the whole read for me.

You had another post in 2020 dabbling on Midna and Ganondorf’s interactions which, uh… I also had to read through several times.

I'm going to be courteous and put everything I mean to say under a read more, both for the sake of anyone who happens upon this post and for you, in case you don't feel a want or need to even look.

I think I have to start with tackling the crux of this essay: the thought that Ganondorf is gradually humanized during the entire four-phase battle with him, that Ganondorf was written as “an unquiet postcolonial ghost,” and that players are meant to experience, essentially, a hate crime.

“Throughout most of Twilight Princess, Ganondorf is characterized as a ruthless tribal warlord who attacked Hyrule because of his lust for power. As indicated by his monologues and gradual humanization over the course of the final battle, however, Ganondorf represents much more than simply an evil to be defeated. He is introduced to the player as a foolish man who became evil incarnate, and he does little more than scream in rage and pain when the player first sees him in a flashback. When he is allowed to speak for himself, however, he reveals himself to be highly intelligent with motivations that are not unsympathetic.” (The History of Light and Shadow)

While I do agree that Ganondorf may have motives rooted in the eradication of the Gerudo, the problem is that, in order to have this context, players must have played Ocarina of Time first.

Ocarina of Time really set in stone the animosity between the Gerudo and the other peoples of Hyrule, given how wearing the Gerudo mask evokes anything from townsfolk in Castle Town screaming in fear to Darunia straight up saying, “I hate the Gerudo!”

Without that context, however, any potential humanization in this aspect is lost, for lack of a better term.

I don’t know how else to explain that Wind Waker is masterful in its humanization of Ganondorf because it talks about Ocarina of Time. Ocarina of Time is the ghost haunting the narrative of Wind Waker. The game opens with a retelling of Ocarina of Time’s plot, Link is compared to the Hero of Time by elder deities such as the Deku Tree and Valoo, Daphnes constantly hammers in how Link was not chosen by the gods like OoT Link or even TP Link were, the boy has to hunt for the pieces of the Triforce of Courage that had shattered after the Hero of Time wound up in Termina, literally picking up the pieces the Hero of Time left behind! And when Link finally enters Hyrule Castle, what is there to greet him but the statue of the Hero of Time?

So, it makes perfect sense, then, that Ganondorf in Wind Waker would reflect on what led him up to this point. Of course he would think on his foiled plot, on the people he abandoned, the people who disappeared because of him. And of course, because he is so set in his ways and so stubbornly determined to fulfill his goal, Ganondorf wants not the Great Sea the goddesses left behind, but Hyrule. Because he’s always wanted Hyrule.

Perhaps more than any other game, The Legend of Zelda: The Wind Waker is the true sequel to The Legend of Zelda: Ocarina of Time.

In contrast, in The Legend of Zelda: Twilight Princess, the events of Ocarina of Time didn’t happen. Any reference to Ocarina of Time is referred to as “ancient,” as if hushed whispers from a distant past. While Wind Waker hammers Ocarina of Time over the player’s head with its plot beats, character interactions, and imagery, Twilight Princess functions more as an echo of Ocarina of Time. The gameplay is similar and Link bears a striking resemblance to the Hero of Time, but the game itself is largely separated from Ocarina, with Ganondorf as the enigmatic specter behind the scenes, a literal ghost story uttered by the petrified spirits of a forgotten age.

Because of this quiet refusal to discuss Ocarina of Time, players aren’t allowed to understand Ganondorf. It is why he feels so weakly written compared to his Adult Timeline counterpart. People in Hyrule today know nothing of the Gerudo. Link’s map refers to Gerudo Desert as “The Great Desert.” It is a forbidden place, only accessible via cannon as the main pathways are blocked off. The desert itself is empty, deprived of life or civilization, with the only places of note being a Sky Puzzle and the Cave of Ordeals.

It is a subtle horror, yes. The thought of an entire people, an entire culture and way of life being wiped off the face of the earth, erased by a country that refuses to discuss ancient sins and would rather focus on the everyday or on borderline cryptids like the Oocca is a poignant one. As you’ve said, it mirrors post-imperialist movements to censor or downplay unsavory moments in history, from American textbooks attempting to downplay slavery to Japanese efforts to wipe away thoughts of Korean comfort women.

But you need Ocarina of Time to understand it.

If any player is just as clueless as Link and going through this journey for the first time, Ganondorf is portrayed exactly the way the game wants him to be: as a menacing, power-hungry, evil man who puts himself above the gods themselves, given his defacing the effigies of the goddesses when Midna confronts him in Hyrule Castle’s throne room.

Furthermore, Ganondorf’s acts throughout the final battle do little to humanize him. In his first monologue, he:

Degrades Midna and her people and refers to them and the Fused Shadow as inferior beings and “petty magic”

Dangles Princess Zelda over Midna and Link's heads like a trophy

Puts himself on the same level as the goddesses by wielding one of their pieces and defacing the Royal Family’s images of them

Upon being met with defiance from Midna, then possesses Zelda as a means to personally hurt Midna and force Link to confront Zelda

credit for the above gifs goes to @hyrulehistoria on tumblr

On this last bullet in particular, it’s certainly… interesting that you stated this regarding Puppet Zelda:

“Ganondorf later possesses Zelda as a means of forcing Link to sheath his sword before a real battle can commence, and this hostage strategy is awful. Nevertheless, the bluntness of this ultimatum should have been effective. When Link proves that he will not hesitate to kill even Zelda herself, only then is Ganondorf overcome with rage.” (03/27/2020)

Whereas in actual gameplay, Link is incapable of harming Zelda’s body. The entire fight against Puppet Zelda is comprised of Dead Man’s Volley, where you’re turning Ganon’s magic against him and stunning him; or, simply evading Puppet Zelda’s attacks as Ganondorf has her flying sword first at you. During this entire fight, Link is unable to strike Zelda’s body with the Master Sword, nor can he fire an arrow at her. This first phase isn’t about killing Zelda; rather, it’s about incapacitating Ganondorf.

credit for above gifs goes to @sacredflames on tumblr

Link clearly shows visible relief when Midna squishes Ganondorf out of Zelda, I don’t know how you missed that one.

credit to @fuckyeahlink on tumblr

In phase two, Ganondorf doesn’t utter a word, instead morphing into Beast Ganon in an effort to destroy Link. When that doesn’t work, he enshrouds Hyrule Castle in twilight, where Link and Zelda would be incapable of battling Ganondorf directly. Midna then teleports the two out of Hyrule Castle and dons the Fused Shadow, facing Ganondorf alone.

When next we see Ganondorf, he is on horseback, and he has a new trophy: Midna’s helmet.

Everything up to this point paints Ganondorf as the “ruthless tribal warlord” the sages characterize him as. I genuinely don’t know how you saw Ganondorf explicitly regarding the Twili’s greatest power so lowly that he destroys it and practically tramples it with his ghost riders, and then said this:

“When we next see Ganondorf, he is holding Midna’s crown, which crumbles to dust in his hand. We think he’s killed Midna, but of course he hasn’t. Ganondorf has spared Midna’s life and obliterated the cursed artifact that transformed her into an uncontrollable monstrosity. This incident marks the last time we see Midna in her imp form, which means that the spell on her has now been lifted.

“Ganondorf has suffered through war, genocide, and unimaginable physical pain, yet he does not kill Midna, who has openly attempted to kill him. He takes the formidable weapon Midna has been assembling throughout the game and, instead of using it, destroys it.” (03/27/2020)

(Sidenote: Where on earth did you gather that the Fused Shadow is uncontrollable? Midna was simply inexperienced with it the first time she used its full potential, which is why she collapses after breaking the barrier surrounding Hyrule Castle. She used the Fused Shadow to squeeze Ganondorf out of Zelda’s body like a lemon, and seemed to have a perfectly good handle on it when using it to face Ganondorf alone.)

((Double sidenote: The very last time we see Midna in her imp form is after Ganondorf’s death, where she is sitting in Hyrule Field with the Light Spirits. That’s the whole reason why Link runs to her. Because the Light Spirits revived her. And they lifted her curse. Look, they even look at the camera like, “Heeeeeey, we got your girl~”))

((Did… Did you forget that?))

Just before the final phase of the battle, Ganondorf unsheathes his own blade, regarding Link’s as “impressive looking… but nothing more,” and then makes a declaration to “blot out the light forever.”

With his final words, Ganondorf hisses out, “Do not think this ends here… The history of light and shadow will be written in blood!”

You have interpreted these final utterings as a warning to Link and Princess Zelda:

“At the end of Twilight Princess, broken and defeated, Ganondorf still finds the strength to warn Zelda and Link about how a cycle of hatred has created a history ‘written in blood.’” (03/27/2020)

However, I choose to read it more as a final “Fuck you,” much in the same way that Demise’s curse in Skyward Sword could be read. However, both readings are mere speculation, not fact. We may never know the “true” meaning of Ganondorf’s words, which I quite like.

Now, I fully agree with the sentiment that, symbolically, Ganondorf is the ghost of the old world returning to terrorize a postcolonial country. However, at least in my interpretation, Ganondorf is not humanized by the game’s narrative. Any potential depth that Ganondorf has must be inferred, as according to plain text, he is simply the most evilest villain ever and must be stopped no matter what.

Is it the tired, racist stereotype of the barbaric, war-mongering brown man seeking to destroy the good and pure fragile kingdom? Yes, it very much is. It is sadly a very easy way for Nintendo to shorthand why Ganondorf is so evil and terrible and must be purged from this good and blessed nation. That said, I firmly believe that Ganondorf is portrayed exactly the way Nintendo wanted him to be: as an egotistical, self-righteous, manipulative man, who believes himself untouchable and deserving of Hyrule because he, too, was chosen by the gods.

Is there a hypocrisy to criticizing Ganondorf for holding godlike aspirations, when the descendants of the Goddess Hylia have held dominion over Hyrule for countless generations? Yes, there is. I won’t deny that. However, we must remember that Twilight Princess was released before Skyward Sword came along and did that; so, within the context of this game, Hyrule was just ruled by a royal family, not a goddess-blessed-mandate-of-heaven one.

All that aside, there is something else I need to mention, too: Why Midna shattered the Mirror of Twilight.

You have stated multiple times that Ganondorf’s death was wrongful, and it is that hate-filled death that makes Midna realize Hyrule has no place for people like Ganondorf or herself, which is why she chooses to shatter the mirror. You’ve also stated that Midna saw Link kill Ganondorf?

“… Link kills him anyway, and the cruelty of this act convinces Midna that it’s impossible for her to remain in Hyrule as an ethnic minority.” (10/20/2024)

“… but it is significant that this occurs immediately after she has witnessed the fight between Link and Ganondorf.” (… Light and Shadow)

Which, uh…

Midna was dead during that. I know a lot of people didn’t play Twilight Princess, so I need to reiterate: Midna was dead during that. She didn’t see that.

Even if she did, Midna literally wanted him dead five minutes ago. She declared to his face, “I will risk everything to deny you!” Why would Ganondorf’s death suddenly influence her to do something so drastic, if she wasn’t already thinking of this throughout the second half of the game?

I suppose there is a cryptic aspect to Midna’s final interaction with Link and Princess Zelda, wherein she states: “Light and shadow can’t mix, as we all know.”

Did Midna believe she will never belong in Hyrule? Did she, as you state, realize that “there is no room for ‘monsters’ in Hyrule[?]”

To land on this sentiment, however, is to forget a very literal aspect of Midna’s existence in Hyrule: Until she was blessed with light, whether it be from Zelda’s aspect or from the Light Spirits themselves, Midna physically could not live in Hyrule. In the first half of the game, when she isn’t in the twilight, Midna will retreat into Link’s shadow.

It’s the only place where she is safe; otherwise, the light will harm her. This is most evident when Zant turns the Light Spirit, Lanayru, against Midna, and the poor imp is hit with a full blast of concentrated light.

Like, the light literally almost killed her. It stands to reason that the other Twili would more than likely react the exact same way.

I guess in that way, you are correct. Midna quite literally does not belong in Hyrule, nor do the Twili. The thought is a heartbreaking one; to say that, biologically, you are the other. That you will never have a place here because you are built differently.

Along that same vein, though…

There… is room for monsters in Hyrule. For me to really bring this point home, I need to talk about the bulblins.

Now, bulblins are kind of your main goon in Twilight Princess. We have bokoblins and keese and deku babas, for sure, but bulblins are… different. From the moment we’re introduced to them, they are organized and coordinated. While bokoblins are shown as more “primitive” with their use of large clubs, bulblins have an array of weapons, from clubs with big old rocks attached to them, to riding on massive boars called bulbos to attack you whether on horseback or on the ground, to arrows that are dipped in oil and set ablaze. They literally set an oil trap for Wolf Link on the Bridge of Hylia and tried to burn him and Midna to death! Like… that’s so cool. Bulblins are so fucking cool, we never see monsters quite this intelligent ever again.

And I haven’t even brought up King Bulblin yet. Throughout the game, the leader of the bulblins is portrayed not as yet another monster to be eradicated, as we have with Zant and Ganondorf, but instead as a rival for Link. He jousts the boy twice on the Bridge of Eldin and the Bridge of Hylia, respectively; he battles Link just outside of the Arbiter’s Grounds with a giant axe, just after Link cleared out an entire camp of bulblins.

Is there something worth noting about the player aka Link killing all these monsters if they’re intelligent and sapient like people? Well, wouldn’t you kill a band of human thieves in Skyrim if they slighted you? Kidnapped your friends and family? Slaughtered your livestock and hung their horns over their giant gate as a personal taunt?

It is only after besting King Bulblin for the final time, in Hyrule Castle’s courtyard, that the leader finally concedes defeat, proclaiming, “I only follow the strongest!” He recognizes Link as an equal, and he agrees to back off. In the end credits, King Bulblin and his guys are riding around on their big old bulbos, no longer terrorizing innocent people.

Now, we could argue all day about whether they’re only allowed in Hyrule because Link one-upped them and these guys now consider themselves subservient to him. Regardless, the end credits show that even Bulblins belong in Hyrule. They, too, have a place here.

And if we go by Zelda’s final plea to Midna, so do the Twili.

“Shadow and light are two sides of the same coin… One cannot exist without the other. I know now why the goddesses left the Mirror of Twilight in this world. They left it because it was their design that we should meet. Yes… That is what I believe.”

But the thing is, Midna already made up her mind. She made up her mind a long time ago.

But that’s not good enough for you. Is it?

“… Midna's reactions over the course of the story deserve far more attention than simply taking what she says at face value.” (10/21/2024)

And as a fun little bonus round, I need to just say little things concerning your argument of Hyrule’s “slow apocalypse.” In your essay, you refer to Hyrule’s “eroding ruins and decaying ghost towns,” such as the Hidden Village, or Snowpeak Ruins, or the random little stone area just outside of Castle Town that houses a Sky Puzzle, as environmental suggestions of Hyrule’s gradual downfall. But to insinuate that the erasure of the Gerudo or the slaughtering of Ganondorf are primary symptoms of this decline would be disingenuous.

“Without the dynamic diversity symbolized by Ganondorf and the Gerudo, Hyrule is now in economic and political decline, isolated from any contact with the world beyond its borders.” (A Legend of Regret…, p.52)

“The people of Hyrule are entering the twilight of their civilization under the rule of an ineffectual leader that has not allowed its people to be revitalized by change and diversity… The potential for energetic dynamism represented by Ganondorf has been violently denied in favor of cultural and ideological purity…” (A Legend of Regret…, p.56)

Cultural exchange is actively happening in Hyrule during the game. The only place you can argue is truly “culturally pure” is Hyrule Castle Town itself, with people from all reaches of Hyrule integrating themselves into this “pure” culture one way or another. Everywhere else, however?

Renado, the leader of Kakariko Village, is outright stated to be proficient in treating both Gorons and Zora. Gorons are not only allowed to sell their hot spring water to residents in Castle Town, but are actually permitted to enter Hyrule Castle itself to sell their wares. Or, at least they were before the Twilight Invasion began. Malo’s business practices more than likely reflect Sera’s, given his upbringing in Ordon, and he then brings that frugal model into Castle Town, where the people rejoice.

credit to @roaxes on tumblr

Gorons taught Mayor Bo how to sumo, and in turn, Bo teaches Link. Even the yeti, Yeto, teaches Link how to snowboard to get to Snowpeak Ruins! You can then race him and his wife afterwards! The passing down of culture is at play in real time in this game!

I’d hardly say that Hyrule is in a state of decline. If anything, given such innovations as high-quality pictographs in places like Hena’s Fishing Hole, fully electric lighting in Castle Town’s Malo Mart, and advanced weaponry like Auru’s bazooka—as well as Hyrule’s apparent religious enlightenment, given that this is the most secular that we have ever seen the country—I’d argue that Twilight Princess’s Hyrule is actually on the cusp of an industrial revolution.

But those are just my own thoughts.

Also, ruins and ghost towns exist all over the real world. Roanoke Island, Nara Dreamland, Imber… There are countless examples. Sometimes a disaster befalls a town, and it’s easier to relocate than to start over where you were. Sometimes you can’t maintain a house and it gets abandoned. Sometimes an area is reclaimed by the government or the military. Sometimes a town dies out because its lifeblood runs dry, forcing residents to relocate elsewhere. Given the massive disparity between the rich and the poor in this game, this feels the more likely scenario.

Does that mean the real world is on the decline, too? I suppose that depends on who you ask.

And finally, as you’ve stated before, Link is what the game and the player dictate he be. You’ve tried stating in your essay that “if the gameplay demand that Link must defeat enemies in order to advance,” or that he “ransack ancient temples to progress,” then he is a killer and a “marauder.” (A Legend of Regret…, p. 54) However, that is to ignore the story once again.

The only temples Link arguably “ransacks” are the Arbiter’s Grounds, and the Temple of Time. Link is given permission to enter the Forest Temple, the Goron Mines, Lakebed Temple, Snowpeak Ruins, and the Twilight Realm. Link was even, debatably, given permission to uncover everything in the Temple of Time, as the ancient sages had instructed him to go there. The Arbiter’s Grounds is the dodgiest one to discuss, because nobody should be there. It’s a necessary evil, but to accuse Link of further desecrating a place Hyrule and Zant have already stained would be a hard pill to swallow.

And then we have the big one: The killing of Ganondorf.

Why was Link so cruel? Why wasn’t there a way to stop Ganondorf peacefully? Why couldn’t Link and Zelda just talk to Ganondorf, after he “[refrained] from taking control of the kingdom through conquest and murder, even though doing so would have been well within his abilities[?]” (03/27/2020)

I think we’re ignoring the fact that Ganondorf acted through Zant and killed countless Twili to achieve his goals. We see soldiers in Hyrule Castle, but how many more were there before the Twilight Invasion began? How many people died in Kakariko Village? What would have become of Ordon Village, or their children, had Link not awoken as the chosen hero? What would have become of the Twilight Realm, had Ganondorf not been content with only Hyrule?

If one man believes himself a god, and he is threatening the lives and wellbeing of not one realm, but two, then what choice does a boy chosen by the gods, by royals, by the people, have? Is it truly so monstrous? Do the ends justify the means? Is it cruelty? Salvation?

I don’t know. And neither do they.

Now, why did I bother writing this whole thing? What was the point?

Quite simply, since your first publication iterating these thoughts was back in 2017, and your most recent post in 2024 proclaims that Link is a murderer, it means that your interpretation of The Legend of Zelda: Twilight Princess is one that you’ve held for at least seven years, if not even longer. There’s nothing wrong with interpretation. The problem, however, is that you portray your take as “the correct one,” or the “big brained, deep one,” given how the thoughts you bring up in this first essay have been repeated by you again and again, whether it be the aforementioned “Link killing Ganondorf was an act of cruelty,” or “Why did Midna really shatter the Mirror of Twilight?”

And… The game already answered those questions. The game has already refuted your claims. You’ve just been ignoring it, and you’ve been encouraging everyone else to do the same.

And I don’t think that’s how you’re supposed to start a conversation about it.

TLDR: Uhhhhh please don't misconstrue what was in the game in order to make your argument because that's Not Cool, and I invite everyone to please play or watch a playthrough of The Legend of Zelda: Twilight Princess in order to form your own educated opinion!

Basically ummmm please reread the book before writing your book report.

And here are all my referenced sources so nobody thinks I'm pulling this out of my ass:

A Legend of Regret: Fallen Kingdoms and Postcolonial Ghosts in Twilight Princess

Tumblr Post Dated 03/27/2020

Tumblr Post Dated 10/20/2024

Tumblr Post Dated 10/21/2024

The History of Light and Shadow

At the end of Twilight Princess, Ganondorf delivers one of his most memorable lines, “The history of light and shadow will be written in blood.” He is not wrong. As the player has witnessed over the course of Link’s adventure, Hyrule is haunted by ruins and ghost towns, a mere shadow of what it once was. The landscape is filled with numerous sites of past violence and empty spaces visibly marked by decay and wasted potential.

When Zelda tells Link and Midna that “these dark times are the result of our deeds,” she is referring to specific historical acts of imperialistic aggression. Hyrule established hegemony over its outlying territories by crushing the rebellions against its advances, but the kingdom has suffered from cultural stagnation as a result. Without the dynamic diversity symbolized by Ganondorf, Hyrule finds itself in economic and political decline, isolated from any contact with the world beyond its shrinking borders.

As a representative of a marginalized group of people who have been attacked and driven from their homes, Ganondorf is a tangible manifestation of the horrors of imperialism. He must be defeated, but doing so does not address the underlying problems that have resulted in Hyrule’s decline. I therefore want to argue that Twilight Princess uses Ganondorf to deliver a subtle yet poignant protest against the discourses of empire reflected by the dualistic “light and shadow” rhetoric of heroism that has resulted in tragedy and regret.

Keep reading

[felassan]

Paste Magazine: 'Dragon Age: The Veilguard‘s Creative Director Talks Restoring the Lore'

Rest of post under cut due to length and possible spoilers.

"“I was the one cinematic person who always snuck their way into all the writing meetings because I love storytelling,” [John] Epler tells Paste. “I love narrative, and they wanted me to be Narrative Director on the franchise.” When the Creative Director position opened up later on, Epler was primed for the role thanks to his experience across multiple aspects of game design.  ‘They wanted someone who had a good relationship with the people on the team, who could work across disciplines, and who knew the story,” Epler explains. “You know, knew the franchise and its storytelling. Because I think for Dragon Age in particular, narrative is such a core part of the franchise’s identity. They wanted someone who could operate in that space, but also knew how to work with gameplay, work with design, work with art, and that was something that, with both QA and cinematics, I had learned to do. I think just a history of being always willing to do whatever was necessary and also having good relationships with most people on the team helped me out.” As creative director on Veilguard, Epler worked with a team that fluctuated in size from a dozen to several dozen depending on which phase of development it was in. And given Epler’s history with cinematic design, that team worked closely with narrative to craft the kind of epic story Dragon Age and Bioware are known for. “Storytelling is huge, probably the biggest part of Dragon Age: The Veilguard,” Epler reminds us."

---

"Paste: When you’re bringing back a series after a decade, how do you decide what threads to pick back up on, which characters to use, which lore to focus on, etc.? John Epler: It is going to sound very cliche, but it is true: It honestly comes as we build it. We knew a couple of core parts of the story. From the end of Trespasser, for good or for ill, we pretty much determined where we were going and what we were going to be doing. It was about the chase, the search for Solas. Solas had been very clear in his ambitions to end the world at the end of Trespasser. And, you know, at the end of the very final scene of Trespasser, we stabbed a knife, a dagger, into the map on Tevinter. So we kind of knew we wanted to go to Tevinter. We knew we wanted to chase Solas. Now that said, as the story started being constructed, and we discovered, okay, where else do we want to go, what characters make the most sense in this story, that kind of determines what lore threads we want to start pulling on. So without getting too much into spoilers, obviously, Scout Harding has a story that’s very focused on the dwarves and their history; Shery Chee started writing Harden’s ark, and realized, okay, this is actually something we’re going to want to dive into more deeply. Belarra’s story is very focused on the ancient elves, not just the gods, but who they were. So that became a lore thread we wanted to pull on.  As far as returning characters for us, it really does come down to who has the most to say about what’s going on in the world. Who is the most likely to be involved in this particular story. And I think, most importantly, this is something that we always talk about, is who has more to say in their story, whose story isn’t over. Because one of the things that I don’t necessarily want to do, I don’t want to bring back a character just so they show up and then disappear. That doesn’t necessarily do that character justice, but it also contributes to what you do see in some franchises, which is a sense of small world syndrome, where there’s literally 30 or 40 important people in this whole world, and they all somehow know each other.  But again, you know, you see Morrigan in the in the previews, and as we’re writing the stories like, well, of course, Morrigan, who is the daughter of Flemeth, who was at least an aspect of the goddess Mythal, one of the ancient elven gods, she probably has something to say or something to do in a story about the last two elven gods escaping. So, yeah, it comes down to who has something interesting to say, who has something more to say in their story, and who do we feel makes the most sense for where we’re going and what we’re doing."

"Paste: Sticking to the long gap between the last two games, what are the challenges in trying to make a satisfying continuation of that story without making it impenetrable for new players who maybe weren’t old enough to have really played Dragon Age in the past? John Epler: Well, I think it was funny because, on the one hand, yeah, the challenge is, you’re trying to tell another chapter of a story that’s been dormant for at this point nearly a decade. But it’s funny because I do think that actually ends up working to our benefit. For the second question, we cannot assume anything about what players remember. Because even people who were playing Origins, were playing Inquisition, all the DLC, they may not have done so for quite some time. And obviously some players are going to like—I mean, I see it all on social media, people doing their final Inquisition playthrough before Veilguard, which is great, but you have to assume that people don’t remember everything that happened. You have to re-onboard them back to the world, back to the lore, and you’re also bringing in new players. I think honestly, for Veilguard, one of the things that’s worked the most to our benefit is that this is a continuation of that story, but the context changes so dramatically within the first hour. You know you’re going after Solas, you know the first mission. We’ve always said we wanted it to feel like the last mission of a different game. But then you get to him, the ritual crumbles, the gods come out. And now, even if you’ve been following this story up to this point, for everyone, it’s just a sharp left turn. Solas is no longer the central antagonist of this at this moment, it’s now these two new figures, which means Rook, you know, you as a player character, but also the player themselves… You need to bring them back into this story, because nobody, including the people who’ve been playing forever, know what’s going on at this point. So it’s actually a really great way to do the first couple of hours, because you can’t assume everyone is coming into it with the same level of grounding in the story itself. Some people are gonna have more lore. And one of the things we do try to do is, anytime we introduce a proper lore term, I use Venatori as an example, we always try to pair it with a more commonly understood phrase. So “Venatori” and “cultists” always go together in the first few hours of the game. “Evanuris” and “elven gods” always go together in the first few hours of the game, but done in a way that doesn’t feel like the game is like, “Hey, don’t worry, we’re going to tell you everything.” It feels natural the way the people in the world talk about it. So you encounter Strike and Irelin, two of the Veil Jumpers, early on, and they use the terms interchangeably in a way that allows players who don’t know as much about the world to get what all these things mean. Like I said, it’s just the context of the stories. The story shifts so dramatically in those first couple hours that everyone is catching up, even the characters, even, you know, Harding is still trying to figure out what the heck is going on."

"Paste: Speaking of what’s going on, in Veilguard we have a new character as the protagonist, Rook. What’s happening with the Inquisitor and the protagonists from the first two games? What are they doing in this world now, assuming they survived their games? John Epler: One of our storytelling philosophies is, for us, especially when it comes to importing, is unless we explicitly say so, assume that those characters are still around. So what we do, because this is the story of Solas and the Inquisitor has a very direct tie to Solas, the Inquisitor does show up in Veilguard. I’m not going to tune into spoilers, or what the role is, but it would have been very strange for us to tell the story of Solas without having the Inquisitor involved, because, again, they were part of that story. As to the previous two protagonists, they’re still around; that said, their personal arcs, their stories that they were part of in their games, aren’t as directly tied into this story, either narratively or geographically. We’re now in the north of Thedas. So the Hero of Ferelden, who you know, if your hero survived, one of the things we talked about is they were looking for a cure to the Calling. They’re not going to necessarily be involved in this because they weren’t tied to the elven gods, and the blight is still present elsewhere. And Hawke, depending on what you did in Inquisition, may be deep in the Fade, or they may have gone to work with the Wardens and also engage with the Hero of Ferelden at some point. So we’re not going to say much about them because they’re not directly related to the story, but we want players to understand the fact that we’re not saying anything about them because they’re still alive. They’re still doing something."

"Paste: A lot has changed in the world of games and game design in the last decade. How has the creative process of creating a Dragon Age like Veilguard changed over that time? How was making Veilguard different than Inquisition? John Epler: I’d say the biggest change for me has been leaning much more heavily into pre-production on everything. So one of the things that we’d done on Inquisition, I was a cinematic designer on it, we didn’t really have the sense of storyboarding, of previsualization the way we do now. But with Veilguard, one of the things we did very early on is we built the entire story in Twine so we could play through and see the interaction points, see the word branch, and get the sense of how it was flowing, how it was coming together. Beyond that, very heavy use of previsualization, whether storyboards or actual white box, in-engine—or, I say “in-engine,” but, you know, in Maya—models, moving together, figuring out how these shots work. But I mean, ultimately, a lot of the same processes are in use now that we did then. Writing does peer reviews, they still do the same peer reviews. Take your work, you put it in front of the group, and you basically say tear it apart. Let me know what works, what doesn’t work. But I do think the other thing that’s been a great change since Inquisition is there’s a lot more sense of… if you’re building a level, you’re not just bringing in the level designers and level artists, you’re bringing in the gameplay people, you’re bringing in writing, you’re bringing in, you know, all these different groups to kind of build the feel, build the shape. Not to say Inquisition wasn’t collaborative, but I will say, as someone who worked on it, I felt much more like each pod was kind of an entity onto itself, you know, doing this thing, but not really touching the other parts of the game. In Veilguard, we very much wanted people to understand how their work fit into the whole that we were building. So there was a lot more sense of collaboration. And then, you know, more practically, COVID happened while we were making this game and brought work-from-home, remote work in general. I’m doing this interview from my basement right now, but in general, people are working more distributedly, so there becomes a much higher premium on communication. And like, we use Slack pretty extensively, and the sense of like, talking to people as much as you need to, as much as you can communicate broadly, and information sharing, I think, has become a much bigger part of it."

"Paste: So having the different departments less siloed, like it used to be, how has that impacted the day-to-day experience for a Bioware employee. Are they working more or less hours now that things are more collaborative? John Epler: I think it depends on who you are. And, I mean, I’d say generally less but again, it depends. I will say for myself, I have difficulty because of work-from-home. And this is a personal thing. I don’t always have the best separation between work and life because sometimes it’ll be like, nine o’clock at night and you’ll be like, oh, you know what? I just had this really great idea, I’m going to hop on and do something about it. That used to mean driving back to the office. So I will say now I’m not in the office, which is great. For me, one of the greatest things about this has been, I have a personal rule of I don’t ever do work between the time my kids come home and when they go to bed, which means I get to be fully involved as a parent. But then, like I said, 9:30 comes along [and the kids are in bed], and, you know, I think because I’m creative director, it’s a little bit different. I gotta jump in and be like, oh, I want to do this. So I think, you know, it depends on the person. But I think what it’s done is, in general, allowed a lot more freedom in defining your hours. And we do have some people who are not morning people, so maybe they don’t get up and jump on as early, but then I’ll see them later at night, and they’re doing the work that they would have done. And I think that freedom for me has been, and I think I can speak for a lot of people, has been probably the best part of how things have changed."

"Paste: So something else that’s changed in games over the last decade, I guess it really became standard right before Inquisition came out, and it’s something that’s been a constant problem for many people who are creatives in many different mediums. But some of the fans and fan accounts online and how they react to games and designers and games media, starting with what they call GamerGate. What are your thoughts on that type of fan interaction and how has it impacted the Veilguard team? John Epler: Anytime you get fan feedback, the question I always ask is, what is it that they’re actually saying? And, you know, sometimes it is literally what’s coming out, what they’re typing. But a lot of times, from whatever group it’s from, there’s a sense that they’re speaking to something deeper, something that’s, you know… I think ultimately, for me, it comes down to understanding and being confident in your vision which means you take the fan feedback, you can look at it, you can decide what you do or don’t do with it. But one of the most—I don’t want to say challenging, but one of, I think, the easiest traps to fall into is a feeling that you need to be, “oh God, they don’t like this, and they don’t like this, change this, change this.” And I think there’s a sense of, if you have a vision that you’re comfortable with, are confident in, you continue to stick with that vision, you can make make adjustments, make tweaks based on what people get excited or don’t get excited about. But I think the other side of it is, when you’re releasing news, you’re doing press events, you’re talking about the game, you’re only giving people a small slice and a decision that may, for them, like, “I cannot believe that, why would they do this,” makes a lot more sense when you know the context of the decision as a whole. And I’ll say it for myself, one of the bigger examples of this was when the Yakuza series went from action to JRPG, turn based RPG, and I’m like, “Oh, this is so weird. I don’t know. I don’t know how I feel about this. You know, this feels like a very strange shift.” When I played the game, like, “oh yeah, holy smokes, this makes so much sense.” They made it make sense narratively. They made it make sense from the gameplay perspective. So I always try to remind myself, like we know the game as a whole. We know all the pieces and how they fit together. When you get that feedback again, you can look at it. Some feedback is obviously better than others. Some feedback is more, you know, is more interesting, and more does more for us than others. But again, it comes down to know the game you’re building, be confident in the game you’re building, and don’t try to design by committee, because ultimately, everyone has a different thing that they want out of the game, and a lot of people, even themselves, will have two very contradictory things that they want out of a game. So you have to be careful not to overreact and water down what you’re building into something that I would describe as, you know, mushy. You don’t ever want to be in the mushy middle. You want to make a strong statement with your game and how your vision evolves, and stick with that."

"Paste: Where do you hope to see Dragon Age go from here? John Epler: Honestly, I love telling stories in this world, and I think one of the fun things about the ending of this game and some of the seeds that it sows for the future is the sense that everything you thought you knew, maybe you weren’t as right as you thought you were. And that stuff like using the unreliable narrator. It’s fun to be able to take that and apply it to things that you as a player experienced, and then see that there’s an additional layer. Context that you didn’t have at the time that now throws into questions some of what’s going on. So again, I’m trying to be as vague as possible to avoid spoilers. But I do like the idea of—because one of the things, the other side of it is Thedas is one continent in this world. There’s still a whole other world out there. And I think, you know, for myself, I kind of want to know what’s out there. I kind of want to know what’s going on in a world where, over the last 15 years, Thedas has almost ended the world three times by themselves. If you’re from a different continent, how are you feeling about that? I’m gonna guess, probably not great. So I think there’s a lot of fun stories to tell there. We haven’t said much about the rest of this world. So there’s just this giant blank canvas for us to start playing in, which I think is, for me, the most exciting thing about moving forward with this franchise."

[source]

[cerastes]

Was Wisadel's backlash at all comparable to the Chalter incident and do you think it would be enough to make them ignore her for a bit, or do you expect them to give her a skin on the more normal schedule for limiteds? I know there are a lot of complaints that even went beyond gameplay stuff (like being a limited alter of a limited) but I generally shut out the community when it gets super annoying so have no clue how big the stink actually got.

As far as I know, there was no backlash for Wisadel, but I’ve also not had my finger on the Arknights pulse as of late, so maybe I missed it, but, again, as far as I know, there wasn’t anything like with Chung the Hung, which makes sense, all things considered, because Chung didn’t get her backlash due to being overpowered, it was a molotov cocktail of factors which included being overpowered. Wisadel had some complaints, such as what you mentioned — limited alternate of a limited — but nothing much beyond what limiteds get.

Wisadel as a while evades the Chung trappings:

Regardless of your opinion on her actual design, Wisadel’s artwork is of good quality. It’s proportionate, well drawn, stylish, the whole deal. Ch’en the Holungday famously had really awful E2 art.

Wisadel is overpowered, but she’s a character that’s been ingrained in the narrative since day one and this “upgrade” is tied to her actual growth and role in the main story. Ch’en was overpowered, but while you can make an argument her growth is part of it (since it’s offhandedly mentioned in her Files, I guess), it’s tied to an overall filler summer event, has her in a literal swimsuit, firing a jury rigged Super Soaker for more damage than several of her contemporaries could manage combined per shot, all while having three Skills that were all basically the same and S3 being the best one by far, which also used the Ammo mechanic so you could have insane practical upkeep on it. Comparatively, Wisadel actually has three distinct Skills, which leads to the next point:

Wisadel is actually entertaining and satisfying to look at: The bombardment S2, the huge death beam explosion of S3, the graphics, the sound effects, the sprite animations, Wisadel has actual flair. Ch’en the Holungday is painfully boring to play and look at, all Skills have the same animations, the same dull sound effect, no variation or flair. Her skin definitely helped on the flair department, like 3 years later.

Though you could (correctly) argue that Wisadel might also be doing this for limited alts of limiteds, Ch’en was setting a very awful precedent: Overpowered Summer Units, maybe even Overpowered Seasonal Units, a hallmark of trashy gacha design. Hypergryph had tested the waters with other scummy strategies before — the period of time in which Thorns and Surtr, AKA stupid strong characters, among others, were rapid fire releases with no accompanying lore or event to give them a place in the world the way others have, which haunts them to this day as ‘lorelets’ — so Ch’en In A Bikini Godtier didn’t sit well either.

Wisadel wasn’t the only good unit out of her banner; regardless of your personal take on Mizuki as a unit, he was widely agreed to be, and thus, perceived as a nothingburger of a 6*, and La Pluma, who is definitely a good unit but was a new archetype at that time, so people were cautious with her, so there was a clear winning roll and losing roll. Wisadel was joined by 6* Logos, who could easily be the limited 6* in any other banner, and 5* Fang, a highly anticipated character. Overall, the perception of these banners could not have been more different.

The overtuning of Ch’en is but one in a cocktail of complaints people had for her, basically. Any complaints there were over Wisadel were a fraction of what Ch’en got.

[dreamerdrop]

Oh God, yeah. During the war, Julian is basically going full into survival mode. He's pulling away from people, he's keeping his mouth shut, he's basically letting himself turn into a hollow shell that just looks like him because everything is so exhausting and he doesn't really... have it in him to be himself anymore.

I feel like I personally give kind of a pass to most of the characters on DS9 being jerks about Julian being obviously autistic for the sole reason that... one of the things I like about DS9 is that they're all pretty messed up in one way or another. Miles is allergic to voicing emotions and sentiments out loud (despite Keiko's best efforts, but she's also not great at it herself), Jadzia is shown constantly to have a REALLY inappropriate and poorly timed sense of humour, Kira is... Kira, and her issues mean that Julian's issues basically rub against each other like sandpaper.

Garak is interesting in how his dynamic intersects with Julian being autistic though. Garak seems to delight in Julian doing things like being blunt, infodumping, etc. Garak is someone who would drive ME a little nuts IRL because his specific brand of enigmatic behaviour would wreak hell on my lack of self esteem and inability to trust my judgement...

But for Julian, it seems to be a huge part of the draw. I think, in part, it's because Garak does seem to recognise when he's pushed too far and then, in his own weird way, often... relents a little.

Like in Cardassians, on the shuttlecraft. Julian basically says, very bluntly, "Garak stop talking in riddles this is serious and I don't want to play games anymore" and Garak immediately goes "alright fine here I'll talk as plainly as I am comfortable with".

Or, in an odd way, the scene on the Defiant during... season 6? Where Garak is basically insulting Julian over his augmented status. That scene is a little rough, even with the knowledge that this is effectively flirting for Garak, but. There's something in it that actually stands out to me as Garak trying to relent a little.

Specifically, his comment about Julian being a Vulcan. Julian is sensitive about his augmented status. Garak knows this. Garak insults him over it, and then towards the end of that little spat, saying "you're not genetically engineered, you're a vulcan", it kind of... reads as like, Garak trying to steer the conversation back to something playful, something that isn't actually attacking Julian.

(And there's obviously a lot to be said for how Julian is somewhat smiling to himself at the end of that scene.)

I think there's something similar to that in his dynamic with the others. I don't think any of them really have particularly good social skills, honestly. Jadzia comes closest but her levels of extroversion and enthusiasm mean she's often putting her foot in her mouth too. (... oh that's why she and Julian make good friends, they both have the party autism.)

Thing is, I think if Julian ever actually said to any of them "hey that actually kind of upsets me could we not" and they realized he meant it, they would apologize and mean it, but because everyone on that station is messed up and lacking in social skills, they all kind of constantly end up battering against each other with poorly timed jokes and insensitive remarks and dismissal of trauma and none of them ever figure out how to address any of it.

Narratively, though, Julian's trauma gets brushed over more than almost anyone else's, and that DOES piss me off about the writing. Even before we get to the augmentation aspect (which is taken seriously as traumatic for exactly ONE episode), a lot of the time Julian's issues just... get kind of tossed to one side.

Character wise, I think Julian is the type to focus on other people's issues so he doesn't have to acknowledge his own, but the way the show itself often ignores those issues does REALLY grate on me.

Julian Bashir walks a very fine, maddening line between “self-loathing imposter syndrome who knows almost everyone who speaks to him for more than a minute finds him insufferable” and “incredibly self assured and annoyingly arrogant to the point of a minor god complex”.

He knows he’s attractive, he thinks he’s charming as all hell, he knows he’s the smartest person in the room (while also being acutely aware he’s going to put his foot in his mouth any second now), and he just swings wildly between “I don’t deserve anything I have, none of this is mine, my life is not my own, I am a monster” and “HELL YEAH LOOK HOW COOL AND SMART I AM GUYS ARE YOU LOOKING ARE YOU LOOKING”.

And then there’s episodes that reveal that underneath that annoying arrogance, at the very core of who he is, he really, really just wants to help people, and if he fucks that up he WILL take it personally and hold himself responsible even if there’s no way he could have known and like. Can you imagine what his first patient death was like for him. Can you imagine what a fucking nightmare his brain must be 24/7.

He is somehow as inherently self assured as he is in need of constant validation for his ego because you can SEE him break a little when that ego fails him, even a little, and it’s just.

He’s very fun to write. I hate him. (I love him so much, but oh my god.)

[oshinohoshi]

Oshi no Ko chapter 166 thoughts - the end of all things

So uh... the only positive thing I can say here besides the beautiful Ai art is that I felt sad reading the page where Miyako was hugging Ruby. Everything else left me completely empty

This chapter is either:

A) A self-aware ending meant to show that life is suffering and the idol industry will suck out your soul if you let it

B) Outsourced to someone who skimmed OnK for 30 seconds on Wikipedia before putting pen to paper

It has to be A, right? You can't tell me that the same author wrote both of these pages without the right being ironic

But I don't think so because big brained Akane is the one clumsily narrating this crappy montage masquerading as a real ending

Aqua died for nothing. His sister is now a soulless cog in the idol machine

Ruby is mimicking Ai's speech - "Lies are an outstanding kind of love... We pile on the lies and no matter how hard things get, we sing and act happy onstage. It's a fun job!" But she forgot the rest of it: "Only, I'd like the 'being happy' part to be real. Nobody notices, but we have hearts and lives of our own. Happiness as a mother. Happiness as an idol. Normally you'd have to pick one, but I want both. Ai Hoshino is a greedy girl"

Ai wasn't only a misunderstood girl who worked hard to please her fans. That was a big part of her story but she also broke the rules to create her own family, her own happiness

Ruby, on the other hand, seems to have no real desires anymore, she's just following a path she believes her mother and Aqua paved for her. Never mind that Aqua only wanted it in the end because she wanted it and Ai just wanted her kids to be happy

You can tell that Akasaka is patting himself on the back for making a cyclical narrative where Ruby becomes Ai 2.0 by being commodified, scrutinized, and idolized like Ai was

But it's such a flimsy parallel when it comes to the theme of lies because lying to hide your grief =/= "lies are love" which was the only way Ai knew how to frame her genuine desire to love

And Ai's "I love you" to her kids was true whereas Ruby has swallowed her own lie that being an idol is fun even when you're just doing it to outrun your pain

What this chapter showed us is that the meaning of Ruby's life is to be Ruby of B Komachi and she was put on Earth to sing pop songs. Because that's what Ai did, right? If I remember correctly, her final words were "I'm so glad I got to be an idol #blessed"

My God was the Dome concert soulless. Miyako and Ichigo crying happy tears is a punch to the gut. Doesn't Miyako know her daughter is still hurting?

The last scene is so fucking depressing

Ruby, are you okay? Blink twice if you still remember your life outside the idol industry!

The last two pages work really well as horror. She has a brilliant smile but you can tell that she's dead inside. She's got more merch on her table than photos. Why doesn't she have a corkboard of family photos? Although I more or less have this Ai plushie and it's pretty cute so I'll give this a pass because it's hilarious

I guess the takeaway here is to live for others and life is painful so just grin and bear it. Oh yeah, and inspire other young women to join an industry where they get to act happy and lose their humanity. Cool

I mean I get that it's supposed to be about moving on with your life even while grieving and that's a good message, sure, but Aka's insistence on using the word "lies" multiple times as if saying it makes it make sense ruins the whole thing

The most insane part is that this chapter is a wholehearted endorsement of the lies sold by the entertainment/idol industry

I haven't even said anything about anyone besides Ruby because what's the point? Aka didn't have time to do justice to any of the characters I grew to love

It's clear something went wrong with the timeline of wrapping up OnK. No artist wants to execute a final chapter like this. I'm convinced the film reel edges are Aka and Mengo's way of telling the reader, "we know this is a shitty clips show so don't @ us on Twitter about it"

But it's so much worse than that. Aka really decided to tear to shreds everything he worked so hard on for 4 years. Damn

This is my favorite manga and I'll always love that it gave me Ai, my most beloved character of all time, but this leaves an extremely bitter aftertaste. It's really hard to believe that the same person who wrote vol 1 wrote this.

OnK has been pretty important to me. Reading weekly, chatting with fans, and reaching dangerous levels of Ai brain rot has actually been a helpful distraction. TBH I've been a little too invested in it but sometimes you need escapism. So it's crazy that I'm kind of glad it's over.

But this is why fanfic, fanart, and your own headcanons exist. In another universe, this manga wrapped up beautifully and I was depressed for weeks because I couldn't look forward to it anymore. In this universe, at least we're all suffering together here at the end of all things.

And at least the little Hoshino family is still adorable. Too bad Ai is dead, Aqua is dead, and Ruby desperately needs grief counseling. But NEVER MIND. Look at Ai's smile and the twins' faces. This was the Oshi no Ko I really loved.

[voxofthevoid]

*banging pots and pans together* Goyuu gremlins, come get y'all fucking juice.

I say this as if I'm not inundating you in goyuu every week, but Gojou has been conspicuously absent from my current WIP for...10 chapters and over 70k words. A major character and one half of the endgame ship, and he shows up halfway through the story—JJK has got me making more and more novel (in terms of my writing) narrative choices with each fic.

Gotta say, it feels great to get back into writing Gojou. Last time I tackled him was at the end of September, for the fem!Gojou no-powers oneshot. The necrofic from October beginning has a lot of Gojou, sure, but he's a...well, a corpse. Sinking back into goyuu banter and interactions felt like coming home.

Now, here's Demon/Hunter Horror Wednesday #9, featuring Gojou Sluttoru Satoru in the flesh.

There’s a man on the platform.

It’s the height that startles Yuuji first. He’s freakishly tall. The tallest person Yuuji’s seen—unless he counts Sukuna, which he won’t. Besides, this guy’s all legs, and it’s weirdly fascinating how they move, smooth and graceful under shiny pants reflecting the platform lights. They eat up the platform with long, languid strides, getting closer and closer and—

Yuuji blinks, dragging his eyes from the man’s legs to a face that’s a lot closer than he expects, even though he has to crane his neck to make eye contact—kind of. The man’s wearing sunglasses, those thick black ones that show nothing of what’s underneath, so Yuuji just ends up staring at his own distorted reflection.

His eyes are wide, his mouth a little open. Yuuji closes it, his teeth clicking together.

The height isn’t the only startling thing about the man. His hair is a shock of white, messy strands covering his forehead and even falling over the sunglasses. And Yuuji’s got no leg to stand on when it comes to people with eye-catching coloring, but there’s still something about this man that makes it hard to look away.

“Hi?” he offers warily.

“Hello,” comes the answer, immediate and cheerful. “You a local?”

“Uh, yeah? I guess.”

A tilt of the head. Those snowy strands shift with mesmerizing motions. “That’s not very reassuring.”

“Why…am I reassuring you?”

The man claps, once. “Good point! You’re not a serial killer, are you?”

Yuuji’s so confused. “No?”

“Hmm, you don’t sound very sure about that either.” The man leans closer, which involves a lot of bending. Yuuji blinks at his reflection in the glasses, which blinks right back. “Nah, you’re too cute to be a serial killer.”

“Thanks, I think. Who are you?”

“Gojou Satoru!” The man declares, straightening up and sticking out an arm. “And who are you, my young, uncertain friend?”

Yuuji takes the proffered hand. It’s big, almost swallowing his whole hand when it closes around it. There’s warmth too, seeping boldly into his flesh.

“Itadori Yuuji,” he introduces himself. “I’m very confused.”

“I did get that impression.”

“No, I mean, you’re—” Yuuji shakes his head. “Never mind. Why are you asking weird questions?”

“Hey now,” the man says, his lips pressing into a pout. They’re very shiny. And pink. “Those were very sensible questions. There’s no point asking for directions from a non-local, is there? And it’d be very unwise of me to put myself in the maw of a murderer.”

“Well,” Yuuji says, slightly less confused, “I’m not a murderer. And I do live here. Moved here a few months back. Pretty sure I can give you directions. To where?”

“A recent transplant. I see,” Gojou murmurs, his head still tilted slightly down. Despite the opaque glasses, Yuuji has the distinct sense of being looked at. “Would you happen to know the way to the Fushiguro household, Itadori Yuuji-kun?”

“Fushiguro?” Yuuji repeats. “You know him? Or are you here for Tōji-san?”

“Both,” Gojou says, his smile widening. The glossy gleam of his lips doesn’t hide how sharp the expression is, and for the first time, Yuuji really takes in the rest of his face—the chiseled jaw, the straight nose, the prominent cheekbones. A sharp face, but pretty too. Like Fushiguro’s, except that while Fushiguro’s soft around the edges, this man looks like he’ll cut if touched. “—to me?”

Yuuji blinks back to himself, trying and failing to make sense of what Gojou just said. “Huh?”

That smile grows even bigger, flashing a hint of very white teeth. “I asked if you’re listening to me?”

“Oh. No,” Yuuji admits. “Sorry?”

Gojou hums, tilting his head like a curious cat. “I don’t think you are. But I’ll forgive it if you’re a good boy and take me to the Fushiguros.”

Yuuji swallows, his throat very dry. “I could, but…”

“But?”

“How do I know you’re not a serial killer, Gojou-san?”

Gojou snorts. It’s an ugly sound, rough and nasal. Something inside Yuuji unclenches, like that’s the proof he needed that this guy is human and not some abnormally pretty dream he conjured up. It’d be a kinder dream than usual, but Yuuji can’t trust his imagination anymore.

“I’m too handsome for that, don’t you think?” Gojou asks, his grin grown lopsided.

“Yeah, but—” Yuuji makes a sweeping gesture with his free arm, covering Gojou as well as the rest of the platform. “I don’t think that’s how it works.”

“So there is a brain under all that pink fluff,” Gojou says, his tone weirdly approving.

“I don’t think you get to talk about anyone’s hair,” Yuuji points out, eyeing Gojou’s snow-white strands again.

But Gojou just tosses his hair like he’s in a shampoo commercial. “It’s all natural.”

“So is mine,” Yuuji says drily. “Not the point.”

“Oh? What is your point then?”

“Serial killing. I think.” Yuuji shakes his head. “Whatever. Yeah, I’ll take you to the Fushiguros’ place. Do anything weird and I’ll punch you.”

“Careful,” Gojou purrs. “I might be into that.”

Yuuji just looks at him for a moment, before taking in the rest of the platform with half a mind to foist this guy off on someone else. There’s no one, obviously. It’s not like this place is bustling even during what was the rush hour back at Sendai. Nanami and Yuuji were alone the entire time they waited, and he’s pretty sure no one but Gojou got off from the train.

Plus, he probably shouldn’t inflict this guy on anyone else. Yuuji doesn’t think he’s a bad person or anything, but he’s kinda weird. And Yuuji’s pretty immune to stranger danger.

Except when he walks into cursed churches.

“Come on then,” Yuuji says. “It’s getting late, and Tōji-san usually turns in early.”

Gojou’s lips and cheeks do something very weird. “Fushiguro Tōji has a bedtime.”

“Uh, not exactly—”

Yuuji’s cut off by demented laughter—full-on cackling, filling up the open air of the empty platform. All he can do is watch, nonplussed, until Gojou calms down, and even that’s startlingly abrupt, the noise stopping so suddenly that the resulting silence seems to boom.

“Sorry, sorry,” Gojou says, not sounding all that sincere. “That was just too funny. Guess the single dad life suits him.”

Yuuji thinks of what Fushiguro sounds like every time he has to talk about his dad. “I…wouldn’t say that. Anyway, you coming?”

“Sure,” Gojou says easily. “You going to let me go first, or are we holding hands the whole way?”

“What’re you—”

Yuuji realizes the answer before he even finishes the question, blinking down at his own hand—still clasped firmly around Gojou’s bigger one. He lets go quickly, snatching it back. For a moment, he doesn’t know what to do with it. Wiping it on his pants would be rude. And it’s not like Gojou’s palm was sweaty or anything. It was just warm, and Yuuji’s whole hand sparks like it’s stolen that heat for itself. He settles for folding his arms across his chest. 

Gojou looks entirely too amused. “Pity.”

“Don’t tease me,” Yuuji grumbles, hoping the heat on his face doesn’t actually show on the skin; he knows his odds though, and they’re not good. He’s about to march off, leaving Gojou to choose whether to follow, when something occurs to him. “Wait, are you…”

“Yes?” Gojou prods after a moment, that curling grin still in place.

Yuuji squints up at him, specifically the sunglasses. He doesn’t think Gojou’s blind. People wear sunglasses all the time, though he’s rarely seen ones so dark. And Gojou navigated the platform pretty easily earlier, no cane or anything. Still, the thought won’t leave his head, and Yuuji’s mind refuses to accept the vague sense of being watched as enough proof, so he asks, “Are you blind?”

“How blunt,” is Gojou’s response. “I like that in people.”

“That’s not—”

—an answer, Yuuji doesn’t say because Gojou proceeds to give him an answer, raising one long-fingered hand to pluck his sunglasses off.

A maelstrom of blue slams into Yuuji.

He’s seen blue eyes more than a few times. People he knew, people he passed in the street. Bright ones, dark ones. Then there’s Fushiguro, whose eyes act like some deep-sea trench, shifting from dark green to depthless blue based on the lighting and his mood.

But he’s never seen eyes like these.

It’s not just one shade of blue, but every blue, all at once. Thin threads of shuddering color, spreading out from pupils that swallow all light. It’s breathtakingly bright, like the colors are reaching out of the eyes to claw at the air. Or maybe they’re just swirling inside, chasing each other inside the confines of those irises.

A part of Yuuji knows that he’s imagining it, that Gojou’s eyes aren’t actually nuclear ghosts. But that logic doesn’t quite penetrate the blue haze in his head.

Gojou blinks, cutting off that stream of color, and Yuuji sucks in a breath like a drowning man.