#is it likely based on the evidence being presented here? i don't think so

[neonphoenix]

Check out some of these stone cold takes:

Bestie I hate to tell you this but 100k is nothing

Feel like these comments get to the crux of the matter quite neatly: individual budgets and organization budgets are vastly different. 100k could cover all of my college tuition, but for an organization it means they might just be able to pay two salaries for a year.

I don't know a ton about how ao3 specifically is run but I suspect they consist of more than two people, and that they incur all sorts of costs completely unrelated to anyone they might be paying.

This comment in particular is in such bad faith. "Hi i'm aware that this organization is trying to be transparent and publish their budget but I've been so conditioned to view corporations as corrupt that I won't even consider a group might not be." You're playing guilty until proven innocent my dude.

Other people have already explained it better than I can but ao3 is a massive website hosting a massive amount of information with a massive amount of traffic. They need stupid amounts of money just to maintain what they do have.

And again, I'd like to reiterate: they definitely need more than 100k a year to run. I expect them to hold multiple donation drives and receive outside grants. That's how nonprofits run.

I don't really care what your stance is on ao3 as an organization but a lot of y'all criticizing them simply do not understand how fundraising works.

[grunckle]

Qualia and Ascension in Rain World

(To clarify I'm mostly talking about base-game lore and not including Downpour, but honestly most of these things can transfer over)

Qualia

One thing that’s relatively hidden in Rain World’s text and subtext is the concept of qualia. Qualia is described as being, “sensory experiences that have distinctive subjective qualities but lack any meaning or external reference to the objects or events that cause them.” It’s a personal sensory experience that cannot be comprehended by another person other than the individual themself, and are often hard to convey via language.

Qualia is a reoccurring motif in Rain World, but what’s more important is the way in which it’s conveyed to the player. The picture that’s painted is that of a world or civilization that placed a great importance on the individuals’ experience, and it’s shown through pearls or environmental details.

Here are some examples of qualia appearing in the text through pearls.

“It's qualia, or a moment - a very short one. Someone is holding a black stone, and twisting it slightly as they drag their finger across the rough surface. The entire sequence is shorter than a heartbeat, but the resolution is extraordinary.”

“A memory... but not really visual, or even concrete, in its character. It reminds of the feeling of a warm wind, but not the physical feeling but the... inner feeling. I don't think it has much utility unless you are doing some very fringe Regeneraist research.”

“This one... is authored by Five Pebbles, when he was young. There has been an attempt to scramble the data, but it's sloppily done, and most is still somewhat legible. It's written in internal language, or thoughts, so it is hard for me to translate so you would understand.”

But the most prominent examples of qualia and it’s importance in this world are the Memory Crypts and possibly ancient naming conventions. The deep purple pearl (shortened) found in Shaded Citadel states,

“In this vessel is the living memories of Seventeen Axes, Fifteen Spoked Wheel, of the House of Braids (…) Seventeen Axes, Fifteen Spoked Wheel nobly decided to ascend in the beginning of 1514.008, after graciously donating all (ALL!) earthly possessions to the local Iterator project (Unparalleled Innocence), and left these memories to be cherished by the carnal plane. The assorted memories and qualia include:”

Ancients likely mutated their own neural tissue into the cabinet beasts we see in Shaded, which were used to store their memories and qualia before ascension. Even james said once "how 5 pebs got the rot is a good hint here" in response to someone asking how cabinet beasts work, and how they're made.

Adding on to this, ancient (and iterator) naming conventions seem to be built off of the concept of qualia, with them focusing on individual images or experiences.

Nineteen Spades, Endless Reflections

Droplets upon Five Large Droplets

Two Sprouts, Twelve Brackets

Looks to the Moon

Generally, this all points to a world focused on the expression and preservation of the individual experience. You could even consider some of the echo dialogue as more evidence for this running motif, but I already have too many quotes lol.

Ascension

So now time to talk about my interpretation of ascension. In short, you turn into a worm, but I should probably explain more than that.

So its been surfacing on rw-tumblr that the light in the end of the game is called the egg in files. Although file names shouldn't be taken as fact or canon, it is pretty obvious given the birth imagery.

But something a little lesser known is what happens to the worm that takes us down to the void-sea depths. Void worms normally have a bright glowing effect, on their body, which is present for ours as well. But after it unhooks us, it swims down, and when it passes us on it's way back that glowing effect is gone.

To be honest, I don't really think this can be interpreted in many ways, but the most obvious one and the one I personally subscribe to is that the worm laid the egg. Biology and spirituality really aren't that different in Rain World, it's implied that karma is stored in the brain through Five Pebbles's slideshow. Adding on to that, we see voidspawn after eating an iterator neuron. One's spiritual state is innately tied to their mental state, and that dictates what and what they can't perceive.

And for that reason I decide to take a more biology leaning approach to what happens in the ending. At face value, we are fertilizing the egg of a void worm to be reborn into a voidspawn.

Not only do void spawn and void worms have multiple characteristics in common, (worm like bodies, tendrils/tentacles, glowing heads, void spawn look microbial and void worms are likely some of the oldest "life" in game)

but voidspawn are seen inside egg-like coverings and share the same egg light seen in the end of the game, confirmed to be the same thing by Videocult in a livestream they did.

I believe that all this points to ascension being re-birth into a voidspawn, which eventually undergoes metamorphose into a worm. Higher-dimensional beings, who manifest and give birth to a new world.

So how does this tie in with qualia? Another thing you might know is that the area in which void spawn are most plentiful is Shaded Citadel and areas in Shoreline near Shaded. And shaded is absolutely packed with Cabinet Beasts, even outside Memory Crypts. I believe these qualia-storing creatures are what manifest voidspawn.

From what we see in ascension, it still looks physical and largely based around the real world. Hunter still has his scars and see's an iterator, survivor sees the slug tree in a more mystical and formless state, and monk sees survivor frankly just looking like a normal slugcat. I think that ascension is a product of qualia. We transcend our earthly knowledge via the egg, and our own qualia is used to give birth to a new world. This is why voidspawn appear most in Shaded Citadel.

Now I won't be getting into Void-Worm theories too much here, I'm mostly focused on ascension but I can't ignore the Gnosticism parallels. For those who don't know, Void Worms heavily resemble the Yaldaboath from Gnosticism, along with sharing some similar celestial motifs.

and running with that some people theorize that, like the Yaldabaoth, void worms are responsible for manifesting the material world. Ascension seems to be a mix of the concepts of Gnosis and Nirvana, but I believe it might lean more on Gnosis.

From my limited knowledge, Gnosis is a few things, some of which being a state achieved from experiences or intuitions, and an essential part to salvation is personal knowledge. While researching a bit, I came across this text by Peter Wilberg called "From NEW AGE to NEW GNOSIS" which brings up some comparisons between Gnosticism and qualia as well.

"Gnosis is subjective knowledge of an inner universe made up not of matter, energy, space or time but of countless qualitative spheres or ‘planes’ of awareness – a knowledge obtained directly through inter- subjective resonance. It is the subjective science of this inner universe."

One thing though that has been brought up when discussing this is how this can be consolidated with the tone of the ending. It is pretty un-ambiguously happy, but if we're going with the Void worm Yaldaboath theory then that would put a bit of a sour twist on it right?

I agreed with these for some time, but now I actually think it ties in perfectly with Rain World's core themes as stated by the devs, "overcoming differences and finding empathy." I don't think the void worms are "evil" or malevolent, but I think they (and subsequently us after ascending) play a key role in demonstrating this theme.

By manifesting the physical world, we allow these souls to experience life and develop their own qualia so one day they can ascend themselves. We are shown compassion, and pass it forward.

[alatismeni-theitsa]

In "KAOS" nothing is anything, and everything is wrong

Two disclaimers: I am no stranger to modern art, and I have no issue with queerness in shows, or in my own mythology (I'm Greek). I am also aware that KAOS is a comedy. It's in the gutter of British comedy, but still part of the genre. At least I laughed every time they said "Oh God!". I don't believe this is the same person who wrote the great and amusing "End of the F**king World"! The premise of "The gods in our modern world" appeals to me a lot, so that wasn't my problem either. My general issue with KAOS is its horrible delivery, bad writing, and piss-poor Greek representation.

This is gonna be long and full of stupid gifs, so sit comfortably, grab a coffee or some popcorn and... pame!

The "ILoveGreekMythology" Kid

Art without context is just a pretty thing to look at. Most of the time, this context can be found within the art piece itself, as the artist has taken care to weave it in. KAOS refuses to connect itself to any context besides the names and a few vague powers. It aims to exist outside of those "boring old stories of the Greek myth" and be entirely "fresh and modern". Something impossible when the entire show and the meanings are based on ancient recorded material. In other words, KAOS is so meta that it ends up being nothing. KAOS cannot stand on its own because you need more than the viewers being familiar with the Greek myth basics to pull such a show off.

KAOS tells us "See? I know all the names of the gods, and what they did, and I know all the locations, so I am qualified to tackle this". More or less like any Western kid who takes all their knowledge from PJO and Marvel and proceeds to unironically hate ancient deities and make a girlboss out of Medusa.

Here's a Greek word for you guys, ημιμάθεια, meaning "half-knowledge". Α Greek saying very well declares "Half-knowledge is worse than no knowledge". The confidence of thinking you know enough often leads you to grave mistakes whereas the humility of not knowing prevents you from touching shit that you shouldn't. When you have no idea what the original myth is trying to say and spit on its meaning, knowing a few names and locations is just smoke and mirrors. I don't believe the audience fell for that.

And don't get me started on the "subversions". A good subversion is intriguing and thought-provoking. In KAOS, every twist was hollow - Greek myth related or otherwise.

"What if Euridice doesn't love Orpheus?" I don't know, babe. What if??? What was the point of that? What did you show us? That women's stories are dominated by men and men don't listen to women, perhaps? And you chose to twist... the love story of Orpheus and Euridice to show this?? One of the best and most tragic love stories Greek mythology has to offer?? You just mocked the myth, you didn't make anything profound out of it.

The Greek Stuff (Nothing salvageable)

I was surprised to see they had a Consulting Producer (Georgia Christou) and an Assistant Script Editor (Isabella Yianni) who happen to be Greek. And I stress that because those people probably weren't hired or utilized for being Greek. We are not sure they were involved in cultural decisions because we have no evidence and because shows with no Greek elements can have more Greeks than that on their staff.

Okay, perhaps they took 5 seconds to ask Isabella about a greeting - which they proceeded to say in a wrong intonation 🙄🤌It's where Poseidon says "ya sás" in the Fates, by the way. How he said it sounds more like "for you (pl.)" than "health to you (pl.)".

Surprise! The only Greek actor present (Peter Polycarpou) has less than 5 minutes of screen time and plays the caricature of an immigrant with a thick (and inaccurate Greek) accent. He has a canteen, selling falafel which is not Greek, and Dionysus buys from him an unidentified tortilla wrap (which... is also not Greek, if you haven't caught up).

For the show they brought in actors of Maori, Nigerian and Sierra Leonean, Pakistani, Black American, Latvian-Jewish, Iranian, Egyptian, Indo-Fijian and Malay descent and you tell me it was impossible for them to seek and find an English-speaking, skilled actor of Greek descent in a show regarding Greek heritage. Sometimes I wonder, do y'all hate us so much?

They considered Greeks only to give us a simple (and wrong) greeting and a stereotype. Crumbs, we are supposed to be happy with. By the way, there are over 70.000 Greek immigrants just in the UK, usually in the urban centers, many of them students or fairly young employees in the corporate workforce. Not the largest minority but not hard to spot either.

Another plague of Anglophone shows: Almost everyone's Greek name is shortened. Yes, we know their full names but we are told that we will use the short ones. Greeks and their "long and difficult" names am I right fellas? Because saying "Ariadne" apparently requires 5 years of Greek language training, and no English word ever has more than two syllables.

Coincidentally, short names are cool in Anglophone imaginary universes and the "long" names are not. it's so strange Anglophones never make universes where it's cool for Greek names to be spoken in full hmmm... They don't even want to practice saying a whole Greek name for just 2 minutes in preparation for a show full of Greek names. And don't give me that "Greek is hard" shit when we only talk about a few syllables. If Greek kids can learn English since first grade and people here can sing English songs and spell English names, you have no excuse.

They also said the name "Fotis" means light, which is close enough but... ugh.. It's like saying Sebastian means "respect". I am not sure if they asked anyone or what their research was here. If I had the writers in front of me, I'd be like:

(This character from an all-time favorite Greek show is called Fotis)

They also made the flag of "Krete" an alteration of the Greek flag and the local Cretan flag. Which is the stupidest move, because they had to remove the religious symbol of the cross to make the flag fit the universe. These are flags created based on 1) Christianity 2) the Greek Revolution of 1821.

National Greek flag to the left, local Cretan flag to the right:

Flag of the KAOS' "Krete":

The only time they seriously took into account anything Greek, was the time when they decided to remove the religious symbol of our ethnoreligion AND (from what I could observe) keep the nine stripes?? The nine stripes of our national flag represent the syllables in "Freedom or Death". The colors are from the white foustanela of the mainland attire and the dark blue vraka of the island attire, the clothing of the Revolution fighters. (That's more of a meta explanation but the characteristics of the flag were decided during and nearly after the Revolution.)

I think I don't have to explain it more but it's not a homage to put the nine stripes in an ancient era where they have no meaning, and to replace a cross??? Let's... not replace religious symbols on national flags, okay? Thank you.

Another cultural element they changed was making everyone have a dedicated coin to pay Charon. Orpheus has Euridice's coin, "her coin", and he's meant to put it on her before she got buried. In Greek culture, any coin would do. Sorry that our culture restricts your script, dear writers. I guess you had to bend this too, in order to create a cohesive plot with a semblance of a twist.

Finally, the many "Kerberus" dogs were cute and I can understand the creative decision behind that. However, in a show full of inaccuracies, this made me roll my eyes a little. I think the showrunners know that Kerveros is not a breed of dog, and there can only be one of him because he doesn't have any other "Kerveros" to breed with. On the other hand, as demonstrated from art/writing on the internet, quite a lot of Westerners are not exactly aware of how our monsters work, so forgive my uncertainty 😅

Nothing is Anything

Every element KAOS played with ended up meaningless. In the words of a Lifo article:

“Zeus is a paranoid authoritarian dictator in mid-life crisis who fears losing his power and murders his aides to vent. Hera is a promiscuous goddess who repeatedly betrays Zeus and has mutilated mute priestesses for protection. Dionysos is a spoiled and immature zoomer who, apart from pranks, indulges in orgies with all genders. Poseidon a sadistic god of the sea, who tortures the crew on his ship for fun. Prometheus is gay and killed his lover so he could overthrow Zeus. Orpheus is a famous pop singer and Eurydice does not love him. Theseus is black and gay. The Erinyes are tough-as-nails mechs that look like they stepped out of ‘Sons of Anarchy’. The Fates resemble a three-member jury in a talent show. The Trojans are a terrorist group that acts against the gods. Crete is more reminiscent of California than the Mediterranean.”

The "River Styx" is a sea, the "River Lethe" is a lake, the gods are nothing more than spoiled humans, the Moirai are drag queens, the Cave is a club where you have to take a quiz to enter the underworld, and generally everything is modern, flat, mundane and anticlimactic. The producers aimed to achieve a work so meta that a "river" is now a concept, a metaphor, whatever you have in your heart. And those who want to see a river when we speak of a river are probably uncultured swines and don't understand postmodernism. Never mind that rivers are rivers in Greek mythology for a reason. That's not culturally interesting enough to explore compared to the new, cool approach of not assigning meaning to anything. That totally shows love for the original rich and meaningful material...

And the reason behind all this subversion? Probably the shock factor. They brought the characters to a point where they said "We have to save the world from Zeus" - Zeus! The father of gods, heroes and humans! - just because they could. It gives off a certain type of smugness that I personally don't like. I mean, I would like the smugness and cheekiness of KAOS if it wasn't a vapid and practically meaningless show. As nothing symbolizes anything anymore, we are just led from hollow plot point to hollow plot point.

If you cut it out of any cultural influence and see it as a story then it's... okay, I guess. But when you consider that it's meant to derive from certain material and it fails spectacularly, it's not a good story. It forgets its bases and doesn't play with the ancient elements at all. Disney's Hercules did it better, FFS!

Bad Writing (pt.1)

KAOS is not without recognizable themes but their demonstration is so juvenile and heavy-handed that it fails to influence a viewer of average intelligence. For instance, "Riddy" says to her religious mother "You dedicated your whole life to Hera, what about me?" Okay, KAOS, we get it. At the same time, this theme nulls itself because it turns out that Ridy's mother was right to do what she did, as she had a greater goal in mind. (And this, kiddos, is called Bad Writing, because your themes and scenes contradict each other)

The biggest theme I spotted was a criticism of religion and religious people who say "Do as I say, not as I do" and create exceptions for themselves. Only, it's not a criticism of anything real, in this case. It's a fact that some people in the clergy tend to preach peace and love and then they do harm, but we don't know, for example, that The Goddess of Marriage is a cheater and yet she pressures everyone into strict marriages. By focusing their wrath on divine beings who are not known for their hypocrisy, the creators missed the mark.

I can give KAOS props for how it handled Trojans to reflect real issues regarding how immigrants and war refugees are mistreated and blamed. I'd argue it was the only (nearly) well-done theme in the whole show because it had the least on-the-nose delivery and some genuine/serious scenes. But that's it.

More Bad Writing!

Jeff Goldblum's Zeus is shit. He'd crap his pants in an argument with a stern Greek dad/uncle his age. Is this character supposed to be intimidating? (Laughs in Mediterranean) That's not to say that Goldblum is not a good actor, but this role wasn't for him. The same can be said for the other actors, too. They are competent but they only give off the air of "The Greek gods if they lived in London, from the minds of people who think beards and body hair are an affliction". In addition to being misplaced, the actors cannot show their talent when following a script that resembles a children's book.

Why does THE GOD Dionysus have the maturity of a 15-year-old? I repeat, The God Dionysus. He's a freaking deity, and a very old one at that. He is not a teenager neither in appearance nor in experience. In our culture, he is mystical, mighty, wise. Why did they downgrade him so? Just for the plot? This is not Dionysus just because you named him so.

The dialogue rarely takes itself seriously to the point it has you wondering at times "Do people talk and behave like that?". In a comedy where everything is meant to be already extreme and parodied. Even in comedies, something must occasionally be serious so there is a healthy fluctuation in tone and the funny moments can hit you. In KAOS very few scenes treated their impactful dialogue as it should be treated.

The queerness and diversity (good elements, in general) were worse off for being in KAOS. Like, I want these elements to be there. I'm just sad about the whole situation. It's not enough that the show is shit, now you also give an additional reason for conservatives to shit on diverse and queer characters because they are part of a stupid narrative.

I'm the type of person who doesn't mind the queerness of Astyanax and Theseus being lovers in the context of this specific show but they're still the oddest pairing to me because they're from the most irrelevant myths and eras. Also, Astyanax in my mind is a baby who died tragically, for little reason if we are honest, so to bring him back and make him a love interest is... ekh.

In addition, isn't Astyanax supposed to be crippled after a fall from the city walls when he was a baby? Sorry to change subjects but the show is so convoluted and with so many issues that it's extremely difficult to stay on track with what's wrong.

To the person who thought this show was a good idea:

Whatever. Bye. I'm fucking done.

[sophrosynesworld]

Betrayal (Pt. 2)

part one: You find your Pro-Hero boyfriend rummaging through your office.

“Do you need anything else, ma’am?” The rhythmic clicking pauses momentarily as I look up towards the doorway. My fingers rest on the keyboard, stopped mid-sentence.

“Oh no,” I sigh, pushing my chair backward and reaching for my jacket. “Is it late already?”

“Yes, ma’am.” My assistant glances at her watch, clearing her throat. “It’s 11:30pm, the last train runs at 12.”

I pull out my wallet and hand her a few bills. “Grab something to eat on your way home.” Noya shakes her head, refusing my money. “I couldn’t possibly accept that. You pay me very well, ma’am.”

I roll my eyes, forcing the bills into her hand and closing her fist around them. “You'll be doing me a favor,” I laugh softly, shaking my head in amusement, “I have nothing else to spend it on.”

Noya smiles, offering a slight bow. “Thank you, ma’am.”

We say our goodbyes as we walk towards the lobby. I wave her farewell before locking the main door. Footsteps echoing through the still office as I retrace my steps, resuming the casework I had already begun.

It's been a week since Bakugo blew up our lives, and I’ve thrown myself into work, trying to drown out the confusion and anger swirling inside me. I’m not sure which is worse: my father being accused of being a crime lord or my loving, doting partner using me for intel. I rub my dry eyes before readjusting my blue light glasses.

A sudden flicker pulls my attention away from the screen. The overhead lights flicker a few times before deciding to settle. I frown, glancing around the room. "Please don't do this to me." Mutters come from under my breath as I return to my paperwork.

Another series of flickers start and this time, the lights don't come back on. My screen plunges into darkness. My eyes take a moment to adjust, the faint glow of city lights dimly light my office space.

"Hello?" My voice echoes in the silence. No answer. I grab my phone, using its flashlight to navigate through the cluttered office. "Mr. Matsumoto?" I call out for the night guard, who doesn't respond. I hurry past the lobby, taking a quick left. I pass a few rows of cubicles, each one dark and deserted. Finally, I find the right door, its frosted glass panel dimly lit by the emergency exit lights.

The hairs on the back of my neck stand up, a familiar tingle of unease creeping over me. I reach the box and open it, frowning at the switches.

"Dammit," I whisper, about to flip them off and back on when I hear a sound behind me. Footsteps. Slow, deliberate.

I spin around, phone held up like a weapon. The light catches on a familiar silhouette, and my heart skips a beat. "Katsuki?"

He steps forward, the harsh lines of his face illuminated by the dim glow. Bakugo's eyes are hard, his jaw set. "We need to talk."

My grip tightens on the phone. "Breaking into my office isn't exactly the best way to start a conversation."

He doesn't respond for a moment, quickly closing the distance. "Will you talk to me about this?"

"I'm not allowed to talk with you. You need a lawyer present."

"Oh, fuck off. You're a lawyer," Katsuki seethes, his fists tightening by his side. I shuffle backward, countering his advancements.

"I'm not your lawyer, Mr. Dynamight."

"Don't be like that."

"You're accusing my father based on flimsy evidence. You illegally accessed confidential information that puts me in hot water. You didn't even trust me enough to tell me the truth."

Bakugo's expression darkens as he stops in place. "You think this is about trust? We have the same evidence. He's not who you think he is."

I shake my head, taking a step back. "And you think breaking in here is going to make me believe you?"

Katsuki's eyes flare with anger, lashing out and throwing a binder off of the shelf. "I'm trying to protect you!"

"Protect me? By invading my family and lying to me? By pretending to love me?!"

He steps closer, and I can feel the heat radiating off him. "You’re so blind! You think this is just about you? Someone else is going to die."

"Don’t you dare turn this on me." I scream at him, my hands landing on his chest, pushing him backward. "This is about you not trusting me. About you lying to me... you threw years of my life away!"

Bakugo's hands clench into fists at his sides. "Every second I spent with you was worth it. I loved every moment of our life together."

"Get out," I say, my voice shaking. "Now."

Instead of leaving, Bakugo takes another step forward, backing me against the wall. "Tell me you love me."

"You're crossing a line, Bakugo," I warn, my heart pounding in my chest. "You need to leave."

He places his hands on either side of me, trapping me in place. "You think I want to do this? You think I wanted to hurt you? I can't stand by and watch you get hurt because you’re too stubborn to see the truth."

I try to push him away, but he's relentless. His left hand grips my hip, while his other hand traces my face. "You have no right," I hiss. "No right to come here and make demands. To implode my entire life from the inside."

His eyes soften for a moment, just a flicker, before the hard mask slips back into place. "I was doing my job. I'm a hero."

"Not to me," I counter, tears of frustration stinging my eyes. "You're a monster, Katsuki."

"For fuck's sake, you always have to be so damn stubborn!" Bakugo's voice rises, echoing off the walls. Katsuki lets go, his feet retreating. "You can't see past your own pride to realize that I'm trying to save you!"

"My pride? You're the one who's so full of yourself you think you can just barge into my life and dictate what's right and wrong!" My voice matches his, anger bubbling over.

"I'm trying to save you from him!" He shouts, fists trembling. "If you can't see that, maybe you're just as blind and naive as everyone says!”

"Get out, Bakugo! Just get out and don't come back!" My words are sharp, cutting through the air between us.

Bakugo takes a step back, his face twisted with anger and hurt. "Fine. But don't come crying to me when your perfect little world comes crashing down." He turns on his heel, storming out of the room, slamming the door behind him.

Part 3:

Author's Note: A few people asked for a second chapter. I hope you like it!

[graves-simper]

What really happened in Room 302?

Yes, just like everyone else I am finally doing a small essay/analysis on TCOAAL.

This time I wanted to dive in something that wasn't a big part of the game, but has been on my mind since my first play through of the game and that is like the title states; What really happened in Room 302? Lets begin.

I wanted to start off by talking about the Lady in Room 302. Who is she?

We really don't know much. Her eye color isn't shown, she looks somewhat average but in terms of others opinions (ie; the Warden's and even Ashley) She is a very pretty woman. Even at a point Andrew says that she looks good. Take a look at some of the dialog below:

I mean, wasn't she?

After this very tasteful conversation these two love-birds have, Ashley heads up to commence the ritual to sacrifice the 2nd Warden, and of course Our Ashley pulls it off with no problems, and back downstairs she goes with full intentions of painting the wall with Lady 302's brains, but it appears someone beat her to the punch.

AND NOW I PRESENT WHERE I IMMEDIATELY BEGAN TO CALL CAP ON MR. DOORMAT EXTRAORDINAIRE AND HIS SILLY LITTLE LIES.

Your honor, this man is absolutely lying. The first thing that made me question everything about his story here is where she is lying dead. On the damn bed. Your honor, let's enhance this real quick.

That nail gun is a damn good several feet away from where Lady 302 lies dead on the bed. In fact it is in exactly the same position as when we left Andrew alone with her, and look at the sheer distance. These apartments clearly aren't huge but let me just be critical for a minute. Her mattress appears to be a single style mattress, so lets take in some measurements.

I can settle on the length being 75" or 6.25ft. So the apartment is about 12 feet wide. Not huge by any means, but to go from sitting down on a bed, even the edge, she would have to make quite the lunge while accounting for some random maniac being right next to you with a meat cleaver. I also do not think she would be the type to risk her life for a daring escape. Look at how absolutely bewildered she is the second Andrew rushes her.

That is NOT the face of someone who is absolutely down to fuck around and find out. She also had a chance to get help while also risking her life, when she is given the radio she could have screamed for help, and while yes she would've died, at this point I would say the risk factor was relatively similar.

Now that I have established my reasoning for why I don't think this lady tried to kill Andrew with a nailgun or even had the chance to, let's go over some of the reasons I think he DID choose to kill her.

No Witnesses.

This is a very boring theory but I have to bring it up no less. I think there is a good chance he just said fuck it, and killed her for the sake of not leaving evidence behind. She saw their faces, heard their names, and they even said they were her neighbor from upstairs. Leaving her behind could've ruined EVERYTHING for them after this point, and based on Ashley's sour reaction to her mere existence, I think he already knew damn well Ashley would want her dead too.

Make my Ashley happy.

This ties back to the point I made in No Witnesses. Ashley took her as a threat, and obviously Andrew noticed. She was not pleased after he called her "Pretty". I think once he was alone, he figured he would off her to show Ashley that he wasn't ogling her or wanting to do anything with her. In fact she meant so little to him, he butchered her right on her bed. To support this, the way Ashley reacts when she returns absolutely floors Andrew, he is calm about what happened but Ashley is still coming up with thoughts that he tried to fuck her, when in his mind, he was probably hoping she would be thrilled that he killed this awful, hell-bound, hussie. But instead she is still somehow mad despite her being now a corpse. He becomes to fed up that even though he did what she would've anyways, it is somehow not good enough for her. (I will dive deeper into this interaction below with another theory that relies heavily on this.)

The Hussie hit on him.

This one ties into Make my Ashley happy. There is a good chance this obviously sexually attractive woman tried seducing Andrew while they were alone. She had no problem doing it with the Warden's to get better treatment, and I have no doubt this was her go-to get out of trouble free card. This charming young man would surely fall for her good looks right? Right? There's two thought processes that would make this reasonable. 1. He was worried how Ashley would react if she walked in with her clearly flirting with him and how that would make her feel. 2. My personal favorite of these two, he is dedicated to Ashley and was offended by her advances and killed her in a show of devotion to her.

Now that we have the more sane theories out of the way, lets get to the GOOD STUFF.

Andrew's Fantasy.

This theory is more of a mental guess as to Andrew's relationship and views of Ashley. He has been clearly fed up with her more than once up to this point, having arguments, dealing with her shit, and all the trauma he just experienced from starving for weeks, isolation, and having to butcher and eat someone, and then murder a man to save her.

What if once Andrew had a moment alone with someone who was essentially his victim, he decided to truly see how he felt about something. I believe Andrew may have not seen Lady 302 as Ashley, but just for the hell of it, imagined that she was Ashley. Despite the different appearances, I'm sure he could overlook it in the state of mind he was in at this point, and decided how it would feel to finally kill "Ashley". The way he kills her just doesn't feel like he said fuck it and wanted the lady dead, she is laid out on the bed, there's no signs of a struggle either. Later in the game during one of the visions, there is the one where Andrew finally kills Ashley. When she accepts that he will kill her, he brings the cleaver to her throat similarly to how the throat of Lady 302 was cut. The similarities just feel so similar that I had to bring this up despite it being possibly far fetched but that's what makes these fun!

and now for my most absolutely far fetched theory yet.

Don't these two look similar?

This theory is much more far fetched but hear me out on this!

I know this may be a result of Nemlei's artstyle but these two have some stark similarities in my opinion. Both blonde, same eye color based on the greyscale of them, similar hair parting, and a similar face shape.

After all the trauma Andrew went through in the weeks locked in their apartment and then killing several people and eating one no doubt sent his brain to a bad place.

I think after all that hell he endured he may have simply had a breaking point and felt like he saw a ghost or just the stark similarities between Lady 302 and Nina just made something snap.

I want to back this up by making a point to the story telling in the game. Before they go and escape their apartment conveniently before the Room 302 incident, there is a dream about how Andrew and Ashley killed Nina. This could be just the flow of the story telling however, I feel like it was a lead up to what really happened in Room 302. It just feels too perfect to include that scene right before he kills someone who I am assuming is what Nina may have grown up to look like, AND then with this scene occurring once Ashley returns almost feels like a nail in the coffin of this theory.

Nina isn't brought up in the apartment, or once they're in the motel. Nina is brought up during a heated exchange in Room 302 right after Andrew might have felt as if he killed Nina once again, yet just like when they killed Nina, Ashley still somehow thinks that Andrew has a thing for a woman he helped kill, and this absolutely drives him off his fucking rocker.

This exchange floored Mr. Doormat so intensely he finally was ready to absolutely throttle the life out of her. Andrew was finally so fed up with being berated for doing things for Ashley's sake he just wanted it to be done and over with forever. Andrew once again found himself in the same place Ashley put him in all those years ago, but this time he knows he isn't as vulnerable as he was and uses it to his advantage, but after their little squabble, they leave together to bless our hearts with Chapter 2.

------------------------------------------------------------------------------

Perhaps this was as plain as the story made it out to be. There is a good chance that Andrew didn't want to leave a witness and said hell with it and butchered the woman in Room 302. But I'd like to believe that with all the hidden details Nemlei has scattered throughout this game that there is truth to one of these theories, hell maybe even a giant jumble of them all together is the true story of Room 302.

But with everything I presented today I hope you all perhaps are too questioning what really happened in Room 302 like I was.

I'd love to hear any theories you guys have regarding this or twists/opinions on the ones I presented here!

Thank you all for reading!

[toaarcan]

What is the Default Toa Form?

So, theory time.

It's a common fandom headcanon that the natural state of all Toa is the Toa Metru build. The reasons for this are varied (but if I'm honest seem mostly rooted in the fandom's love affair with the build that came to an end during the TTV Hagah Contest rather than any actual lore), but I personally disagree with this.

So I'm going to run through the various Toa builds in roughly chronological order (with one exception) and determine whether I think they're likely to be the true default form of a Toa.

1) Helryx

Well, right away, here's one that probably isn't.

Helryx is the oldest build lore-wise, newest IRL. She's also kind of a "Meta Build", aiming to look like a forerunner to the Toa Mata build we'll discuss shortly, not by directly evoking the way the Mata were styled (I would argue that a lot of the Mata's identifying hallmarks aren't present in her), but by being primarily composed of parts from 2001 and earlier.

However... this isn't what Helryx always looked like. Nor is the art that actually represents the canonised design.

The intent of the contest was to create Helryx as she appears in the present, after thousands of years of wear, tear and repair. In the text, she's referred to as disturbingly frail and alien-looking compared to what Takanuva expects a Toa to look like.

Even if she once looked like a default Toa, she doesn't now.

Orde, the only other known prototype Toa, never received a canon design (for what it's worth, I won't be putting a lot of weight on the DuckBricks Fanon Contest designs, since they're, well, fanon. So Bukkey's Orde won't be factored in here, besides me noting that he has a more Mata-esque body than Helryx does).

However, another popular headcanon is that Krakua represents another example of this generation of Toa, as Helryx would've been the basis for Krakua's transformation.

Perhaps this is what Helryx would've lookedd like when she was healthy and built?

Well, as much as I like that headcanon, and will continue to use it in fanon, probably not. Based on the evidence we have of Toa transformations, both in-story through Takanuva and the Toa Metru, the transformation is pretty much 1-to-1 with current forms. The Metru all get Lhikan's build exactly, except for specifically their height. Likewise, Takanuva's build is identical to Gali Nuva's, despite him not being a Toa Nuva. He didn't resemble base Gali, he resembled her current form.

If Krakua was transformed in Helryx's image, he'd likely be just as small, spindly, and hunched-over as she is.

For now, Krakua remains a weird outlier.

2) Mata

While not as common a choice as the Toa Metru build, the Mata build has also been suggested a few times as "Base Toa," largely because it's the original. It's relatively simple, and depicting any given Toa as a Mata build is easy enough and looks good.

(I honestly prefer it over the Metru build. It's easier to put proper hips, knees and elbows on a Mata than it is to un-fuck a Metru's shoulders and neck)

However, the Toa Mata are actually pretty much unique entities within the Matoran Universe, unlike any Toa before or after them. They are the only Toa who aren't transformed from Matoran or built by the Great Beings, instead being created by Artakha.

As a result of that unique method of creation, it's entirely reasonable to suggest that the Toa Mata look different to every other Toa in the world besides Takanuva, who was transformed in their image. They're the only canonical Toa whose bodies directly resemble the Great Spirit Robot itself, use these specific colour schemes, and have its specific design language in their construction.

3) Hagah/Mangai/Metru

By far the most popular contender for this title, but one I don't personally agree with.

We don't know whether the Toa Hagah were built or transformed, but we know they were assembled from across the Matoran universe and given new armour upon recruitment into Teridax's team, and we have no idea what they looked like before they were given this armour, beyond Bomonga presumably already having his huge limbs. Additionally, the Metru were all transformed based on Lhikan, so it's him I'll be focusing on mostly.

Lhikan was transformed and was trained at a Toa Fortress around 6000 years ago. We don't know what the other Mangai looked like (though they're popularly headcanoned as being Metru too, no canon look for them was ever settled).

However, my stance is that this design is not the default (Lhikan would've been transformed in someone's image), but rather a cultural one, a sort of 'uniform' armour style adopted by Toa during the height of their power, when the Toa Fortresses were active and Toa were commonly trained by other Toa. The image of a Toa would've become a consistent thing, and caused almost all transformed Toa to adopt it for a time, making it almost a new default, but not the original, until the Toa genocide and the subspecies becoming largely extinct caused things to diverge again.

This is, to be specific, not a counter-theory I'm proposing to the "Default Metru" theory in and of itself, but rather a part of a wider theory, explaining the commonality of the Metru build when I think that the last spot on our list is the real default.

And that leaves us with only one option.

4) Inika/Mahri/Cordak/Nuva 2.0/Glatorian

So yes, I think this is the default Toa build.

That might strike you as weird, considering that the Inika are only transformed at the beginning of the Ignition Arc, right before the end of the story in terms of the MU's timescale, and the Nuva adopt this design even later.

But let's consider a few points, shall we?

First off, the Toa Inika are the first and only Toa team we see who are transformed into their Toa forms, and do not have their appearance influenced by previous Toa. And while there's some weirdness with their heads and powers, their bodies seem pretty normal, and remain as such after their Inika weirdness is removed by the Ignika.

Secondly, we know the Great Beings made the Matoran based on the Agori, and the Toa based on the Glatorian. The first Matoran, the default form of a Matoran as it were, are the Av-Matoran, who use the same build as the Agori exactly. Should it not stand to reason that a default Toa uses the same build as the Glatorian?

Additionally, like the Glatorian, the Inika build and its derivatives have by far the most variation from individual to individual. True, we've never seen a Toa as weird as Strakk, but that doesn't mean that none existed.

Thirdly, there's one more character we haven't discussed thus far.

And this, then, is my smoking gun.

Lesovikk was a member of the first Toa Team, and one would assume based on that information that he's a purpose-built Toa. Well, he isn't. He's transformed. Given how rushed the Great Beings were at the end of the GSR project, I wager they found it easier to make a small number of Toa and then have them immediately transfer power to Matoran than it was to make thousands of Toa from the off.

Lesovikk may well be the first Toa transformed, and if he was, then his transformation would either be free of influence from anyone, or in the direct image of whomever transformed him, who could only be a default, purpose-built Toa.

"But wait!" I hear some of you typing already. "Lesovikk is a mutant, we have no idea what his true form looks like!"

Or do we?

Let's look at another character who was affected by Pit Mutagen in 2007, shall we?

This is Defilak, a Matoran of Mahri Nui. Like all the residents of Mahri Nui, he once lived on the Southern Continent, and later Voya Nui, after an ill-fated trip to Karzahni.

He used to be a weird little gremlin Matoran like his brethren from 2006, and transformed into the form above after being immersed in Pit Mutagen.

But here's the twist: Rather than simply mutating them directly from their twisted post-rebuild forms, the Mutagen actually reverted the Matoran of Mahri Nui to their original forms first, and only then started to mutate them.

This is Defilak's default form. This is what he always looked like, just with added weapons.

With that in mind, I think it's safe to say that Lesovikk is likely in the same boat: Reverted to his original form before the mutations started.

With the exception of the tube-like gill, I think it's more than probable that Lesovikk is mostly-normal still, and as such, is a very early Toa with a Mahri build.

With that in mind, I conclude that the default design for a Toa is a 2006-2009 build, with Helryx being the product of damage and repair, the Metru/Mangai/Hagah being a cultural design, the Mata being Artakha designs, and Krakua being a weird outlier.

[bakugoushotwife]

kinktober day twenty-seven: car sex

>>> no one will read these anyway based off of the reception for nobara, but i wanted to give the ladies some love this time around <3

>>> starring: maki zen'in x curvy!f!reader >>> cw: jealousy, homophobia w the zen'ins, making my own cannon, oral and fingering, car sex, semi-exhibitionism? i don't think so but just in case >>> wc: 1.8k >>> event masterlist:

formal events were the bane of her existence. she hated all the ritualistic steps of looking presentable for a clan celebration, of all things. maki has never been celebrated amongst her clan and she knows they won’t start anytime soon—so why did she have to show up and celebrate them? even worse, why did she have to drag her girlfriend to such an event? she knows half the elders will spend their time whispering about either her supposed powerlessness or her lesbianism, and the other half would be thinking about it all night long. she hated having to subject you to such nonsense, but her mother insisted–and she knew she’d never hear the end of it from her if she didn’t just suck it up and go. 

so here the two of you are, shoved into the zen’in family banquet hall in a tight fit. maki was absolutely uncomfortable, forced to mingle with people she can’t stand while trying to keep a possessive hold on you. despite the controversial relationship, she wouldn’t let it be lost on anyone. you weren’t here as a plus one or just a friend, you were here as maki’s partner and she wasn’t shy about it. they hate her already, she couldn’t give less of a fuck. her anger will make her the perfect protector too, she won’t allow them to say anything offbeat to you or their reckoning may come early. 

she also hated formal wear. it was impractical and stuffy, and she didn’t like being painted up to the nines, either. at least you looked amazing. you might be enough to make her rethink all her earlier opinions. seeing you tucked into a gorgeous kimono was definitely a lifeline to get her through the night—naobito’s birthday celebrations could perhaps pass harmlessly by with nothing more than the memories of how good you look. the silk highlights your body for days, tight around your chest and flowing down your legs. whereas maki feels completely out of place with rouge and lipstick on he skin, somehow it makes you look even more elegant and graceful. you’re flawless, evidence that maki is indeed good enough to deserve happiness. she keeps your hand in hers for the better part of the evening, fake smiling to some clan members while she keeps her scowl for others, you couldn’t quite find a rhyme or reason to her reactions. it isn’t until she’s pulled away by her sister that you’re able to understand. 

of course you were familiar with the atrocities of the zen’in, and it made you more than just a little uncomfortable to be surrounded by them, but with maki by your side, you knew that no harm would possibly come to you. but with her gone, well. now you’re left wide open. 

they don’t waste any time, a wall of zen’in has formed around you with various men bidding for your attention by offering you drinks and compliments, swearing that a zen’in man could give you a much better time than any woman—but especially one as weak and powerless as maki. their sentiment makes you snarl, but you don’t know how far maki is—meaning you don’t know how crude you can be with all these disgustingly vile creatures. 

“weak? naobito’s birthday or no—we can test that theory.” her sharp voice cuts through the cacophony of others. the men are quieted instantly, and you feel yourself smirk. they start rattling off excuses as to why there should be no fighting here tonight—but you hear the real reason: they’re afraid. 

maki has always been far more powerful than they deign to acknowledge. she’s a talented fighter, and you knew most of these old fuckers would be dead to rights if she really wanted to cause a scene. her presence is scary enough, brows set with a menacing look in her eye. she stares above their heads, making eye contact with you. 

“come. i think it’s time we left, dear.” she extends her hand for you to take, holding the stare of the disgusting old men that came to hit on her girlfriend the moment she stepped away. you skip forward to take her hand, almost giddy at her demeanor as she squeezes your palm in hers. you knew that she was pissed. she was mad when she woke up this morning and remembered this stupid fucking party was today, but now she’s irate. everything she thought would happen, did, and she didn’t feel like subjecting you to any more ogling eyes. she starts to drag you both towards the door, hoping that the hour and a half she had managed to occupy the same space as her family would please her mother enough. not that she quite cared anyway, hearing your little giggles of excitement told her that you knew exactly how she would remedy her bad mood. 

maki has a track record of jealousy, and you knew this time was no exception. this time may be the worst of them all, your girlfriend’s grip on your hand tightening as the driver brings the car around. her mind was racing with the harassments from the crowd, different cousins and uncles offering to show her girlfriend a good time after the party. tch, she didn’t have to wait. she would have you now, the windows of the car are tinted anyway. she opens the backseat of the spacious suv, jutting her chin out to the backseat. 

your feel your face heat up as you obey her, crawling into the back on your hands and knees. maki turns to give the chauffeur a tip, patting his knowing shoulder. she doesn’t much care if people know what she’s about to do to you in this car. in fact, she hopes rumors spread about it. the windows being tinted was all she cared about—no one would get to see her pretty little girlfriend’s faces of pleasure but her. she steps into the car after you and pulls the door closed behind her. she’s thankful for the air conditioning and radio humming lowly in the background, your noses pressed together for a brief moment as she adjusts your seat, pushing you back and ensuring she has enough space in the floorboard. 

you giggle a little, parting your thighs to give her room to sit between. she slinks between them easily, resting her hands on your knees as she peers over her lenses. you lick your lips in anticipation, seeing that anger in her eyes. 

“worked up, babe?” you tease just a little, resting your hand on her head. she raises a brow at you, quietly warning you to watch your attitude. you grin a little, knowing you could push her to her limits after the night that you’ve had—but you’d be the one to reap the consequences. so you lean back against the seat a bit, easing your cunt closer. she looks down at your middle at the movement, but she nods. 

“yeah. i’m a bit worked up.” she groans, bunching your silken skirt up by your thighs. her mouth salivates the closer she leans to the apex of your thighs. she catches your scent, grinning at the arousal already leaking down your legs. “they’re all just dying for a chance at you, hm?” 

you roll your eyes with a satisfied little grin, shaking your head at her. you pull your skirt up some more for her, but you know not to worry about anything further or you’ll further irritate your already ticked off and overzealous girlfriend. “just too scared of you to come around.” you decide to stroke her ego instead. 

she scoffs a little, amusement sparkling in the vast darkness of her emerald eyes. her fingers stroke over the center of your panties, and she hums approvingly at the dampness she can feel beneath. her lips tilt into a smirk, “and you like that?” 

“i love that.” you purr, scratching her scalp a little bit. she smiles softly and pushes the flimsy fabric keeping your cunt from her to the side. she gives you a breathy chuckle, watching the strings of your arousal stick to your panties as she peels them away, she’s enamored. 

“and i love that sloppy pussy, pretty girl.” she whispers, letting her fingers spread your lips apart. you take your lip in between your teeth in anticipation. she lets her slender thumb drag figure eights along your clit, face focused on your hardening tits and shifting face. you’ve always been so sensitive, it’s one of maki’s favorite things about you—how you jerk into her hand as she’s barely touched you, little moans coming from your pursed lips as the sounds of tires squealing outside overtake the music in the car. maki grins—you’re holding up the line, leaving the other zen’in’s no choice but to pull around maki’s signature suv. she chuckles a bit as she leans in, attaching her pink lips to yours, letting her fingers work their magic over your bundle. 

your body drowns in warmth, looking down at your sexy and strong girlfriend giving you head never got old. she always knew how to get you going, possessively shoving you in the back of her car was on the list. you grip at her hair as the pressure from her fingers intensifies, tongue slipping past your lips and straight into the hole—and she moans at the taste of you. your head rolls against the rest behind you, hands weaved into green locks in an effort to grind yourself down on her tongue inside you without moving her fingers. one of her hands pushes your thigh away, keeping you from breaking yet another pair of her glasses. 

she works in perfect time, knowing exactly how to send you over the edge without much work at all. she knows no man could tend to you so easily—making you cum like it was chewing gum or breathing. that’s why only she gets to wear the remnants on her face. you buck into her mouth, whines going high pitched. she taps your thigh, giving you express permission to cum on her face. 

you whimper, the affection in her eyes was enough to send you toppling over the edge. your hips shake, the dam breaking in your gut—your release covers your girlfriend’s tongue as she curls it inside, gathering all the taste of you that she could with a few animalistic moans as she sucks you clean. 

she pants a little as she pulls away from your cunt, tucking your panties back over the mess with a little smile of arrogance. “did that make you feel better, sweetheart?” she asks, pulling your skirt back down as she leans up toward your face. you bend down to meet her, she was still on her knees after all. 

you chuckle, giving her a soft kiss. “i meant to ask you that.” 

[eveledoze]

ok I need to write a couple more thoughts because I'm just going crazy same location?

does that mean we'll see her in the shaft?

maybe N will see Doll here? since it seems this is the same location on this screenshot also It also looks like the test subjects' lockers are in the shaft. so it’s possible that N and Uzi found Nori’s locker and some evidence here

Lizzy and Thad?? FOR REAL Thad fans can rejoice, we'll see Thad again! :D but Liam lied that he was safe. actions take place outdoors, snow, lanterns, cars, flying tires and other objects due to lack of gravity

it reminded me of how everything soared in GF, and since MD will also have this, it will be EPIC

also wanted to talk about this shot. saw some people say that someone is being sacrificed here, but my first thought was this: this is the drone that had the most Solver powers (probably Nori) and because they' are're dangerous and so strong, they're restrained with chains. and oil flies around them.. dunno exactly why, but it really reminds me of how in the "Stranger Things" Eleven would bleed when she used her powers, maybe something similar is present here?

and yes, it looks like a godammit cult-

ok, this looks terrifying. I can't tell if N will just go into hunting mode for some reason (because of Cyn/Solver?) or if this is a flashback to him possibly killing Nori (since it's similar to the flashback to V killing Doll's parents. everything was red there too, V had a cross on her visor and grin)

is this a video recording of someone using a cross? at first i saw it was someone wearing gloves, so I thought it was Nori or Yeva's hands, but now I'm not sure, so it could be Uzi or Doll

okay now THIS i'm not sure that it's Sentinel's paw

The front paws of the Sentinels have a palm-like base like a drone's with little triangle, with long thin claws. The hind paws are also long and thin. the paw on the left is thicker and has thicker claws. also I have a feeling that there is a torn glove on this paw?.. but what confuses me most is that this paw burn, smoke and glitches were coming from it, just like in this scene with Uzi’s hand from episode 4. I don't think the Sentinals burn in the sun?..

also that paw from the teaser reminds me of the paws on Uzi's wings, so could it be Nori's hand (we don't know how much Solver can change a drone's body, since drones can grow organic wings with it, maybe parts of their bodies can transform?) or Nori's wing?

I don’t know who injured her eye, but she looks scared and as if betrayed

at first I thought that Doll was fighting with Uzi, since their screenshots were in a row. but it seems Doll has cleavers in her hands and someone is fighting with her with a sword? I don't think Uzi woud use a sword, so maybe it was Tessa. or this is the blade of one of the dissasembly drone. there is also fire behind her, something is burning

portal to upside-down from ST :D

I hope we get some fun flashback moments with Nori because I won't survive if the whole episode will only be about bad events-

[ausukams]

A defence of Ace Culprit (DRDT)

I've seen some theorising that Ace will turn out to not be the culprit, which I don't agree with. To be clear, I think theorising is cool and fun regardless of whether or not I agree. It's mostly agreed upon by the fandom that Ace is the culprit at this point, so none of this is uh, exactly revolutionary, but I want to write some points as to why I think Ace will still be the culprit next Friday.

Point 1: The Witch Trials of Ace Markey

One of the key points I've heard is that Ace is treated unfairly by the cast, particularly in the trial, and that they need to be narratively punished for that. I mostly disagree with this - I think there's some truth in the fact that the cast is dismissive of Ace, treats him like a joke, etc. But I don't think they're wrong to suspect him in the trial. They only do so late on, when the evidence points to him.

Veronika said he's more likely to be a killer in terms of personality, yeah - which is true, he does make more sense as a culprit than Eden in terms of their respective personalities - but in the same breath she asks Teruko if she has any actual evidence pointing to Ace. Even she, the creepy girl obsessed with psychoanalysis, isn't willing to rely on something so flimsy. If anything, personality is brought up more strongly as a defence of Ace - that he's too stupid to pull off a mildly complex murder trick. As Charles says, "Speculation on Ace's psychological state cannot be used as concrete evidence in this trial." The case against him isn't actually based on things like that.

The reason Ace is the culprit, as expressed by the cast, is pretty simple.

1 - The culprit had to know about Nico's murder trick, which requires being present as a prerequisite. Only Ace and Eden meet this criteria.

2 - The culprit knocked out Arei by some means for the murder.

3 - Unlike Nico, the culprit did not have access to turpentine, so it's likely they didn't use any tools for this murder.

4 - The culprit has enough physical strength to knock Arei unconscious with just their body.

5 - Ace has an athletic Ultimate Talent, and Eden is small and very weak.

6 - The culprit is Ace.

There are some additional reasons to suspect Ace is the culprit. For example, the Body Discovery Announcement. For Eden to be the culprit, someone would have to be hiding the fact they discovered the body. As David points out, this isn't impossible - but frankly, it is not at all likely that anyone would do something so stupid with their life on the line. David even admits he's saying things like that to manipulate Teruko, and I'm inclined to believe him there. Eden isn't exactly cleared by this evidence, but Ace absolutely makes more sense as a primary suspect.

Sure, he talks about how it's unfair people are attacking him instead of Eden, Nico or Teruko - but it's not like people think he's the culprit for no reason! Nico has an alibi, Eden doesn't make sense as the culprit... honestly Teruko would kind of make sense but he doesn't really push that angle and Teruko didn't really need to explain to everyone exactly why only she or Ace could be the culprit when they were so close to voting for David or whatever.

Teruko has a rant about how they don't need all the evidence to point to him as the culprit, which sounds kind of bad, but here's the dialogue leading up to it.

David: If everyone is convinced, that means we vote.

Ace: Shut your damn mouth! As if I'd listen to anything you say!

Ace: If I used water jugs to weigh down Arei, where would I have stored them, huh? You still haven't answered that!

Ace: Until you can explain that, I'm still not convinced! There are still so many damn holes in your theory! I won't rest until you answer that-

Teruko: SHUT UP, ACE!

Teruko is right, here. He could have stored water jugs anywhere. I mean, it's water - much less risky to move than your average crime scene evidence. Regardless of who the culprit is, it isn't really possible to deduce something like that. And it doesn't matter that Ace 'isn't convinced' - if he's the culprit, they don't need to convince him of his own guilt, that doesn't really make sense. In fact, he is implicitly admitting guilt in this dialogue, but we'll get to that.

Now, there's definitely some truth to the fact that the cast treated Ace poorly before the trial. Nico attempted to literally murder him, Veronika told him he would die, etc. But narratively, they get called out for it this episode, and probably will get called out again next episode. After talking about the trauma he received from the murder attempt, Nico apologises to Ace. I mean, it was barely audible, but at least Nico now acknowledges their wrongdoing to Ace (rather than just the rest of the cast, which is how I interpreted their earlier dialogue about it). J, who seems to be the mouthpiece for the more moral takes in this cast, makes the point that she and everyone else treated Ace too harshly and didn't stop to think about whether he might reach his breaking point. I expect that Nico will realise their actions led to Arei's death and will hopefully develop from that. I don't think it's narratively important for them to be wrong about Ace being the culprit here, after all this buildup, just to make a point that has already been made by the cast.

Part 2: Behavioural Analysis, or why Ace is definitely guilty

Ace makes it rather clear in the most recent episode that he is the culprit, or at least he thinks he is. Look at his reaction to the headband being brought up as evidence. "Gh-" and "Fuck" are not innocent responses to this being brought up. It does not come from someone who didn't already know the slingshot was used, especially not so quickly after it was pointed out.

Before Teruko's rant, he says "I won't rest until you answer that" which pretty clearly implies that, if this is answered, he will admit his guilt. "I'm still not convinced" is also not something you say if you're an innocent man being witch hunted with flimsy evidence, frankly.

His confession is extremely believable. I've seen parallels to David's confession, but that was obviously fake. He insists that he's innocent for a little while, makes a big show of "oh, fine. fucking fine" while getting a maniacal grin on his face, and then says "I killed Arei, is that what you all wanted to hear?" It's transparently spiteful, even coming from a skilled manipulator, and there are also hints that Teruko picks up on which make it rather obvious David wouldn't be the culprit. Does anyone really believe Ace is that much better of an actor than David, who acts as an entirely different person than he actually is for a living? His motive given is believable, he starts speaking with sincerity for the first time, he looks lost, confused and somewhat sympathetic. It is a natural conclusion of Ace's arc. I'd be extremely surprised if any of that was fake at all.

Additionally, Eden - the most popular alternative culprit - starts defending Ace of all people, pointing out why she thinks he wouldn't have done it. I think there is practically zero chance Eden does this if she is the culprit and is offered a final chance of escaping after a near-death scare that caused her to break down.

Part 3: The Strangulation

The most solid physical proof people have given for Ace's innocence is that both Teruko and Arturo didn't see any injuries other than a broken neck and injured wrist. In other words, there were no obvious bruises on the corpse. Does this disprove the idea that Arei could have been strangled unconscious?

I would argue no. Ace didn't strangle Arei to death, just until she fell unconscious. Therefore, it makes sense that it wouldn't leave visible marks on the skin.

According to the Crown Prosecution Service website, "Non-fatal strangulation and non-fatal suffocation often leaves minimal or no visible injury on the victim. The absence of evidence of injury is therefore not conclusive on the question of whether there is sufficient evidence to prosecute or not." (https://www.cps.gov.uk/legal-guidance/non-fatal-strangulation-or-non-fatal-suffocation)

In this case, the strangulation likely didn't leave a visible mark, and the cast wouldn't expect it to. That doesn't mean it didn't happen, and in the absence of evidence of some sort of tool being used, it makes sense to assume it was just done with the culprit's body.

Part 4: The Meta

I will start by saying the absence of a Scrum Debate is, in my view, by far the most convincing evidence that Ace might not be the culprit. Unfortunately, I can't see past all the other evidence that he did it, but I can definitely see why that would leave people suspicious. However, I do think it's possible that in this fangan, there won't be as much 'structure' to the trials and the games, for a few reasons. Unlike most Danganronpa games, the minigames were never meant to be played, and thus are more narrative devices than experiences in themselves. If there wasn't a need for a Scrum Debate, the writers/artists might not want to go to the work of creating one. The 'Select two' mechanic, which didn't feature in Chapter 1, is also evidence that the minigame mechanics may be non-standard here.

The closing argument followed by 'TRIAL CLOSED' is exactly the same thing that happened with Min in Chapter 1. In fact, the whole structure of this episode is extremely similar to that. Someone else being the culprit after all this would be an extreme rug-pull of a twist. If it was Chapter 3 or Chapter 5, I might believe it... But Chapter 2? I don't think most Danganronpa cases are extremely complex, including fangans, and that's a good thing. Cases like SDRA2 Trial 3 are special because they're so unlike other trials. If those trials became the norm, it would be seen as overly convoluted.

Speaking of which, DRDT has parallels to DR1 particularly in terms of the murder cases, right? If we look at DR1 again, the evidence against Mondo in Trial 2 was actually significantly weaker than the evidence they had against Ace in this trial. After all, they used physical evidence to conclude Ace was the killer. In DR1, the second trial ended with Mondo being convicted on two verbal slip-ups, one of which wasn't available before the trial, and no real physical evidence to conclusively deduce the culprit. So if people want to argue that there's not enough evidence for this murder case to be solved, I don't really agree. I think DRDTDev set this up fine, and was even more generous than the first canon game.

I think it's understandable people thought Eden was the culprit - I did too for a long while. She was a red herring, so she was written to be suspicious. An intentional red herring from the writer can be extremely difficult to tell apart from the writer giving evidence to the real culprit. I'm sure when she said things like "Teruko, wait!" before the BDA, that was intentionally written to make her look guilty. The 'select two culprits' mechanic all but confirmed that she was a red herring. I think her looking so suspicious made Teruko's trust scene with her all the more meaningful, though.

Conclusion

I think Ace definitely attempted murder against Arei, and definitely believes he's the killer. I also think being the culprit here would be a good conclusion for his character. There could be a small chance a mastermind interfered with the case and dealt the killing blow, but I don't think it's especially likely, and even if that is true I doubt we would find out until Chapter 6. I'm sorry, Ace stans, but I don't want there to be false hope. I'm looking forward to the bonus episodes for more content with Ace and Arei, which are both characters I enjoy a lot!

[max1461]

I'm contemplating the tradwife shit again, I'm coining the term "bioconservative turn" for the present cultural moment (evidently the term bioconservatism is already in use for something else... perhaps "biotraditionalist turn" will do instead?). The tradwife shit, the raw diet caveman testosterone shit, the wombyn born wombyn shit, all of it. It's characterized by a couple of things I think:

An ever-present awareness (or pseudo-awareness) of biology, an interest in biological specifics such as testosterone levels, and an appeal to "biological essence" or "biological purpose" as a source of authority.

A conservative, although not necessarily politically right-wing, outlook: "modernity is essentially flawed and we need to return to our roots in order to reconnect with what really matters".

A particular focus on health as an ideal; per the above a sense that modernity is above all else unhealthy.

A conceptual shift away from the mind and towards the body as the most central part of the human being, commensurately a great political concern with the nature of bodies, and an attribution of society's faults to the wrong-treatment or wrong-usage of bodies.

A generally somewhat quietistic bent, although by no means apolitical. A focus on individual right behavior. Perhaps contrary to expectations, not necessarily characterized by eugenicism to any great extent.

Obviously these different components will be expressed to different degrees in different cases, but I think this circumscribes it pretty well.

I think this emerging perspective has a couple of distinct influences that are being syncretized to varying degrees. There is a genealogy through the natalist Christian right, "go forth and multiply" and its associated ideas. There is a genealogy through wellness culture, health food, and fitness; "organic" and "all natural" as central ideals. And there is a genealogy through environmentalist thinking, especially in its less specific and more wholistic incarnations. All of these threads seem to me to be independently popular in the current moment, and so the appeal of a syncretic combination of them is not hard to see.

Please note that I am not here to argue some stupid shit, or to do base guilt-by-association of this or that ideology. I don't like this biotraditionalist turn very much, but the reasons I don't like it are thoughtful instead of vapid. I would be interested, though, to hear others' opinions on this trend, if they think it's a real thing and what they have observed about it, because I've been contemplating it a lot lately. At least, I'd like to hear from people with novel sociological observations or commentary to provide, rather than boring polemics. I'm at my wit's end with boring polemics.

[xray-vex]

Thinking about this and how there are certain people claiming to be fans of OFMD who complain, rather loudly and repeatedly, there is no chemistry between Ed & Stede, and/or that their kisses had no passion, etc.

This leads me to believe that there are several possible explanations for how those people might have reached that conclusion:

1.) The people complaining have a hard time reading body language/facial expressions, so they literally can't perceive it

2.) The people complaining hate the main ship: they don't like Ed and/or Stede and/or their relationship, or the fact that their head canons for the show didn't become canon and are still upset about it, and are therefore in denial about the chemistry between Ed and Stede and refuse to see it.

3.) They are somehow from an alternate universe that has overlapped a little bit with the one most of us are in, and they literally didn't watch the same show because they watched the OFMD from their universe, not ours.

In all of the above cases, though -- the people who insist that Ed & Stede had no chemistry are just wrong. It's not really an opinion. So, based on these ideas, either:

1.) They're drawing an incorrect conclusion based on their inability to interpret body language (***and there no shame in that in & of itself, not everyone has that skill set) -- However, not being able to perceive something doesn't mean it doesn't exist. Humans can't perceive ultraviolet or infrared light naturally, either. Those things still exist even if you can't see em.

2.) They're choosing to draw their conclusions based on their dislike of/disappointment in the show, and therefore willfully ignoring the evidence presented in the text (the show itself). -- If you want to argue a point and be taken seriously though, you have to provide adequate evidence. And their various arguments just aren't convincing. (I could expand upon how it's also much more difficult to prove that something doesn't exist, but I've already written way more than I intended to for what was gonna just be a short rant).

3.) If they literally watched a different, alternate universe version of OFMD, then they're not gonna convince anyone in this universe that 1+1=3 like it does in their universe. Maybe that's correct math in their universe, but that's not how it works here.

Here's the thing -- and I'm gonna use a simple example here. You can say that you don't like cilantro. You can hate it, you can be disgusted by it, especially considering that it might taste like soap to you. And that's ok! But you don't get to make the claim that it doesn't enhance the flavor of other foods/dishes in a positive way or that many people think it's yummy.

So take this simple advice, would you? You can just say "This isn't for me" and just not eat it. You don't get to say "This is bad and I'm going to keep pushing my thoughts about it onto people who do enjoy it, even while they're eating it, because I need to convince everyone to hate it too." That's not an opinion, that's just being a fucking dick. Go join your local chapter of the Cilantro Hater's Club and complain about it there with other like-minded people, and let the rest of us enjoy our cilantro in fuckin peace. And don't be surprised if we shut the door in your face (muting/blocking) when we're sick of hearing how much you hate something we love.

[theraprism]

Class subtext thoughts on Gatsby, Flatland, and Bill.

So broadly speaking, we've had some idea of what Bill's home dimension was like since the 2015 in-character AMA, when the idea that it was nearly (if not fully) identical to the world of Flatland was first introduced. During the Weirdmaggedon 4-parter, we finally learned that Bill had obliterated his home dimension and called it liberation. (From what I recall the fan concensus on this information was that it was a malicious act of evil on Bill's part -- up until the Book's release, I don't think the idea that it was a tragedy or accident ever had much ground to stand on.) Journal 3 picked up on this again when it established the existence of Exwhylia, which (importantly!) also reinforced the hierarchical nature of existence that Flatland presents.

I'll own up to the fact I've never read Flatland myself (it is on the neverending list of classics that I still haven't gotten to yet) and will be instead be relying mainly on Wikipedia and Sparknotes clones for this analysis, but the good news is that canon Gravity Falls materials have given us the basics of how Bill's home dimension operated at this point, and so knowledge of the work seems less required and moreso recommended. Similarly to Gatsby (the book as well as the character). More on that later.

To be more specific, the important info that Hirsch has given us about Euclydia is that it was repressive in the extreme. The exact ways that it maintained this are left up to the imagination, to an extent (e.g. there is no evidence of the upper echelons of Euclydia carrying out public executions against the lower classes, as there are in Flatland), but the Book does directly pull an image from Flatland that illustrates the class hierarchy there.

Since Flatland was written originally as a satire of the stratification in Victorian society, the work goes to great lengths to specify and elaborate on the different social roles of each shape (for example, women as lines, though the gender stratification isn't relevant in Bill's case). More relevant is the way that the work considers upward mobility through generations, and the fact that isoceles triangles (working class) are considered among the lowest beings in existence, just above irregular shapes. Bill has been referred to and drawn inconsistently as both isoceles and equilateral, but based on what we learn from Exwhylia in Journal 3, it's possible that this distinction is not relevant in the GF multiverse's reinterpretation of Flatland. See:

I'm sure a part of this reduction of the hierarchy in the original Flatland has to do with the work needing to be at least somewhat accessible to younger readers, but it does textually ensure that, regardless of the specific details of Bill's geometry, he comes from a background where, in spite of his exceptional ability to see the third dimension, he saw those around him receive resources more freely. His singling out of irregular quadrilaterals reads to me as a form of internalized classism; he needs someone to punch down to.

And earlier:

He describes his regular shape as an out-and-out "power". Bill explicitly carries with him the classist ideals and values of his home dimension despite its destruction. The way he internalizes different ideas about himself and who he is is probably a subject for another post, but the point is that these qualities Bill is emphasizing aren't simply a matter of arrogance. Bill is trying to sell himself as a gentleman, a respectable individual from an upper-middle class position.

This is where Gatsby becomes relevant, because The Great Gatsby is all about a man who wants more than anything to cross the threshold of inborn greatness and become a true upperclassman. Bill appealing to his innate biological qualities as evidence for his own greatness relates back to the notion that such greatness is an ontological trait which cannot be given, but can also not be taken away. Note what he explicitly says here about the themes of class in Gatsby:

If you walk up to any college English professor and ask them what Gatsby has to say about the American Dream, I really do not think you are going to hear them say the word "bittersweet". The American Dream is a false idol and illusion; Gatsby himself is utterly miserable and meets a miserable end. There is nothing "sweet" about it.

At the same time, it makes sense that Bill would describe it as bittersweet, because for all his powers of sight, Bill cannot imagine a future where he is happy. Throwing crazy parties every night (for Gatsby at his home, for Bill on the Earth's remains), staring at an unreachable desire far out in the distance -- that's his end goal. He emerged from a position where he was repressed and since then his life has been a steady climb/crawl in the direction of power and control. Both Gatsby and Bill seek to reclaim a lost sense of fulfillment and purpose through this ascent, and both seek to become untouchable as gods are, but both are brought down in the end due to the consequences of their own actions, stemming directly from the violence they bring into their worlds of their own volition. In case you've forgotten, or if you've never read it, Gatsby's money is not clean. We may not see Bill use money, but his social currency is not clean either.

I think it's telling that Flatland can be understood as it relates to Bill's character through summary, but with Gatsby, there is so much subtle incentive to actually read the thing. From the GIF originally posted by Hirsch that I included at the top of the post to the PDF link on ThisIsNotAWebsiteDotCom.com to the fact that the gag in the Book itself goes on for multiple pages when it could have ended after one or two, the intertextuality is paramount. I think that's really cool. It's rare to see intertextuality this well-considered in genre fiction, and I think it makes the whole analytical process more fun.

[eastgaysian]

okay here's one post i have to make. Finally racism confirmed real in succession. other people have talked about this before but it is a huge blind spot of the show not to acknowledge the intersection between racism and capitalism, and the excuse that the characters are the 1% and the 1% are vastly white is pretty weak. the fact that the show sidelines its existing characters of color while every now and then broadly gesturing towards race makes this worse, especially as the show more directly focuses on fascism and just Doesn't bring race into it. like i don't even think race is totally absent as a concern of the writers but it's clearly not a priority. i think a lot about how mo's widow is a filipino woman

anyway. ken and rava's conversation in this sense doesn't really qualify as, like, revolutionary in terms of succession's commentary on race esp since it's a discussion between two white parents about their brown daughter without her present. the point of interest to me really is that kendall completely fails to recognize racism as a systemic issue, much less that he works for and is trying to sustain a company that actively works to perpetuate that hegemony. his questions are why was sophie on the street? why wasn't rava there? in the same episode where he calls matsson homophobic for saying the numbers are gay. socially aware king

it's not particularly revelatory to say that a rich white man doesn't grasp the concept of systemic racism LOL but i do think it's more than that for kendall, and i also think this trait is something his siblings don't share. it's like how he doesn't realize he's in a position of power over anna and she was pressured into attending the recny with him, and his adoption of a faux-feminist stance in s3 while continuing to treat women like shit. kendall's whole concept of Everything, including systemic social issues, goes back to logan. there's no system outside of dad. the doj doesn't find the cruises evidence compelling? that's because they're scared of logan. logan's the source of the evil in the world, therefore opposing him is inherently progressive, leaving kendall with even less of a coherent moral framework after his death. and he's completely unable to process the idea that he could be participating in and benefiting from the greater racist or sexist system, because that's fundamentally incompatible with his logan-based idea of his own identity.

i don't think roman or shiv or even connor share this particular nearsightedness. roman 'we do hate speech and roller coasters' roy knows what's going on but he doesn't really care and he doesn't believe it can be changed (or, maybe more accurately, that there's any point in trying). he doesn't buy into fascism on the ideological level, exactly, but the spectacle appeals to him and he does believe it's profitable to align with it, so he's perfectly happy to do so. i think he's the most similar to logan in this regard. and shiv and connor have actual political ideologies, even if they're far from being meaningfully opposed to fascism, which requires a base awareness of the fact that We Live In A Society and That Society Has Systems In It. for kendall it really boils down to logan and logan alone

[tiredmagicalwarrior]

I think one of the things I appreciated the most about Nocturne was the protagonism on the Haitian Revolution.

This was a revolution that didn't just change Haiti, it changed the world. This was the revolution that would make the first black state. The first slaveless state. That would make every slave nation tremble with fear, from Europe To America to Asia to Oceania to Africa. It was what was never meant to happen, but did.

It's the nation that would defeat Napoleon and the British marine. Nobody could take down Haiti. You know why Napoleon went to colonize Europe? Haiti. That's why. He couldn't take down Haiti. Couldn't make it french territory again. So, he turned towards Europe.

We are talking about an undefeated nation.

AND! AND! A largely Vodu nation!

I was SO happy to see Vodu be portrayed as the wonderful religion it is, sacred and divinely intertwined with the Haitian revolution. The revolution was noted to start with Vodu chants and ritual.

White people refused to understand the link between the two worlds that could bring ancestors to meet their descendants. They created zombies as a horror trope. They made vodu dolls as a horror gimmick. They took a sacred religion and reduced it and vilanized it.

And I'm so happy to see it being positively portrayed in such a famous media. Vodu practicioners have already made media of the like. But I was positively surprised with what Nocturne had to present to us.

Of course, the knowledge that the french revolution was incomplete, that it was NOT FOR EVERYONE, is then again, something I really appreciate as a history student and a person. The french revolution killed mostly peasent and established the bourgeoisie, but did it end the Noir Code? No. Did it establish women's and black people's suffrage? No. Did it make a agrarian reform? No. Was it for the people? It had it's importance. But it was, at the very least, not for all the people.

And let's not forget that the french revolution's main intellectual current would birth biological racism, an unscientific current that claimed evidence of "different sized skulls" for example to prove humans possessed different races based on phenotypes.

Last, but certainly not least: it is absurd to see people claim that "all indigenous people have been killed". Acknowledging multi-ethnic indigenous genocide HAS to go along with the respect that there STILL are indigenous people and they continue their fight for their lives and land.

You know who the show demonstrates as such? Olrox.

While I don't appreciate the show claiming "all of his people were slaughtered" as that is historically inaccurate, I was most happy to see an Aztec vampire present and very alive, connected to his culture, protagonizing the show. The Nahua are still very much alive and kicking and I appreciated that the show took that into account.

And Annette! Sweet Annette being one of the leads makes me most joyful. I can't stand idiots that claim her presence.on France was """historically innacurate""", check again, dumbasses, free black people were all over France (especially the children of black Caribbean elites, for example, from Haiti back then known as Saint-Domingue, which did not possess universities and would sent their children to study in Europe.)

Anyway. To see her star as one of the leads made me so incredibly happy. She's a wonderful character and I appreciate how they let Annette be unapologetic and direct, especially during a moment between revolutions were she was very aware the french revolution didn't mean shit to her people.

But she was so lovely and to see her afro-caribean religion present AND source of her power made me emotional more than a few times.

Castlevania Nocturne really did hit this nail on the head.

Anyways. To make sure I give people answers to "but where's the evidence to x thing you said?" Here are my sources:

THYLEFORS, Markel; “Our Government is in Bwa Kayiman:”A Vodou Ceremony in 1791 and its Contemporary Significations, 2009

DUBOIS, Laurent; Avengers of the New World : the story of the Haitian Revolution, 2004

BUCK-MORSS, Susan; Hegel, Haiti and universal history, 2009

[saintsenara]

I come to you with this question because, having read all your other metas, I think you'd be the right person to ask. Id love to know what you think about Regulus because I have a very hard time understanding his character. Partly because of fanon characterization of him makes him seem like some secret rebel against Voldemort and partly because I just can't really understand any of his motivations. But regardless, I think what we know about him in canon is so interesting - i just can piece it all together. I'd love to know what you think!

(Sorry for the longish ask)

thank you very much for the ask, @hauntingpercival! regulus is a character i also find a bit of a mystery, and so thinking through this answer was really fun.

i'll start by being clear that i'm certainly not a regulus fan. by which i not only mean that i don't vibe with the fanon!regulus of the marauders fandom, who is essentially an original character - and you can read my views on jegulus here... [spoiler alert: i do not back it] - but that when he appears in my own writing in ways i'd like to hope feel influenced by his canon form, i always find myself focusing on aspects of his character which are rather unlikeable.

there is a little bit of a discourse-y reason for this, which will be pertinent to the rest of this answer...

i really don't like the sort of "omg aristocracy is so hot and sexy and interesting" tropes which are so prevalent in writing around the black family. this is firstly because i don't think that aristocracy is in any way these things - and i find it distasteful to imply otherwise - which is because i'm a prole who lives somewhere still bearing the scars of british colonisation who also went to the sort of university where one sometimes encountered aristocrats and they were all cringe and unbearable.

but it's also because it's not - and i will genuinely die on this hill - an accurate reflection of how the blacks are presented in canon. not only does it take sirius' comment that his parents considered themselves "practically royal" to be a statement of fact [sirius is quite clearly taking the piss out of his parents' pretensions], but it also misses that the purpose sirius' discussion of orion and walburga's politics serves in the narrative of order of the phoenix is to show how mainstream their blood-supremacist views were.

sirius tells us that his parents were not death eaters, but that they nonetheless thought voldemort's overtly sectarian political aims were correct. in this, they hold the political views order of the phoenix emphasises belong to cornelius fudge - unimaginative, deferential to the class system, casually prejudiced, and so on. orion and walburga function as a way of showing us just how entrenched the death eaters' manifesto is, how close voldemort came to winning the first war, and what an uphill struggle the order faces to unravel the roots blood-supremacy has in the wizarding world.

[and they also show that the baffling vibes of grimmauld place - while these are made worse by it being three different gothic literature tropes in a trenchcoat - are wizarding norms, rather than evidence that the blacks were uniquely immersed in dark magic. the decor at grimmauld place - and the family's collection of dark artefacts - is the same as that found in malfoy manor, even at a time when lucius malfoy is considered eminently socially respectable. this is a point we will come back to...]

i think, then, that it's crucial to approach regulus not as a swaggering aristocrat, but as someone from an upper-class background which - while still posh, rich, inferring enormous social capital, well-connected - was unremarkable within the circles in which he moved.

by which i mean that hogwarts is based on real-world institutions - britain's elite boarding schools - which are so exclusive and expensive to attend that the student body are from a class-background which seems inhumanly exclusive, affluent, and powerful from an outsider perspective [i.e. from the perspective of someone from the majority middle- and working-classes] but which seems completely normal within the student body itself.

[i.e. nobody at eton with princes william and harry will have been astonished to have been at school with a royal, because they will have been familiar with their social circles, cultural experiences, level of wealth, and expectation of knowing someone with considerable social influence from childhood.]

while hogwarts appears to be a state-funded school [although it also expects an enormous amount of financial investment on the part of parents - such as buying all the textbooks], the fact that its real-world parallels are so elite [and, therefore, come with a specific "look" in the british cultural imagination] means that the student body is incredibly well-heeled and working-class students stand out enormously in a way very rich students do not. hogwarts also exists - like real-world elite schools and universities - as a way of propping up the status quo of the class system by which the wizarding world functions. its pupils have an expectation of procuring jobs in the civil service and other influential professions - using not only connections established at school but connections they possess through their [male] relatives. many hogwarts students we meet in canon are related to someone who occupies an elite position in the wizarding executive or is otherwise socio-politically influential.

at school, then, regulus would have been completely, perfectly average in terms of social position. i also like the idea of him as perfectly average in terms of intellect - and as a good, but not exceptional, seeker. this provides a really interesting point of contrast with sirius, who - while he's also not socially unusual in terms of class [and i will never vibe with tropes like him being followed by whispers going "omg, he's a black, that means he's important"] - stands out in that he's the first black in generations not to be in slytherin, that he's precociously intelligent, and that he - and the rest of the marauders - are class clowns and show-offs.

and i like the idea that this would give regulus a desire to stand out - to be considered the most important person in the whole school. we can get a hint of this in canon - the picture of sirius and his friends harry sees in deathly hallows is immediately contrasted with a picture of regulus sitting in the seeker's position in the team photo. the seeker who acts alone.

and i think this desire for notoriety is what drives him to sign up to become a death eater - that he decides he's sick of having parents with the perfectly normal level of social influence and a brother who is more popular than him, and that he thinks that he's cleverer and more worthy of attention than everyone else in the castle and the world better start showing it.

[and i've never bought - i'm afraid - the idea that he and sirius are close. it's clear from canon that regulus had no issue being thought of as "a much better son" than sirius, and that he colluded with his parents against him. sirius can love him - and miss him, and regret how they were never able to repair their relationship - but i don't think this means that he feels he's lost a bestie.]

that he holds sincere blood-supremacist views is a given - because within the world in which he lives, these are completely normal and held completely casually [i.e. that slughorn is shocked lily could be muggleborn because she's clever]. the more virulent expression of these views - saying "mudblood", etc. - is clearly considered ill-mannered, but not something which might have any real impact on one's social standing [draco malfoy uses the term with impunity while at school, and nobody ever considers that informing a teacher of this would result in him being punished; equally, nobody from the crowd who witness the event reports snape for calling lily a mudblood].

and so i think it's clear that he becomes interested in joining the death eaters - and starts putting together his terrorism pinterest board - because his mainstream belief that being pureblood is better crashes into his desire to be special to form a conviction that riding the coattails of voldemort's ostentatious malevolence is the way he can become famous.

[in this, he is very like snape.]

my assumption is that regulus is one academic year below sirius, meaning that he was born in 1960-1961. my assumption is also that he receives his dark mark while still at school - probably at some point in his newt years [so the academic years 1977-1978 and 1978-1979].

the standard view - expressed vehemently by various order members in half-blood prince - is that voldemort has no interest in death eaters who are still at school.

the order is wrong about this, obviously - not only when it comes to their refusal to accept that harry's right about draco malfoy being marked, but also in the fact that several of the death eaters who are very young at the end of the first war, barty crouch jr. [who is still young enough to be described as a "boy" in 1982 at the earliest], chief among them, must have been taken on by voldemort prior to graduating.

but it seems fair to say that admitting teenagers into his inner circle is unusual for voldemort, especially when those teenagers don't really offer him anything useful. crouch, for example, could be put to work informing on his father's movements. regulus is - as i've said - just ordinary.

and so my view has always been that regulus is marked by voldemort as a favour to bellatrix. i think this partially because i'm bellamort trash, partially because i think it's a nice narrative parallel between regulus and draco [who are very similar] to have bellatrix be responsible for regulus' recruitment when she's canonically vociferously in favour of draco's, and partially because realising that voldemort thinks of him as just some guy who warrants [essentially] a pity dark mark would be a big blow to regulus' conviction that joining the death eaters would make him impressive.

[i also think regulus is recruited before 1978 because i think there has to be a shift in voldemort's modus operandi at about this point, in order for the fact that sirius says that his parents got cold feet about what the dark lord was prepared to do after regulus became a death eater to make sense. my view has always been that voldemort's violence prior to c.1978 overwhelmingly targets state institutions and people connected to them and/or people with known anti-voldemort political views, meaning that ordinary citizens can regard these people being killed or injured as reasonable risks of their jobs and/or behaviour. and then that after c.1978, the dark lord begins targeting civilians - including upper-class pureblood civilians - indiscriminately, which makes his casual supporters start to waver a bit.]

so, let's suppose that regulus leaves hogwarts in june 1979 and finds himself expected to participate as a full death eater, after having been let off all the dirty work by virtue of being at school...

as i've said, regulus has an enormous number of narrative parallels with draco malfoy. and i think that the best way to think about him is to write him as sharing draco's canonical attitude to voldemort's cause - that he believes whole-heartedly in the message of blood-supremacy the dark lord promotes and that he has no problem with people he considers subhuman [mudbloods and blood-traitors] or unimportant [faceless families massacred in their own homes] being subjected to violence in the name of that message, but that he lacks the character traits necessary to perform that violence himself, to see it done to people he likes, or to witness what it actually involves versus the image he has of it in his head.

and so i imagine he starts struggling pretty quickly with the fact that being a death eater isn't quite as easy as he thought it would be when he was making voldemort fancams on tiktok. and that part of the reason he's primed to turn against the dark lord is because of the tension he feels warring within him at the fact that he's still a blood-supremacist, still desperate to be important, and yet growing disenchanted.

i don't however, think this is why he does what he does... so let's get into that:

why does regulus turn against voldemort?

let's be clear about one thing - regulus turning against voldemort has nothing to do with him having some sort of damascene conversion against blood-supremacy.

[or, at least, that's what i think.]

the outline of regulus' defection that we get in canon goes as follows:

voldemort asks someone to lend him a house elf. we know that regulus volunteers kreacher, because he told kreacher so - and so i imagine voldemort mentions at a meeting that he wants to procure an elf [although, of course, he doesn't elaborate on why] and regulus immediately jumps up and says "pick me, my lord" because he sees this as an opportunity to get voldemort to finally notice him.

his assumption must be that voldemort will use kreacher for a purpose which is considered normal in wizarding society - i.e. that he will require him to do something akin to domestic service, perhaps preparing potions ingredients.

it evidently does not occur to him that voldemort would transgress this social boundary and harm kreacher. not - to be clear - because i think that regulus was some kind of abolitionist legend, but because we see several characters express the view in goblet of fire that how barty crouch sr. treats winky is his own business, and that it is impolite for respectable wizards to comment on how anyone else treats his slave. this sort of social behaviour will have a second part - that it is impolite for respectable wizards to treat anyone else's slave in a way which goes beyond what wizarding slaveowners see as normal.

or: that it's fine to be lent a slave to serve you, but very much not fine to nearly kill that slave [someone else's property!] for your own gain.

kreacher informs regulus what voldemort asked of him, which makes regulus suspicious about what the object voldemort deposited in the cave was. regulus then decides to investigate.

kreacher tells us that regulus goes away for an indeterminate period of time and then returns to grimmauld place "disturbed in his mind".

dumbledore claims in half-blood prince that voldemort appears not to wear or display the objects the horcruxes are made from after he turns them into horcruxes. i think we can agree with this or not without it affecting the story - i quite like the idea that voldemort doesn't make the locket until the later 1970s [maybe after the murder of dorcas meadowes, the only person in the first war other than james and lily to have canonically been killed by him personally], but we can also say that he might have worn or displayed it when it was already a horcrux. certainly, regulus must have seen the locket - either on voldemort or somewhere in his lair - and, after kreacher tells him what happened, he goes to see if it's still there.

when he discovers it isn't, he comes to an important conclusion. one which requires a little detour...

how does regulus know what a horcrux is?

i complained at the start of this answer about the black family being portrayed as unusually immersed in the dark arts - rather than some sort of familiarity with the dark arts being perfectly normal for people of their social class.

and i am sure that you might think I'm about to have to eat my words, since i'm not going to try and deny that regulus was able to identify a horcrux all by himself...

but, actually, i'm just chucking malevolently at the opportunity to clamber onto my soapbox and say:

horcruxes are canonically not magic which only a handful of people know about. where voldemort goes beyond the theory of horcruxes which a wizard of regulus' class-background would be familiar with is that he makes seven.

this doesn't mean - to be clear - that i think it was ever common to make a horcrux [i don't think the wizarding world is quite that lawless...], but that it was reasonable to know they exist, in the way that we might have some general understanding of something macabre - like techniques for disposing of a body - which would enable us to suspect if we saw a neighbour behaving strangely while doing one of those things...

after all, slughorn can suggest [even if he doesn't believe this is what he wants to do] that voldemort could justify his interest in horcruxes by using the excuse that he's working on a project for defence against the dark arts.

that harry, ron, and hermione don't know about them is a result of a combination of their own lack of interest in the theory of the dark arts, the information blackout instituted by dumbledore at some point after voldemort graduates [and my theory as to why dumbledore hates horcruxes even in the forties? grindelwald made one - hence why dumbledore is so hopeful at king's cross that the rumours of his repentance might have been true...], and the fact that they don't discuss their mission with anyone [tonks, kingsley, and moody, who literally have to specialise in dark objects as part of their jobs, would one hundo have known what a horcrux was].

[what they would not have known is what voldemort's horcruxes were likely to be made of and where they were likely to be. it's this - rather than the idea that horcruxes are completely unknowable magic - that is why it has to be harry in charge of hunting them down: he's the only person in the series who knows voldemort well enough to realise that, for example, he'd have hidden one in gringotts because of his jealousy at being excluded from this pillar of wizarding normality.]

so, regulus has a little rummage, works out the locket has disappeared, and has no trouble - especially because voldemort mentions in goblet of fire that he'd told his death eaters he couldn't die [which regulus might not have thought was him speaking literally] prior to 1981 - guessing what it's being used for.

and so, regulus turns against voldemort.

and i think that he does this because the horcrux makes it impossible for him to pretend any longer that voldemort's aims are - when the ministry is forced to the negotiating table by his paramilitary activities - an oligarchy in which upper-class pureblood families benefit and muggleborns and blood-traitors become second-class citizens, but which doesn't deviate too much in terms of its overwhelming norms from the way wizarding society functioned at that time. instead, he is confronted with the undeniable fact that voldemort intends to reign forever as an immortal absolute monarch, and that he has never had any intention of elevating regulus and people like him to the positions of importance he so craved.

[we see something similar happen to draco, whose increasing fear of voldemort throughout half-blood prince and deathly hallows is clearly driven by him realising that voldemort isn't joking when he says that he'll kill him and his parents unless he obeys orders, but is joking when he says he'll be considered a valuable servant should he manage to kill dumbledore...]

and so his death - and his threat to destroy the horcrux - is a repudiation of his beliefs. but, specifically, it is a repudiation of his conviction that voldemort was a primarily political figure who would act as a champion of the pureblood class-system. it's him recognising that voldemort would not stop with a takeover of the ministry - he would kill and kill forever, concerned only with how much further he could venture beyond the norms of magic.

[dysfunctionalupsidedown]

Mike Wheeler: Trauma, Insecurity, and "STurn" (Analysis)

In "From the Hair Chair: Finn Wolfhard | Stranger Things", which is available on the official Stranger Things YouTube channel, Finn Wolfhard addresses the question, "What's going on with Mike Wheeler in Season 4?"

Mike Wheeler’s behavior in S4 has confused many, especially general audiences. However, if you look at the bigger picture, his progression (or regression) into the Mike Wheeler we know from S4 does make sense. To get a clear idea of what’s going on with him, we must look at the four seasons sequentially and with a more subtextual eye. We have a few physical puzzle pieces, and for now, we need to fill in the rest with our imagination based on evidence. A Mike point of view isn’t particularly needed to fully understand this, although it would be helpful for the GA and is something I want from S5.

In relation to this particular interview, I’ll examine Stranger Things (2016) for the past and present and “STurn” for the possible future. “STurn” actually does tell us a bit about how Mike’s self-identity arc will potentially continue in S5 and wrap up.

Also, I understand that “STurn” isn’t factual and is not even confirmed to be related to ST5. Though I don’t believe this entire analysis is instantly negated by my use of the playlist, as its only purpose here is to assume a hypothetical future. Aside from the Finn interview, everything else comes straight from the show and holds a reasonable explanation for Mike’s behavior up until the end of S4.

Remember, this post is for fun and speculation, and "STurn" is the best we have right now. Just keep in mind that I’m going into this analysis assuming it’s related to Mike Wheeler in S5. I could be entirely incorrect. Similarly, this interview isn’t wholly factual either, as it’s not what’s in the show, but it relates enough to what we’ve been shown of Mike for me to comment on.

This might be a lengthier post. Be warned.

If you’re still here and interested, I’ll get right into it.

Trauma

Finn first addresses how each of the characters are dealing with their past trauma, and that is a perfect way to describe Mike’s behavior in S4. I think a lot of people, especially the general audience, forget that, yes, while these are all characters, trauma does have the ability to affect them and change their behavior. There was an entire “Your original character before trauma vs. after trauma” trend on TikTok a minute back, and that wasn’t for nothing. 

Mike, just in S1, witnessed one of his best friends go missing, watched this best friend turn up apparently dead (as well as see his “body”), went to his funeral, jumped off of a ledge, saw his other newfound friend disappear, and so much more. Don't even get me started on the following seasons.

Mike is afraid of losing. That’s what happened to him in S1. He lost. First Will, then El. 

His fear of loss and determination to keep things in his life are significant parts of his character and have been since S1. That’s why he was so intent on finding Will. That's why he checked his walkie for El every night. That’s why he acts out in S3-S4. This isn’t an excuse for his behavior, but an explanation. It’s part of his trauma, and we see this in S4 with his fear of losing Will and El again: “Maybe I feel like I lost you or something,” and “I can't lose you,” respectively. I theorize that he fears being out of control regarding these things.

A lack of control also explains why he was so volatile to Will and El during and after Rink-O-Mania. For Will, Mike addresses this directly to him when he apologizes. It’s made evident to the audience that he acted cold in part because he thought Will was slipping away, but truthfully, he wasn’t aloof. He noticed everything about Will’s behavior and even managed to make the tragedy of that day about their friendship. Now, back to the apology, “About the last few days… You didn’t deserve anything… The truth is, the last year has been weird… Maybe I was worrying too much about El… And, I don’t know, maybe I feel like I lost you or something.” His defensiveness during the argument at the rink seems more like a trauma response than straight-up disinterest, which some people apparently think.

For El, I think this translates into him wanting her to need him. If El needs him, then there’s no way he can lose her, right? We know from the show that she doesn’t need him anymore. Mike also acknowledges this multiple times, and that thought terrifies him. In the last episode, he explains this to her, “... The truth is, El, I don’t know how to live without you… I can’t lose you, okay?”

Before Will shows Mike the painting in the van, Mike explains his dilemma. Will tries reassuring Mike, telling him that El will be fine, and Mike says he understands that. Mike then explains his true concern, “But what if after all this is over, she doesn’t need me anymore?... The truth is, when I stumbled on her in the woods, she just needed someone. It’s not fate, it’s not destiny, it’s just simple dumb luck. And one day, she's gonna realize that I’m just some random nerd that got lucky that Superman landed on his doorstep. I mean, at least Lois Lane is an ace reporter for The Daily Planet.” 

Will continues to comfort him, focusing more on the loss aspect of Mike’s trauma, which is made evident here. But those lines also make it clear that Mike is afraid El will realize his inferiority to her and abandon him. This is a good transition into Mike’s insecurity.

Insecurity

I’ve seen people argue against what Finn says here because Mike is part of the somewhat “outcast” group at school. I don’t think trying to argue that takes away from the fact that Mike did, does, and will continue to try and lead a “normal” lifestyle. He’s a teenage boy with a girlfriend and a friend group he fits into. That’s normal. He’s trying to get by. 

It was the same in S3. Mike was a kid with friends, a girlfriend, and a new want for maturity. It’s not unrealistic that the character is aging out of or into specific behaviors, especially ones that he’s previously exhibited. That leads us to his insecurity. 

We’ve had hints of it starting as far back as S1E3, when Troy injures Mike, and he initially lies about it to El so that he doesn’t seem like a loser. Similarly, these themes pick up with Will in S3E3 during their fight in the rain, “...We’re not kids anymore. I mean, what did you think, really? That we were never gonna get girlfriends? That we were just gonna sit in my basement all day and play games for the rest of our lives?”

Curiously, Mike is shown to be especially “normal” in California. He dresses differently than he does in Hawkins and acts more aloof. As Argyle says, “It’s a shitty knock-off.” Skipping forward to the “... She's gonna realize that I’m just some random nerd that got lucky that Superman landed on his doorstep… at least Lois Lane is an ace reporter for The Daily Planet” line, and we have a good enough view of Mike’s internal conflict.

He is deeply insecure, and it seems particularly so around El. I don’t know if this was addressed in the show, and I wish we had seen some of Mike’s letters, but does El even know about the Hellfire Club? I don’t believe we’re given any indication that she does, which could imply that Mike kept it hidden from her. It wouldn’t be surprising, considering his complete attitude change in California. Also keeping in mind that Mike stopped playing D&D when he was with her in S3 and only continued to play in S4 while El was away.

Mike also displays this insecurity by choosing to distance Will. For what reason, I can’t say for sure, but it’s probably something “abnormal.” 

Regardless, his insecurity ties into his fear of loss. The more normal he is, the more things he can maintain in life and the less he has to lose. Especially when it comes to El. It all stems back to his fear, not genuine malintent, and I see too many viewers misunderstand this. 

It also works the opposite way, to a different and lesser extent. If he’s out of Hellfire Club, he loses his “normal teenage clique.” Aside from losing El completely as someone he profoundly cares about, if he loses El as a partner, he loses his girlfriend. That’s a blow to his normality. 

Will is confusing to me. If he “loses” Will, just like he felt he did at the beginning of S4, he falls more into the pattern of trying to be normal. There’s no impact on his normality. By keeping Will at arms-length, Mike gravitated more towards his “shitty knock-off” version of himself. Something about Will brings out what Mike feels is abnormal in him, so by distancing himself, he could avoid it altogether. That’s likely in part what caused such a conflict at the beginning of S4: Mike’s inability to be “normal” while fully keeping Will in his life and vice versa, his inability to lose Will just to maintain normalcy.

"STurn"

We’ve focused on trauma and insecurity. Now, it’s time for self-identity. I think that's a theme in store for the future. I'll refer back to the “STurn” analysis I previously did.

Many of the songs on this playlist contain themes of a false identity. I’ll start with “Angst In My Pants” first. To quote my "STurn" analysis:

This song is about a person attempting to be someone they're not, suppressing who they really are, and it ultimately leading to dissatisfaction. The lyrics, "You can dress nautical / Learn to tie knots / Take lots of Dramamine / Out on your yacht" describe a faux lifestyle one lives that only serves to hurt them in the end: The idea of putting on a self-harming persona. This could be what Mike is going through in S5.

Next, we have "Substitute":

This track is about an idealized version of someone being put in place of their true self. The narrator describes a scenario in which their partner sees a version of them, "I'm a substitute for another guy / I look pretty tall but my heels are high / The simple things you see are all complicated / I look bloody young, but I'm just back-dated, yeah", that is unrealistic and put on, as seen in the lyrics "Substitute your lies for fact / I see right through your plastic mac / I look all white, but my dad was black / My fine-looking suit is really made out of sack"... The concept of a guise applies well to Mike, as referenced in Angst In My Pants. A recurring theme of hiding oneself really makes me think Mike is going to completely abandon his interests for a different lifestyle. I believe Finn has also mentioned that Mike wants to be as "normal" as possible, so I can't wait to see [how far] they take that idea. It could also be him realizing how he's been acting, and admitting that this "romanticized" version isn't true to him.

Finally, "The Rebel Kind":

Like The Better Side, I couldn't find any lyrics, so I'm doing it by ear. Though, I'm happy to say that this song is about a desire to embrace differences and rebellion. "We'll be free to run with the rebel kind" and "It's not easy, but I don't mind / I just want to run with the rebel kind" establish that. The track appears to tie into Mike's insecurity struggles throughout the playlist. It could be the narrator's struggle to keep up with societal norms before finally giving in to their truth instead of trying to conform, read as "they call us rebels but don't get how hard it is to for us to keep up." On the other hand, it could be the narrator commenting on how society doesn't understand people like them, and, by embracing their true selves, it proves more about who they are than conforming ever would; read as, "you think we're the rebellious ones, but you don't understand that we're more self-secure and strong than you'll ever be." I can see both of these interpretations working for Mike and his connection to the Party. The progression of insecurity in Angst In My Pants and potential realization of this guise in Substitute is wrapped up by Mike's self-acceptance here. I really hope this is how it plays out in S5.

Conclusion

Mike's brewing insecurity, paired with his trauma of loss, seems like it may boil over in S5. I theorize that he’ll drift even more into his “shitty knock-off” self, even if just on the surface, and do whatever he can to maintain normalcy in his life. Whether this leads to more conflict with Will, we’ll have to wait and see.

Besides that, Mike might eventually accept his "differences." He also may be willing to cope with loss for what it is, even if it’s the loss of the normalcy he tries so hard to maintain in certain situations. I can see Mike having a heavy emphasis on self-identity in S5, and as I said earlier, I can’t wait to see where they take that.

Thank you for reading; I hope you enjoyed!

As is customary with all my posts, if anything here is incorrect or you believe there’s something I should add, feel free to let me know. I’d love to have more conversations about Mike and read all the predictions for S5 I can.