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createserenity · 1 year ago

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Aziraphale and Crowley's relationship dynamic fascinates me and what fascinates me even more is how people perceive them, partly because I seem to have a much more optimistic view of their dynamic than a lot of what I read suggests they do.

With that in mind I started trying to unpick how I see their dynamic and why and what I ended up with was a series of rambles on various aspects, including confidence, trust, silliness and what they ask of each other. This one is about what they ask of each other and why their relationship isn't some weird one-sided thing where Crowley gives Aziraphale everything he could possibly want or ask for.

I see a lot of posts and things suggesting Crowley always rolls over and does anything Aziraphale asks of him. I don’t know to what extent most people really believe this or if it’s just a fun joke (and I’m not saying that’s bad, I think it’s a fun joke too, I love reading all that stuff and it makes me laugh). The point I wanted to make here though is that I don’t think it’s true and also why I don’t think it’s true.

Everything from here on out is my opinion, but I won’t keep stating that in order to make it more easily readable, just take it as a given. If your opinion is different that’s absolutely fine, I love that we can all see this stuff in different ways depending on our experiences and personalities, it’s why the fandom is so fun. (It’s also why my opinion on so many things in season two ricochets wildly from one theory to another).

So back to Crowley and Aziraphale – I don’t think Aziraphale walks all over Crowley, or certainly not to the extent that people sometimes think he does. Also Crowley doesn’t and wouldn’t allow himself to be walked all over anyway. Why is this even relevant? Because I’ve seen people say that in the final 15 minutes Aziraphale finally asked Crowley to do something that pushed him over the edge and that Aziraphale was shocked when Crowley didn’t roll over and do it because Crowley always does what Aziraphale asks. This isn’t at all true for a start, but also this view tends to include a second assumption, which is that their relationship is one-sided and Aziraphale never does anything for Crowley, that he dismisses him and takes him for granted, which also is not true in a lot of ways. I think it’s a fundamental misinterpretation of their relationship dynamic.

First of all why can Crowley’s actions be interpreted as just rolling over and doing whatever Aziraphale wants? Well, the answer to that is three-fold – firstly Crowley is a genuinely unselfish in many ways, he does things for people because that’s the way he is, it doesn’t make him a pushover, it just makes him nice. Secondly he loves Aziraphale deeply. Whether he knows it or not doesn’t matter, he cares for Aziraphale and wants him to be happy. This isn’t the same as being a complete doormat, it’s simply compromising with the person you are in a relationship with and occasionally prioritising them over yourself. Both these things come together in the third thing, which is that Crowley’s love language is acts of service – he enjoys doing nice things for Aziraphale, he enjoys rescuing him, or going along with him and letting him have his own way, so why not do it? The point is he’s never railroaded into it by Aziraphale, it’s always a deliberate choice. He is literally saying, I will do this thing for you because I love you and I enjoy making you happy and this is something I feel I can give to you.

How does Aziraphale see this behaviour?

Well that’s a tricky one, because in many ways Aziraphale is the more complex character, not least because he changes the most over the course of their history together. Is there a slight element of him taking Crowley for granted in some of their interactions, especially in season two? Possibly, but mostly I don’t think that’s it at all. When someone gives you things because their love language is acts of service you develop a (mostly sub-conscious) confidence in that relationship dynamic and if you also have confidence in yourself (which Aziraphale absolutely does – I’ll write more on this another time) then when you want something you ask for things. You ask not because you learn to expect, but because you think you’re worthy of asking and you think that your relationship is strong enough to stand up to the ask. I ask my husband for things all the time, sometimes they’re things I know he’ll give me – these are easy asks (I don’t just mean physical objects, I also mean acts of service such as helping me with something), sometimes though I’ll ask for things knowing he probably won’t give me that thing or without having a clue what his answer will be – these are harder asks, the sort you don’t do early on in relationships because they might break it either in one go or over time. Sometimes a hard ask results in me getting what I want, sometimes it results in a bit of back and forth before I get what I want, sometimes I get a no and I’m temporarily annoyed or upset, sometimes I get a no and I accept it because I knew it was the most likely outcome.

The point is that I ask, and so does Aziraphale. You ask because you have confidence that you are worthy of the ask and also that your relationship is strong enough to bear the request, even if the answer is no. Can a no still be annoying or upsetting? Yes absolutely. Can a no still be wrong on the part of the other person? Also yes. The point is that sometimes the no isn’t wrong and it doesn’t necessarily break the relationship. By the time season two comes along Aziraphale is confident enough in his relationship with Crowley to feel it can bear the weight of him asking.

So what happens when he asks? Does Crowley roll over?

Well no, he doesn’t. One big example of this is right at the beginning of the series, in episode one. Here Aziraphale makes a massive ask of Crowley and he knows it’s a big ask. Even before he tells Crowley what the problem is he’s aware of the possibility of a no. “Is it something I can help you with?” Crowley sayss, and Aziraphale merely shrugs. It’s not because Nina is there, she’s gone by that point. It’s also not because he doesn’t have faith in Crowley’s ability to help him, he always has faith in Crowley’s abilities (this is a whole other thing on trust). What he’s doubting is whether Crowley will help him. It’s why they’re meeting in the café, not the bookshop. He wants to break this one to Crowley a bit at a time – there’s a problem and I need help. I want your help, it’s why I called you, but you aren’t going to like it and I’m not even sure whether you will help so I’m establishing that I need help first, rather than showing you Gabriel immediately, so that you aren’t completely surprised when I present the whole problem to you.

Once they go to the bookshop and Crowley is confronted with Gabriel he offers the help he feels able to give by saying that he’ll drive Gabriel somewhere and dump him. He’s stating his willingness to help (which is important later), but for now he’ll only help in one specific way. What he isn’t willing to do is any more than that, not even for Aziraphale.

Help me take care of Gabriel. Help me sort this mess out, Aziraphale says, and what does Crowley say? No. Absolutely not. You’re on your own with this one. Even after Aziraphale practically begs him for help, complete with puppy dog eyes and the magic word, “I’d love you to help me,” Crowley still says no. That is not the reply of someone who lets themselves be walked all over or who rolls over every time the angel they’re in love with flutters their eyelashes.

Okay so what about the fact that he returns? Well, the stakes have been raised: for a start Aziraphale is now directly in danger, which alters the balance in favour of helping him, and remember he was already willing to help, he said as much, but he was previously only willing to help in one way. Now that’s changed. Doing things you wouldn’t normally do for someone you love when the stakes are raised is a perfectly normal rection in a relationship and does not indicate an unhealthy dynamic. Crowley has now realised that getting rid of Gabriel is no longer an option - his preferred plan (dumping Gabriel somewhere) will no longer work, so the only choice is now Aziraphale’s plan of keeping him in the bookshop and taking care of him.

This is why he returns.

A quick note on the call

Just backtracking a bit here – when Aziraphale calls Crowley to ask him for help Crowley agrees to be over in two minutes. It’s instant, no questions asked and at first glance looks like Aziraphale calls and Crowley comes running just because. But nope. Later we are very clearly told that Crowley knows something is wrong the moment he picks up the phone and Aziraphale starts speaking, “This was your ‘Something’s Wrong’ voice.” Crowley already knows there’s a problem and what do you do when your closest friend calls you and tells you about a problem? You try to help. Whether that’s advice, comfort, physically going around to help out or whatever the situation calls for. Of course Crowley says he’ll be there in two minutes, he doesn’t exactly have anything else on and his friend has just indirectly told him something is wrong. He’d be a pretty shitty person/entity if he didn’t agree to drop round and try to help.

So what about the 'I was wrong' dance?

This whole interaction, that many people say indicates how under the thumb he is actually shows us the exact opposite. What’s the first thing Crowley says when Aziraphale asks him to do the dance? “I don’t do the dance.” This tells us a hell of a lot about their relationship dynamic up to this point – for a start Aziraphale has clearly done the dance before, at Crowley’s request, and he lists off the occasions. The dance is silly and slightly demeaning and Aziraphale has done it several times for Crowley, whilst Crowley has never done it, yet somehow we read this whole scene as Crowley being the whipped one? Um. No. Also heavily implied in Crowley’s, “I don’t do the dance” statement is, You’ve asked me to do this before, I’ve always said no because I don’t want to. You’ve always accepted my no before and I want (expect!) you to accept it this time.

But this time Aziraphale doesn’t accept the no. Just like Crowley wouldn’t go along with his plan earlier, Aziraphale now won’t go along with Crowley’s no. Clearly he has done so in the past, but this time their dynamics are different. They’ve been much more open about their friendship for the past four years, they’ve both accepted that they are at least close friends, if not more. They’ve saved the world together and saved each other. They both acknowledge they “carved (this existence) out for ourselves” and that brings strength to their relationship. Now that Aziraphale has more confidence in what they are to each other, he takes that confidence and tests the limits of what Crowley will do for him, to push them more towards equality. Why should he always be the one to do the dance? Crowley responds by acquiescing not because he would just roll over and do anything for Aziraphale but because he recognises three things. Firstly that Aziraphale is pushing and that this is new and that this means something to him in the context of their relationship, secondly because he reluctantly accepts Aziraphale’s point that it isn’t really fair that he never does it, and finally because the request for him to do the dance isn’t about him refusing to help (Aziraphale was never certain he would), it’s about the fact that he’s broken Aziraphale’s trust by refusing to help (which is a slightly and very subtly different thing). To illustrate this, right before Crowley does the dance, just after he says “fine,” he gets this very brief, soft look on his face – this is him acknowledging to himself that Aziraphale deserves this dance, that he loves the angel and that he’s doing this because of both those things – he could have continued to insist on a no, he clearly has before, but this time he chooses not to.

I will do this thing for you because I love you and I enjoy making you happy and this is something I feel I can give to you.

All right, what about the car thing?

What about it? Lending your car to the person you love is very normal. Ok so the car means more to Crowley than a normal car does to us, but the point still stands. Aziraphale is making a reasonable request here. Does he expect a yes? Absolutely, because he also knows it’s a reasonable request given where their relationship is. Does he flirt to get his own way? Hell, yes. Does Crowley know exactly what Aziraphale is playing at? Also a hell yes. And Crowley totally plays up to it, he’s not as opposed to it as he claims. He’s playing up his “no” and his grumpiness for effect, to encourage Aziraphale’s silly flirtiness. Look at the difference between this no and the no he gave Aziraphale earlier. There’s no anger here, there’s no real sense that he thinks Aziraphale is asking too much, he’s playing a role in their relationship and they’ve both played this game before. Look at that little slap of the hand, which Aziraphale responds to equally playfully. The game even continues after Muriel turns up at the shop, when it’s already quite clear that Crowley is going to let Aziraphale use the car (he’s already taking the plants out). Even in the back-room Crowley still teasingly grumbles about trains whilst Aziraphale smiles flirtily, and Crowley playfully withholds the car keys when Muriel interrupts them. They both know Aziraphale is going to end up with them, there’s no point to him not directly handing them over in spite of the interruption, it’s just an excuse to tease Aziraphale back. I mean, look at him – he spends the rest of the conversation wiggling his hips, grinning smugly and confidently handling the Muriel problem by talking about love. Aziraphale’s very overt reaction tells you all you need to know about the dynamic of this one.

Two can play at this flirting game, angel.

But he follows him around like a little puppy!

Well, yes and no. Sure he follows him around whilst he goes around asking all the shopkeepers to the meeting, but he does that because it’s fun for him. He’s curious, Aziraphale is acting oddly, doing something he’s never done before and Crowley wants to know what it is. He’s always found him fascinating – what silly and ridiculous thing is the angel up to now?

Also wanting to hang out with the person you are in love with isn’t at all strange or a sign you are in some sort of weird relationship where only one of you calls the shots. It’s normal. Crowley knows Aziraphale has a tendency to be silly or do unexpected things and he wants to watch him do them and also flirt with him whilst he’s doing them. Looking grumpy and reacting to Aziraphale’s silliness with disbelief is how Crowley flirts-without-flirting. Both of them know, understand and like that dynamic, and he has that role not because he’s unhealthy levels enthralled with everything Aziraphale does but because of the levels of trust they have spent millennia establishing.

What Crowley doesn’t do is wait around for Aziraphale. Look at the scene where Aziraphale daydreams about Job. In that scene he’s aware Aziraphale has something else to show him (the record clue), but he doesn’t stick around whilst Aziraphale ignores him. He could have sat down somewhere in the shop and waited – he’s got an eternity, waiting an hour or so is no big deal, but waiting around like that would suggest he really is a doormat, just waiting for the next time Aziraphale shows him any attention. He doesn’t do that, instead he goes off and does… well, something. There’s a lot of speculation over what it is, but whether he goes off to read Pride and Prejudice or just wanders off to find something more interesting to look at than the back of Aziraphale’s head, he’s clearly saying here that he has a life outside of whatever Aziraphale wants to do.

Also side note - you know what else he doesn’t do for Aziraphale? Adjust his driving style. Aziraphale clearly hates it, it makes him nervous and he even asks Crowley to change several times whilst they’re in the car together, but Crowley never does. This is how I am angel, accept it or don’t, but this is the line and I’m not changing this for you. Related to this is his refusal to accept Aziraphale altering the Bentley. Aziraphale tries to persuade him, “But it’s pretty,” and Crowley really isn’t having it. It’s another hard line and he’s not going to let Aziraphale cross it.

Anything else?

There’s a few other examples that I’ve seen listed in the, “Crowley does whatever Aziraphale says/wants” evidence piles. Things like Aziraphale assuming he’s going to get the drinks in the pub. Well, someone has to get them, and it makes perfect sense that they both assume it’s Crowley here because he’s the one more comfortable with pubs. Having a role that you take on within certain situations in a relationship is healthy and normal, imagine how exhausting it would be to debate who is going to do every little thing all of the time.

In the first series the coat cleaning is another example often cited, but this is something Crowley is perfectly happy to do. Aziraphale is flirting, which is delightful, and he’s not being asked to do anything difficult or dangerous. I will do this thing for you because I love you and I enjoy making you happy and this is something I feel I can give to you, which is totally different from, you always ask, I always give, and you always take.

What about Aziraphale. When does he give?

All the damn time. We just don’t notice it as much because Crowley asks different things of him. His love language is acts of service towards others, but he doesn’t really ask or require them in return. Sometimes he gets them from Aziraphale anyway (Holy water anyone?) Also notably in the Globe Theatre when he’s clearly the one pushing the Arrangement, and Aziraphale more or less agrees to do his work for him (“That doesn’t sound like hard work”) even before he’s asked, before they’ve gone through their little dance of Crowley pushing and Aziraphale supposedly-reluctantly agreeing.

The other things Aziraphale gives Crowley are much more nuanced, and much less measurable to us as the audience, but he gives them constantly, or more or less constantly, throughout their relationship. He gives him acceptance (although he occasionally partially withdraws it, such as in the bandstand scene), his silliness (which is more important than it first appears), a safe space (not just the bookshop, but also a safe space for Crowley to air his real views without fear of consequence, which is important irrespective of whether or not he persuades Aziraphale to agree with him), his physicality (by 1826 he’s really in Crowley’s space so much of the time) and most importantly he gives Crowley himself. Crowley constantly pushes Aziraphale to grow as a person, it’s one of the original reasons he entertains developing a friendship with him. What he asks of Aziraphale is for Aziraphale to think – really think – about what he believes. And Aziraphale does so, but only for Crowley. Humans have constantly questioned religious beliefs throughout history, they’ve written books, made speeches and even had wars over religious doctrine and the problems, inconsistencies and absurdities within it. Crowley is saying nothing to Aziraphale that he won’t already have indirectly heard from humans and dismissed or ignored. But when Crowley says it, he thinks and he changes. That’s what Crowley asks of Aziraphale and it’s what Aziraphale gives him.

What was the point of all this waffle?

Well, honestly there isn’t much of one. Only that their relationship is much more balanced than some suggest and I think I just wanted to spell that out. It also has an implication for the final 15 minutes. There’s no way Aziraphale goes into that with some sort of fake confidence that he can persuade Crowley to follow him to heaven simply because Crowley always follows him – Crowley doesn’t, he has very clear limits that he enforces with Aziraphale and Aziraphale knows this. He might feel confident for other reasons (such as thinking Crowley will be happy to be an angel again) or something else entirely different might be happening (so many theories!) but I’m pretty sure it’s nothing to do with thinking Crowley always does what he asks, because he very clearly doesn’t.

It's also why Crowley waits around afterwards to watch Aziraphale leave. It’s a way indirectly of saying one final time, I love you and I enjoy making you happy… but this is something I cannot give to you.

#good omens 2 #good omens #good omens meta #apology dance #ineffable husbands #ineffable fandom #acts of service #crowley loves aziraphale #aziraphale loves crowley #aziraphale #crowley

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falmerbrook · 1 year ago

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It’s interesting that there’s no snow elf structures or ruins left in Skyrim (that we know of or see in the games) besides the Chantry of Auri-El. I can see a few reasons why that might be:

From a Doyalist perspective, the game developers just didn’t add any for whatever reason. Maybe they didn’t even consider it, maybe they didn’t have time, maybe they didn’t want two sets of abandoned elf ruins (alongside the dwemer), etc.

The snow elves used building materials that degraded faster or didn’t last thousands of years. Given the Chantry of Auri-El and the way shrines and arches around it have stood relatively in tact for thousands of years without anyone tending to them makes me doubt this option though.

The Nords/Atmorans destroyed any snow elf structures or settlements. This would be plausible if, like the last option, their structures weren’t very big or permanent, but like with the last option that’s sort of doubtful. Dragons, however, could’ve helped with that.

The Nords/Atmorans converted snow elf structures or used them for their own purposes, and now we just can’t tell they were ever something else. Our one reference for snow elf architecture (the Chantry of Auri-El) is made of stone (either built or carved out of the mountain (the cooler option imo)), and perhaps old snow elf ruins were just used as templates for Nord barrows or cities because of their sturdy build and location. There’s a theory I’ve seen floating around that the College of Winterhold either at one point was a snow elf ruin that was converted into something else, or was built on top of one, due to its similar architecture style to the Chantry of Auri-El. Maybe cities like Windhelm or (the original) Winterhold were built on top of snow elf cities.

Perhaps it’s just a mix of the above. Maybe only their important or significant religious structures were built of stone and the rest of was easier for the Nords/Atmorans to raze and then degrade back into the environment. What wasn’t destroyed was eventually incorporated into the Nord’s society as tombs or cities.

And none of this is in the game because the developers maybe perceived the snow elves as just a prerequisite for the falmer, rather than a group of people with a culture of their own. Or maybe for some behind the scenes reason in the development of the game like I mentioned earlier. Who knows.I have fun speculating about it though

#headcanon #tes #the elder scrolls #skyrim #skyrim headcanon #falmer #snow elves #mine #I spend approximately 30% of my free time thinking about falmer/snow elves so I might as well post some of those thoughts

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ironunderstands · 6 months ago

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Dr. Ratios predictions, theories and ideas I have for his lore BECAUSE SO MUCH HAS HAPPENED AND I AM INSANE ABOUT HIM AAAAAAA

‼️INCLUDES DISCUSSION OF LEAKS SO BE WARNED‼️

So, I’m sure if you like Dr. Ratio even a little bit or have kept up with what leakers are doing, you have heard of a little something.

That little something being our new planet in coming in 3.0 is Ancient Greece inspired

Oh boy.

And oh it gets better, thanks Sparkle for playing genderbend Ratio during Cosmoddesy because

Yup, this is his planet.

I’m well aware it will be like 7 months before we start getting proper leaks about this place, but for now, let’s do some speculation shall we, because if there’s anywhere we are gonna get his backstory/lore/a story centered around him, it will be here.

So let’s begin

Whatever the hell I think is gonna happen during 3.0

A) He will serve as a guide for the Astral Express in navigating this planet

I don’t think he will immediately go to them to help, or they will immediately seek out him, but rather coincidentally or through the connivence of circumstance he will end up helping lead us around, at least partially until we really get roped into a conflict.

Or, it’s the other way around, where we kinda are left to our own devices a bit and then something happens and either by his own decision or something that’s forced upon him, Dr. Ratio now has to supervise from now on.

Personally I find the second option way more interesting and I think it has way more potential for angst so I’m going with that one let Ratio be dragged around by a malicious entity or his own experiences I’m so here for it.

B) Something happens.

Wow, descriptive.

Ok, what I really mean is that something bad happens like a prophecy comes true or the express breaks something or a stellaron comes to eat people’s grandmas and Ratio is implicated in it.

And this is where the fun begins, as the nature of what this something is can completely shift the story in very interesting ways.

Perhaps he was prophesied to doom Amphoreous’s civilization with his presence or something, and was abandoned by his parents on another planet?

Perhaps he has connections to the leaders there who desired for him to be their puppet/tool, so he left to find his own path and now they are trying to force him back.

Perhaps he failed at a test of theirs when he was younger, some universal trait on the planet that he couldn’t live up to and was exiled because of it. Now that he’s back, they blame whatever bad thing happens on Ratio.

I actually really like these particular theories as Ratio has a lot of themes about creating your own destiny, so seeing him resist one forced upon him would be compelling. Moreover, I feel as though an arc demonstrating how exactly he wanted to become a Genius/where he got all his insecurities and motivations from is not only necessary for his character but would flesh out the way we see the path of Erudition in general, even if I already really like the way they have gone with it so far.

C) Resolution/Self acceptance

I doubt they will permanently kill him, it just doesn’t suit his character at all.

However, do I think is he gonna get messed up by whatever that “something” is? Yes.

If the story centers on this remains to be seen, honestly, I doubt it will considering we have the entire cast of the planet and its own lore to meet and learn about, but I do think Ratio will be a major player and I hope how he feels gets some of the plot’s focus as we have quite literally only have 1 full scene of him where we see who he truly is, and it’s all the way back in 1.6 (Ratio-Screwllum conversation my Roman Empire).

Like guys I needed this man bleeding out screaming dying crying throwing up clutching his wounds looking up at the screen like a kicked puppy losing all hope in himself and others YESTERDAY

I NEED SOMETHING BAD TO HAPPEN TO HIM FOR CHARACTER DEVELOPMENT AND BECAUSE RATIO IS SO HIGH STRUNG THAT ANY AMOUNT OF PRESSURE WILL CAUSE HIM TO SNAP SO PLEASE HOYO LET HIM BREAK!!!

He needs another scene where he’s being sincere, he needs a scene where he’s being vulnerable, Ratio’s marble facade needs to crumble to reveal the man underneath and I need that man to pick himself back up again knowing he can allow himself to be human as well AAAAAAAAAA

His connections to Acheron

If you have seen my other posts I have already talked about this at length, however the brainrot for this particular detail is all consuming so let me just demonstrate:

Dr. Ratio has the same philosophy as Acheron, an emanator of Nihility.

Look.

Essentially, they both believe that only in desperate situations will humans reach their full potential and begin to truly live for themselves. Moreover, they also both try and offer the tools to help people save themselves, Ratio with knowledge and Acheron with destroying the dreamscape, and that even if people can only become their true selves through struggle, it is the guidance and love of other people that will allow them to pick themselves up.

Interestingly, pre-2.2 I also believed Ratio was walking the path of Nihility, due to how he engages with knowledge. That very viewpoint spawned from the 1.6 conversation I just showed you, as Ratio demonstrates to the audience that he does not care about knowledge in of itself, but rather the value it can bring to people.

Now, this sets him apart from the Genius Society members, who believe knowledge is inherently valuable and that it is what brings the universe meaning to them. Every person Nous has acknowledged has expressed this belief, which is why they were acknowledged and Ratio isn’t.

Before you say it, no, it’s not that he isn’t smart enough, quite the opposite actually.

Screwllum himself acknowledges his genius and time and time again are Ratios myriad of accomplishments brought up. In universe plenty of people believe he should have been instated into the society by now as well:

These are just the ones that implicate the society directly, as so many of Ratio’s character stories also mention just how accomplished he is.

Moreover, in 2.3 we are getting a new Sim Uni update made by Ratio himself, centered on humanity because of course it is, therefore he’s even smart enough to do the same things the GS members do, even collaborating with Screwllum to work on their favorite pet project.

So, what does this have to do with his lack of acknowledgment, and the path of Nihility?

I have established Ratio is smart enough and that he doesn’t view knowledge in the same way the other member’s do. Therefore, this difference in mindset is why Nous has never acknowledged him, because as much as Ratio thinks he is walking the path of Erudition, his personal philosophy and behaviors have never aligned with that, even if he thinks they do.

I mean, the man says it himself, even if he doesn’t realize the implications of it:

“The Path of Erudition has neither reason nor logic. While geniuses wander among the stars, the ordinary can’t even trace their footsteps.”

That is the path the Genius Society members walk, the path Ratio is criticizing in this sentence, the path he refuses to travel along himself, because what defines Ratio is that he will never leave the ordinary behind to stumble alone.

That is the path of Erudition.

And Veritas Ratio does not follow it.

So what does he believe in?

Finding your own path. Forging your own future, in the face of a meaningless universe, that is the only thing we should do, the only thing we CAN do.

“even a life marked by failure is a life worth living”

That’s what Ratio believes.

It doesn’t matter if the masses cannot escape their mediocrity, if they will never be geniuses, if their efforts will go unacknowledged, because the universe doesn’t care, therefore they shouldn’t either. There is no grand test, no final destination, no perfect goal people must attain.

Destiny is uncertain, and people’s fates are theirs to choose.

Dr. Ratio believes people can still improve themselves, and that it doesn’t matter if people cannot reach the ceiling of knowledge, as they should still push themselves off the floor and stand up.

He doesn’t think anything confines people from bettering themselves, and that it’s pointless to deliberate over whether one can achieve perfection or not, they should strive to improve themselves regardless and live their best lives because why not? Sure there’s nothing saying they can, but there’s also nothing saying they can’t, and in the face of a meaningless universe, devoid of purpose, one must create their own, and he dedicates his life to aiding others in realizing this.

Ironically, Ratio does not take his own advice. He can recognize the merits of the masses, but he cannot appreciate his own. Ratio is forever walking forward, but he cannot see the path ahead of him, or appreciate the lengths he has gone, the distance he has traveled, and the lives he has improved.

Ratio spreads knowledge across the universe, believing that is what Nous desires, what the Erudition means, or rather should be, which is partly why he views himself as mundane, as a failure.

Not just because he is as ordinary as any other person, but because Ratio thinks he hasn’t succeeded in his goal without Nous’s acknowledgement. I think he believes that he hasn’t done enough, that he isn’t smart enough, that he will never be good enough, therefore no matter what has happened, Ratio is doomed do be as mundane as everyone else, and his accomplishments will never be worth the gaze of the entity who inspired him to help others in the first place, as that’s what Ratio believes they would want.

However, helping others is not something Nous cares about, it’s something Dr. Ratio cares about. Even if he doesn’t understand or acknowledge it, Ratio’s accomplishments are meaningful, and he has walked his path further than most ever have.

However, that path just isn’t the path of Erudition, it’s the path of Existence.

Initially I believed it to be the Nihility, and in a way I’m not wrong, considering one must cross underneath the shadow of the Nihility to find the Existence, so in a way he is still approaching them.

However, as always, Acheron clarifies everything.

The Nihility envelops all, therefore it is meaningless. And before our final ending, our predetermined destiny (death), we have so many choices to make, therefore we should make them, as it makes both our life and death develop a completely different meaning.

As I have stated, this is what Ratio believes in, even if he attributes it to the Erudition, rather than the Nihility.

Ratio’s entire goal in life is to help others bring meaning to their lives and guide them in the right direction so they can begin to choose for themselves, using knowledge as his means to do so.

Which is exactly what Acheron does, “on the still waters of oblivion, I guide the wandering souls,” isn’t just a line she says because it sounds cool, rather, that is her goal as well. An emanator of Nihility, whose goal is to help others find their meaning in the universe.

But Acheron doesn’t just want that. She is looking for the Existence, and to kill the Nihility (meaningless) forever.

Which is significant, because if Ratio believes the same exact thing she does, and is walking the same path as she is, then like Acheron, he is heading towards the Existence, not the Erudition.

And Nous will never acknowledge him, not because he isn’t smart enough, but because he never followed them to begin with.

In fact, we know what Ratio is, or rather, what he might end up becoming.

So far no Doctors of Chaos have succeeded in their goals, but perhaps Dr. Ratio, Dr VERITAS Ratio, will be the one to do so. After all, who else could it be but him?

How fitting that the man named after truth would be the one to find it.

That fuckass owl

Glaux I want to throw you into a blender

This is Professor Glaux, one of the figures from the Hanunue-Clockie Era of Penacony who did some things like bring the stellaron there, was a scholar of the Intellgenica Guild, became the first dreamweaver, inspired the paper birds, did some shit with the Nightingale Family and presumably died.

I know, horrible explanation, especially considering I haven’t even done the quest this guy is from, but hopefully that’s all the information you need for now so I can introduce you to this theory (which I did not create, sadly I don’t remember who did but it was someone on twitter somewhere so shoutout to them)

That being… Dr. Ratio is Glaux

I hate it I’m sorry. But I will attempt to explain where it’s coming from.

A) Glaux has very similar references to Ratio, aka they are both associated with Greek culture, wisdom and owls

Glaux is the Greek word for owl and they are heavily associated with Athena, the god of wisdom.

Now Ratio has extremely obvious owl, Greek and wisdom association if you have looked at him for any longer than 2 seconds so I’m not gonna bother to demonstrate it, they have similar references, moving on.

B) The Intelligencia Guild + their titles

They are from the same faction, and both are referred to as Professors (ratio gets called that more in the CN version I think), and at least Ratio dedicates his time to spreading knowledge, which I think is something Glaux shared.

C) This occurrence in Gold and Gears

You know, the one where a student kills themself because Ratio thinks they are an idiot.

Well, it’s complicated because apparently the story told in Gold in Gears takes place a long time ago??

How long I don’t know as my brain melted in my skull when trying to piece it together, so please do correct me if I’m wrong, I’ll try to make sense of it later.

Moreover, this is also complicated by the fact that this particular occurrence was used by Herta to teach the trailblazer some mechanics of the sim uni, which makes me thing it’s not a part of the lore/timeline in it in general, and just something funny she added in anyways. Continually, there are also occurrences from characters like Argenti and of the Genius Society members themselves, so I don’t think every event is set in the distant past.

However, I think this idea comes from the other person in that occurrence, Dr. No5, but he also kills himself in it, and I can’t find anymore information on it, so I doubt it. (also apparently in the Chinese version the Ratio they refer to isn’t in the way they refer to Dr. Ratio/the one we know so idk)

Either way, what this means is that if this occurrence did take place a while ago, then Ratio must be super fucking old and he must have been part of the Intellegencia Guild during that time, like a certain owl aka Glaux, who was part of it.

D) Ratio’s weird origins

By weird origins I mean we know jack shit about his past (although we finally know the planet he’s from!) and for all we know the man could have spawned in one day, with some other theories even coming to that conclusion, like the infamous worm theory.

Essentially, if you put this all together, Ratio was once an owl-humanoid named Glaux who was from the Amphoreous, and then became part of the Intelligencia Guild a while back, which is when that occurrence happened. He then went to Penacony, did some stuff, faked his death and like came back as Dr. Ratio on that planet again, which is why we don’t know anything about his origins.

Can you tell why I hate this theory as a concept.

I find it to be dumb, nonsensical, a waste of potential and just straight up random as hell. However it is also objectively valid and could have happened within the plot of the game which is why I hate it so much because please hoyoverse do not go in this direction I will skin you.

However, I do not think Ratio has nothing to do with Glaux.

Rather,

A) The stuff Glaux did on Penacony is meant to parallel how Ratio acted there, as both served as a guiding figure for people on their respective timelines

B) Ratio is the same species as Glaux/ they are from the same planet (Amphoreous).

Now this I fuck with heavily. Yes, Glaux is way more owl looking than Ratio is, however more human versions of his species could exist, and Ratio could just have the ability to like shift forms or something.

He also looks extremely similar to the owls on Ratios design, which I now deem it appropriate to show to you the metric fuck ton of owls in Ratios design.

(there’s a few more btw I just couldn’t fit them due to the image limit LMAOO)

Why do you have so many, and why is it the same fucking owl, same culture, same goddess referenced, same symbolism????

Like even if I hate the 1 : 1 Glaux-Ratio theory, they are clearly connected, and this is no accident on behalf of the developers.

Therefore, I would keep an eye out for Glaux mentions in the future, especially on the planet coming in 3.0, as I 100% believe that they are from the same planet. There’s no way they can’t be connected in some manner, and if I am right about this I will be annoying about it for the rest of time.

I can’t believe owl Ratio might actually be a reality.

So uh, let’s put this all together.

We go to Ratio’s planet in 3.0, problems happen and we learn both his past and his connections to that owl species Glaux is from which likely causes even more problems. Bbg probably gets his ass handed to him in 3.0 and 3.1 and gets to make up for it in 3.2, ending the arc off more fulfilled as a person, and perhaps making some realizations about himself including that he isn’t actually following the path of Erudition. Then we skip all the way to endgame when the trailblazers are fighting Nanook and him and Acheron come in with the steel chair hopped up on Existence juice to give the trailblazer enough of a will to live as to not succumb to the Nihility because oh my god how can you defeat the embodiment of Destruction. We somehow win and Dr. Ratio gets married to Aventurine and they ride off into the sunset roll credits we all cheered.

So, yeah.

If I’m even a little bit right about this I will be the most insufferable person on this planet. Anyways I hope you enjoyed reading this, and even if these theories don’t end up being true I do still think the speculation gives a lot of insight into his character.

#honkai star rail #hsr #dr ratio #veritas ratio #hsr dr ratio #dr ratio hsr #hsr theory #hsr leaks #i am insane about this #I will be insane about it #You don’t understand.#GIVE IT TO ME HOYOVERSE GIVE IT TO MEEEEEE EEE #God I can’t wait for 3.0 I need Ratio to get his ass kicked PLEASEEE #HE NEEDS TO SNAP! HE NEEDS TO SNAP!#Aventurine pls save your husband from my delusions thanks #Acheron #Acheron hsr #she always shows up #I swear

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itsnotmourn · 5 months ago

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SPOOKY MONTH ASK MEME

⟡ — i haven't seen one on tumblr yet so i figured it might be fun to make one! i tried my best to keep the overall energy positive :3 and sorry for all the "why" questions; i'm just nosey and curious. you're welcome to answer seriously or with silliness !! send a number to the user/reblogger (if they ask for it) for them to answer the question!

1. When did you start watching Spooky Month? Was it the same time you got into the fandom (e.g. interacting with the community, posting art) or was it different?

2. Who is currently your top three (3) favourite characters? Please feel free to explain why!

3. If you have any, share some headcanons of your most favourite character!

4. With any character of your choice, what is a song that you associate with them the most?

5. Is there a ship that you enjoy the most? Why?

6. Who do you think is an underrated character?

7. Who is your favourite villain/antagonist so far, and why?

8. What is currently your favourite episode?

9. What is your favourite shot and/or scene from the animated series?

10. Do you have a favourite background art from the animated series?

11. Do you have a favourite soundtrack/music from the animated series?

12. Which is your favourite end credit artwork so far?

13. What is your favourite official Spooky Month art (stuff that is posted outside of the episodes like posters, prints, doodles, etc.)?

14. Do you own any official merch? If not, what is one piece of existing merch that you wish you own? Is there anything that you wish it existed already?

15. From fanart or fanfiction, did someone's work made you think more positively of a character/ship? Free free to shout them out, whether if it's one person or multiple people!

16. Do you have any Spooky Month OCs you'd like to share and ramble about?

17. From the Tender Treats credit art, who would you eat and/or drink? Assume that it’s not the actual character, just regular food that looks like them.

18. Do you have any theories so far on either the lore or (any) character-specific development? It can be your own or someone else's theory.

19. What is your current prediction of Spooky Month’s ending? It can be as simple, brief or detailed as you want.

20. What do you hope will become a Spooky Short in the future (e.g. seeing character-specific lore, character interaction between x and y, etc.)?

#hopefully these all make sense !!#and yes i do have artblock dont look at me !!!!#[ mourn's mourns ]#spooky month #ask meme #ask prompt #spooky month ask meme

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thechurchoftheradiodemon · 8 months ago

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I've been mulling over something. I read one of Vivzie's interviews lately and I've come to some conclusions about Alastor's character (these are just my own theories, though, so we'll see how everything actually develops in s2).

Unfortunately, I believe, canonically, Alastor is NOT aromantic. Maybe on the aro-spectrum, and deffinitely asexual, but not aro per se. In this interview, Vivzie confirms Alastor's asexuality, and plays with his aro identity saying something like "I don't want to ruin people's fun with him". This could be queerbaiting in a sense (I don't actually think so, when Vivzie is high on queer representation, but aro people are very left behind in the community, sadly).

But she continues to add on that there are plans for Alastor in the future of the series, saying something like "I can't confirm that he is aromantic". To me, this reads like we will see romance in Alastor's life in season 2, wether it's a past lover/romantic interest or a new one I could not say. She would've had no problem in confirming Alastor as aromantic otherwise, and I interpret this as Vivzie not wanting to spoil part of the plot.

I used to think that Alastor's deal would most surely be with Lilith, but, while it could be the case, I'm not so sure anymore (although it could be a fun dinamic). But, nontheless, I think Lilith's and Alastor's 7 year absence and his deal are intertwinded somehow.

My bet, for the future romance plot, is that it could be one of these three: either Lilith, whom the fandom is already considering in a sense; the mysterious Eve, or... Lucifer. HEAR ME OUT. I don't say this as a Radioapple enjoyer. The reasons I think it could be Lucifer are the same that I think it could be Eve (although we know absolutely nothing about her).

Mainly, I draw these conclusions from the early comic Zoophobia, from where we know Alastor's character was taken. In this comic, his character is supposed to have a crush on the character of KayCee, a powerful being with whom he could have made an alliance to reign chaos.

KayCee's descriptions could match either of the three romantic interests I mentioned, but what strikes me more are her defining traits: white and gold colour palette, and the apple. We know not all of Vivzie's characters stem from Zoophobia, and the ones that do have (understandably so) went through important changes through the years, mediums and aesthetics.

BUT these could be some clues into what we might discover in s2 of Hazbin. And, so long, the character we've seen fit this palette and apple motif is none other than Lucifer himself. Eve, on the other hand, is also shown during the intro sporting some sort of apple motif, which could be indicative of her future appearance in the series. But we know so little about her, and, knowing Hazbin Hotel will only have 2 seasons confirmed, I'm not sure we will see more of her.

I personally don't like the idea of losing Alastor as an aromantic character. I'd much rather not see him in a romantic relationship whatsoever in the canon series. But that is not my call to make, and he will always be our ace-king no matter what. Also, that wouldn't mean his story or character will be less interesting or developed. So we'll have to wait and see...

(This is visual representation of me reaching these conclusions, btw)

I would love to hear what other fans think about this, so if you want to leave and opinion in the comments we can discuss!

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sodasa-was-taken · 9 months ago

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Why Suletta and Miorine's story is a romance: A Mobile Suite Gundam: The Witch from Mercury story structure analysis by Sodasa

So, I recently watched The Witch from Mercury, and I felt compelled to write an analysis of the show's use of the story structure of romances. I'm a hobbyist in the history of trends in genre fiction with a particular interest in romances. I thought it would be fun to use my area of expertise to talk about how the budding relationship between Miorine and Suletta is intertwined with the story of G-Witch.

Something particular about the romance genre is that, unlike other genres of fiction, it's mostly defined by its story structure. This means that just because a story is about two people getting together does not automatically make it a romance in the same way having magic in a story qualifies it as a fantasy. The flip side of this is that while you can't have a fantasy without fantastical elements, a romance can be put in any setting. As long as the story hits the required plot beats, it's still a romance. This makes Romance simultaneously one of the strictest and most versatile genres, as the plot can be anything as long as it ties into the main characters' developing relationship. Use this structure in a story about financial politics and mechs, and you get a story like The Witch from Mercury.

I think the show uses this structure very effectively. In my opinion, a great romance should, first and foremost, be an exploration of the part of the human condition where previous bad experiences make us reject intimacy. The romance story structure is designed to have the characters come face-to-face with their inner demons by giving them a reason to overcome them. Something that's a lot harder to pull off outside of romances, as not many things in life require us to overcome some of our deepest insecurities instead of just pushing them down.

G-Witch is a great show to use as an example of what makes a romance a romance as it follows the story structure almost to a tee, but it's also not the kind of story that most people usually think of when picturing a romance. I also believe that seeing the show through the lens of the romance structure leads to some juicy character psychoanalysis for Suletta and Miorine. I'll go over all the plot beats of a romance and explain how they apply to G-Witch and, if applicable, why I think you don't see those plot beats outside of romances. The names of the plot beats are taken from "Romancing the Beat: Story Structure for Romance Novels" by Gwen Hayes, which is also my primary source, along with my own extensive experience with the romance genre.

I hope someone gets something out of this. I have seen some excellent analyses and theories for this show, but they have been on things I don't know much about myself. Since the only part of story analysis I excel at is the structure of romances, I thought I'd lend my own area of expertise. I want to clarify that while I might sound matter-of-fact, this is just my opinion. I'm by no means saying that you have to think that G-Witch is a romance. I'm just arguing for why I personally consider it to be one.

#mobile suit gundam: the witch from mercury #g witch #the witch from mercury #suletta mercury #miorine rembran #sulemio #suletta x miorine #honestly I had too much fun making this #I can't write an analytical essay to safe my life #but I'll write a 7500+ words media analysis just to justify calling a mecha show a romance

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lazycats-stuff · 1 year ago

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My latest obsession > motorcycles ,i know so many people call them death machines but i can't help but get heart eyes when i look at them, anyways i wanted to know how would the batfam react to the youngest family member batbro reader being like that? I'm especially curious about Bruce, will he buy a whole garage for his kid? Or try to steer his interest somewhere else? Also i think Jason will try to be reader's riding buddy <3

Fun fact, my mom also calls them death machines, but I find them cool. Although I would never get on one. I'm kind of scared of riding on one.

Summary: (Y/N) loved motorcycles. Bruce tried to be supportive.

Warnings: (Y/N) loves motorcycles, Jason is the biggest supporter, Bruce is trying to make his son happy.

There is a lot to say about motorcycles. A lot of people thought that they were death machines and extremely dangerous. While that much was somewhat true, it all matters that you are a responsible driver. And that you have a license of course.

And then there were people who absolutely adored and loved motorcycles. (Y/N) was one of those people and Tim has once compared (Y/N) to a golden retriever seeing his owner after 15 minutes for his love about motorcycles.

Now, Bruce couldn't really buy him motorcycles now. (Y/N) is minor and Bruce wouldn't be an irresponsible parent. And more so, he tried to shift his interests when he was younger. Bruce made (Y/N) try every type of sport there is to try. Nothing.

Then Bruce tried to arts. Drawing, painting, photographing, dancing... Anything that Bruce could think of, he did. But (Y/N) never wavered and he has never backed down from his interest in motorcycles.

Bruce now had no other choice but to support his son. He wouldn't buy him a garage full of motorcycles yet, but he would when he is older and when he has a license for driving it. Until then, there shall be no motorcycles in his garage.

Of course, the only person who had motorcycles was Jason. Jason absolutely made sure that (Y/N) rode with him. Of course with a helmet, because Bruce would have his head if he didn't make sure that (Y/N) is safe. Jason would also show (Y/N) how to take care of the motorcycle.

Dick always goes by the theory you need to be a good driver, aware of your surroundings and always careful. He agreed with Bruce about (Y/N) being too young for owning his own motorcycles, but has no issues with him driving when he gets his license, but Jason would have to mentor him first.

Damian just didn't know what to think. He wasn't always a fan, but if you need to go through a shit ton of traffic, you can. They have less space and you can put a lot of them in an average garage. He thought that (Y/N) was too young to even consider owning a motorcycle. Maybe it was just him being over protective, but he didn't like the idea of (Y/N) being hurt.

Damian is most definitely going to threaten Jason to make sure that his brother is safe. Also, (Y/N) can't drive a motorcycle until he is 21 years old at least.

In Damian's mind, that was the perfect age to start because the brain is fully developed then.

Tim just wanted his brother to be happy, even if that meant him having a garage full of bikes. But he will not drive a single one of them until he gets his drivers license and until he is an adult. Nothing before he is an adult.

Alfred thought they were cool, but he is too old to drive one. He knew that (Y/N) loved motorcycles more than anything, but he wanted him to be an adult to drive and to look into more interests rather than just focus on them. Of course, (Y/N) should be happy, but he should be safe too. Alfred would give him lectures about being safe.

Alfred was definitely going to give him a leather jacket, maybe with a bat symbol on the back.

And Jason? As mentioned before, he would fully support (Y/N) in his interest. He would be very honest about his experiences with motorcycles and how dangerous they could be. He would allow (Y/N) to tag with him on the motorcycle, but with a helmet and Jason would most definitely to a motorcycle showcases.

It was amazing how (Y/N) turned into a puppy when looking at them. Jason would just hang in the back as (Y/N) would ask questions excitedly. Jason looked into buying a motorcycle for (Y/N), but he knew that Bruce and the others would have his head for it.

So just waiting for the driver license and adulthood.

" (Y/N) can you come with me? " Bruce asked, Jason standing next to him. (Y/N) glanced up from his book, brow raised. " Did I do something? " (Y/N) asked quickly.

" No, you didn't now come on. " Bruce said and Jason walked over picking him up to put him over his shoulder.

" What the hell?! " (Y/N) screamed in shock and Jason just chuckled.

" Please, we know you don't want to walk. " Jason said, walking down. (Y/N) tried to pinpoint where he was going. Kitchen? Living room? He was shocked when they went outside.

" Jay, I don't have my shoes on! " (Y/N) whined, trying to squirm out of his grip.

" Listen, just relax. " Jason said, switching him up to hold him as a bride. (Y/N) looked around, frowning at the sun. He looked around before his eyes landed on a Harley motorcycle.

" Whose motorcycle is this one? " (Y/N) asked, completely confused, but none the less, he turned into a puppy, with his imaginary tail wagging like insane.

" Yours. " Bruce stated and (Y/N) got a whiplash from the way he turned his head.

" WHAT?! " (Y/N) screamed out, launching himself from Jason arms before running towards it, stopping to examine it. He didn't dare to touch it just yet, still worried that this was a dream.

" It this a dream? Or joke? If it is a joke, so help me God, I will kill you both. " (Y/N) threatened to the two and Bruce laughed.

" It's not a joke, I'm not that cruel. It's yours, but you can only drive here. And I have paid for you to start learning. " Bruce said and (Y/N) turned his head to fast that he must get whiplash. He ran at Bruce before jumping into his arms.

He wrapped himself onto Bruce like a koala and Bruce had to adjust his grip to not drop his son.

" How did you change your mind? " (Y/N) asked, smiling so widely that his cheeks started hurting.

" I see how you love them and I have more than enough resources to buy them for you. But you are not leaving the manor driving one until you get your license. " Bruce said sternly and (Y/N) nodded eagerly.

" I'm serious. " Bruce added and (Y/N) nodded again, still smiling widely. " Now, helmet is in the garage if you want to give it a little ride, but not out of the property lines. Don't forget shoes too. " Bruce said and let (Y/N) down.

(Y/N) hugged Jason tightly, before running towards the bike once more.

" Good idea B. " Jason said, watching as (Y/N) examined every inch of the bike. He was in his own world, ignoring everyone.

" I know. He really showed that it's not just a phase. " Bruce said, snapping a few pictures on his phone.

" Oh, we will be ride or die motorcyclists B. And I will teach him everything I know. " Jason promised to Bruce, who still didn't take his eyes off of his younger son.

" I know you will. "

#x male reader #dc x male reader #batfamily #dc comics #bruce wayne x male reader #jason todd x male reader #batman x male reader #batkids #red hood x male reader #tim drake x male reader #red robin x male reader #dick grayson x male reader #nightwing x male reader #damian wayne x male reader #robin x male reader

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elyvorg · 1 year ago

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The Real Reason That Sissel Refused to Help

(or: the subtle genius of Ghost Trick’s tutorial)

“I just want to find my own lost memory. I’m sorry, but I can’t help you.”

Here’s a post in which I talk about this particular part of Ghost Trick’s story, which I’m keeping as vague as possible outside of the spoiler cut, but those who’ve finished the game should know what I’m referring to. What’s actually going on here is rather interesting, and paints our friend Sissel in a much less negative light than the face-value assumption I tend to see most people jumping to with this.

First, though, I have written a fic illustrating this idea in narrative form rather than lengthily explaining it. If you’re interested, I recommend you go read that first before reading this, because being shown is more fun than being told!

(Also, spoilers, obviously. Go play Ghost Trick if you haven’t; it’s so good and absolutely not the kind of thing you want to be spoiled for.)

So, in the original timeline, Sissel refused to help Missile save his mistresses, stating that he just wants to find his own lost memories.

It could easily seem at a glance like Sissel’s character development over the course of the game is that he started off selfish, only caring about his own mystery, and it’s only through getting attached to everyone throughout the night that he begins to care about others and the bigger picture. As such, his refusal to help Missile in the original timeline is easy to read as being born of that, since this was early on when Sissel still only cared about himself.

But… it’s not actually that simple, because Sissel isn’t as selfish in the beginning as one might think. Sure, he’ll say things like “I have to focus on my own mystery”, or “this is all for my own benefit”. But that doesn’t actually match up with his actions. His own mystery may be, in theory, his number one priority, but a remarkably close second priority for him is to save the lives of any dead person he happens to come across. Even very early on, before he’s grown to care about any of these people!

He doesn’t hesitate to save Missile, despite having zero reason to assume that this little doggie will be any help with his mystery. The second time he finds Lynne dead, when he’s getting to talk to her and learns that she doesn’t actually know much about him and probably won’t be able to help him because she’s got her own case to pursue tonight, he still reassures her that she doesn’t owe him and he’s going to save her life anyway.

And even right at Lynne’s very first death, in the game’s opening narration, Sissel makes a point that he doesn’t want to stand back and let her get shot, and that he feels bad for her, despite her being a complete stranger!

Evidently, even right at the beginning, Sissel isn’t selfish. He just thinks he is. Because cats can be tsundere like that.

Sissel: “Why am I so determined to save this woman? After all, it’s not as if I know her. My reason is twofold. Number one, I’m not the type to leave women lying around, discarded like trash.”

(Here’s a bit from later in chapter 1 featuring Sissel being amusingly surprised by his own altruistic streak. He seems to expect to only care about himself – yet here he is, not wanting to leave a stranger lying dead if he can help it. Not so selfish after all, huh?)

So if that’s not the problem in the original timeline, then what is? Why does Sissel leave Missile to deal with saving his ladies alone when he’d have no reason not to try and help? – after all, he hasn’t been given a fake time limit in this timeline! He’s not even in a hurry with his own mystery! For that matter, Sissel was still there in the junkyard at the beginning – why didn’t he just save Lynne himself?

We can get a good indication of what the issue is from that very same opening narration I was just talking about.

Sissel: “Now, I’m not the kind of guy who can just stand back and watch a poor woman get shot. But I have just one little problem… I’m already dead myself.”

Sissel: “I feel bad for her, sure. But what can I do? I’m dead. But just as I was thinking that…”

The real problem is not that he doesn’t care about saving a stranger’s life. Rather, it’s that, because he’s dead, he doesn’t think he can. He’s not expecting to magically have ghost superpowers; why would he?

And it’s just as he was thinking that he can’t do anything (which, while part of his screen-filling monologue narration, was still his thoughts and therefore something any nearby ghost could hear)… that Ray speaks up to tell him that actually he can save her.

Sissel: “Huh?” (Me? Save her? Uh, how?)

Immediately, Sissel questions the notion once again, not with a why but with a how. It’s not that he doesn’t want to; he simply doesn’t think it’s possible.

This general idea continues throughout the entire tutorial, which is absolutely packed with lines that show Sissel being deeply sceptical about the idea that he could possibly save someone’s life or alter someone’s fate.

Once Ray’s taught him about his basic ghost tricks and he’s managed to delay Lynne’s death by a few moments… she still ends up dead anyway. And Sissel thinks that’s it. Because of course he does. Even if he can stop time and manipulate objects, he has zero reason to believe that his powers can undo a death that’s already happened.

Sissel: “In the end, it looks like her fate remains unchanged. So what good are these ‘ghost tricks’ of mine? But just as I was thinking this…”

Sissel: “It looks like my ghost tricks didn’t do much good.” (She still ended up just as dead as before.)

He even ends up feeling like his new superpowers are barely worth anything, because he can play a few little tricks on someone, but that’s not enough to save someone’s life, is it?

Ray: “Isn’t it a shame to see such a pretty young woman lying here discarded like a piece of trash?” Sissel: “But what can I do? She’s already dead.”

Ray: “And while she’s resting, you can save her life.” Sissel: “Oh, sure. You make it sound so easy.”

And again, he’s very dismissive of Ray implying or telling him that he can do something about this. After all, how could that be possible any more?

In particular, there’s this vital little bit of trickery here…

Ray: “Now what do you suppose will happen if you possess a corpse?” Sissel: “Nothing, because I already tried that, remember? And nothing happened at all.”

…in which Sissel assumes his powers just don’t work on corpses, because he’s already tried and failed to do anything with “his” corpse. If he’d been alone, without Ray to guide him through things, he most likely wouldn’t have even tried to possess Lynne’s corpse in the first place, because he would have had no reason to believe it would achieve anything!

(Meanwhile, Missile in the original timeline also had zero reason to believe he could do anything for Kamila, but he was so anguished and desperate that of course he would have tried anyway. He’d try anything to save her, because he is good and loyal and Dog. So he was able to discover his time-rewinding powers where Sissel didn’t, and thus he passed that knowledge onto Sissel in the game’s timeline.)

And as Ray tells Sissel that he can in fact rewind time to redo the last moments of Lynne’s life, he’s completely dumbfounded and bewildered by the very idea of it.

Sissel: “Are you serious?! Back through time?!”

Sissel: “But this is crazy! None of it makes any sense!”

Ray: “To the time four minutes before this woman was murdered!” Sissel: “H-Hey, wait a second! I still don’t know what you’re talking about!”

What is this lamp even talking about?! Of course turning back time isn’t possible! He had no reason to believe it was possible, even as part of his new wacky ghost powers.

(Meanwhile, when Sissel is saving Missile in the game, we get a little exchange that shows Missile being completely unfazed by the idea that Sissel’s brought them back in time. It’s no weirder than humans walking around on two legs, right? One way or another, the cat can barely wrap his head around it, while the dog sees it as perfectly plausible.)

One thing Ray says more than once during the tutorial is, “The best thing to do is try it.” Because Sissel is being so stubbornly cynical that he will not take this desk lamp’s word about how useful his powers are and has to literally be pushed into trying it himself in order to believe it, every time.

Even after seeing for himself that he can go back in time and watch Lynne’s death again, Sissel still manages to be pessimistic about this.

Ray: “And there you have it. The last four minutes of her life.” Sissel: [strained] “No…!” Ray: “It’s kind of ironic, when you think about it. A woman toyed with by fate, and a man toyed with by a ghost.” Sissel: “But she still died.”

He went back in time, and she still died. There’s still apparently nothing he can do, right? No, Sissel, just have a bit of patience! This is just the mechanic that lets you understand what happens before you dive in and start changing things; you’ll get your chance soon!

And once he’s finally successfully saved Lynne…

Ray: “You used your powers to avert that woman’s fate.” Sissel: “So I did that?”

Sissel still has a moment of being surprised at the notion that he was capable of something like this.

It’s really striking to me, watching over chapter 1 again with this thought about original-timeline Sissel in mind, just how many lines to this effect there are throughout the whole thing. The writers did not need to include this many moments of Sissel being sceptical, or even any of them at all, really, in order for the tutorial to do its job as a tutorial! But they’re here anyway, because it is in fact really important to the story that Sissel is somebody who would not have tried hard enough to figure out that his powers can undo deaths unless he had someone holding his hand through it the whole way.

The way old-Missile talks about it when he’s explaining himself at the end, it’s easy to get the takeaway that the most important thing he did as Ray was to take advantage of Sissel’s supposed self-interest: by not contradicting his misconception that he’s the man in red, by telling him Lynne is the key to his mystery (a half-truth at best), and by giving him a fake time limit. And it’s not that those things didn’t help, but they’re not really the most important thing at all.

The most important thing Ray did for Sissel, the thing that Missile absolutely most needed to spend those ten years waiting to do, was exactly what it appeared to be during chapter 1: to teach him how to use his powers to save lives. Because the number one thing the Sissel from the original timeline needed but didn’t get was, quite literally, a tutorial.

There’s a little bit more to it than this, though. So, okay, Sissel in the original timeline didn’t know he had the vital time-rewinding power. But then that begs the question: why didn’t Missile just tell him that while asking for his help?

For that matter, why did Sissel leave Missile shortly after being asked for help? It can’t just be because he urgently had to go and look elsewhere for answers to his own mystery, because he’s not pressed for time here. And he was apparently chilling at the junkyard just eavesdropping on the investigators’ conversations before Missile showed up. Why the sudden shift in locations now of all times, when there’s someone here who’s actually talking to him – the first person Sissel would have been able to talk to all night – and asking him for help?

The issue here, I believe, is that this isn’t just a matter of Sissel’s lack of understanding what his powers can do. It’s also a matter of emotional state – both Sissel’s, and Missile’s. Both of them would have been incredibly stressed out and upset, Sissel due to his loss of memory and seeing deaths in front of him that he doesn’t think he can do anything about, and Missile due to his mistresses’ deaths that he also can’t do anything about, even though he has a superpower that lets him try but it just isn’t quite enough.

How would Missile and Sissel’s interaction go when they’re both so upset like this? There’s actually a fun little bite-sized example of this in the actual canon timeline. During the last desperate struggle to escape the sinking submarine…

Missile: “Sissel! Y-Y-Y… You’re not telling Miss Lynne to leave poor Miss Kamila behind, ARE YOU?!” Sissel: *sigh* “Could you just be quiet for a minute, Missile?”

Missile and Sissel are bound to be both extremely anxious and stressed in this situation – trapped in the submarine, Lynne and Kamila in danger of drowning if they don’t do something. And in that state of mind, it seems that Missile is prone to eschewing logic to be even more loudly desperately protective of his mistresses… while Sissel especially does not enjoy Missile being Loudly Boisterously Dog in his ear when he’s stressed out. After all, cats and dogs have very opposite and very incompatible ways of dealing with stress!

So it follows that the conversation between Sissel and Missile in the original timeline would likely have been an incoherent emotional mess, in which neither of them properly communicated their side of things at all. Missile must have just never even thought to tell Sissel that he can rewind time and therefore saving his ladies is actually possible in theory, because that was already obvious to him! He wouldn’t be capable of understanding why Sissel would be so reluctant about this.

As for why Sissel wasn’t just reluctant to help but outright ran away and sealed the deal – I think, more than anything, it’s got to be down to the fact that he couldn’t stand having Missile being so loud and energetic at him when he was this upset. Especially not while repeatedly saying that he can save them, which would be the exact thing Sissel has been miserably convinced that he just can’t. It follows that he’d just have wanted to run and hide somewhere Missile isn’t, where he can have some peace and quiet. Cats who are upset often like to hide and isolate themselves to feel safer.

There’s one other part in the game’s tutorial that suggests the problem originally might have been partly a matter of Sissel’s emotions:

Ray: “Hello there. How are you feeling? Not very well, I imagine. A terrible tragedy, what happened tonight.” Sissel: “………” [neutral face] Ray: “Ah, ignoring me, are you? It’s a little too early for you to be so stiff and cold, I’d say.” Sissel: [smiling] “Ah, so it was you. You were that voice in my head, right?”

This is very noteworthy, because Ray is the only person in the entire game who ever takes the time to ask Sissel how he’s feeling. He wouldn’t be feeling great after waking up dead, watching a woman die in front of him and failing to save her, would he?

It seems like old-Missile, with his years of wisdom and time to reflect on everything, realised that his approach to getting Sissel’s help last time really was way too focused on his own problems, and he never even stopped to think about how Sissel must have been feeling. So here, he presents himself as a friend, someone who cares about Sissel and his journey, because that’s exactly what Sissel needs! This poor kitty must have felt so lonely and sad and helpless in the original timeline. But hearing Ray’s words, and realising that this desk lamp is someone semi-familiar, does seem to cheer him up at least a little bit here! Sissel really is a character whose core desperate need is to just not be alone, even if you’d be hard-pressed to get him to admit that at the beginning.

Interestingly, way back when I first played Ghost Trick, on the DS soon after it came out, I found myself intrigued by Sissel in the original timeline. I vaguely toyed with the idea of writing a fic exploring how he was feeling and why he refused, though I never got around to actually doing so. Then recently, the game coming out in HD rekindled my hyperfixation and made me think about it some more and actually end up writing that fic after all. And the thing is, back then, I didn’t remotely consciously understand any of this stuff I’ve just explained here. But even so, I find it neat how I still had this wordless sense that what was going on with Sissel must have been so much more than just selfishness – that he must have been so sad in that timeline and that had to be the real basis of why he didn’t help.

#ghost trick #ghost trick phantom detective #ghost trick spoilers #sissel #sissel ghost trick #ray ghost trick #ramble

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celtrist · 1 month ago

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I really want to see a more fucked up version of Charlie in canon. Like, okay, I am a die-hard for sweet bubbly girls in media. But I always see how some people make Charlie actually, oh I dunno... demonic? And it's so refreshing for her type of character. I could honestly see her having low empathy (and we kinda see this with how she handled Angel's situation or even Vaggie's nervousness about taking control on an activity). An exploration of that trait (if it was intended) would be interesting to see for a protagonist, especially when her main goal is about helping others. I would love to see her actually have a level of difficulty in understanding others' feelings from the other residents, sinners, and even her father.

But give her a fucked up side. Not a "she gets more power when she's angey uwu", but a "oh, she's a little fucked in the head". It would give so much to her character that she just doesn't have.

@/murmurmurena (don't wanna bother them so slash there we go) has some fun ideas with Charlie. I highly encourage people to check their stuff out! So many fun dark ideas with her character while also still keeping to her canon personality pretty well! Personally, I think Charlie being a bit more naive to her own messed up traits would work best but her also being aware of these traits can make for some interesting character for her.

THIS FIC, "A Game Between You and I". RIGHT HERE WITH THE FIRST CHAPTER. A bit of spoil for the fic here: but I love how they handled Charlie’s absolute ignorance as to why the idea of Russian roulette is horrifying to Angel Dust. It doesn't feel like her being intentionally malicious or aware that she's the odd man out here. This is also a pretty old fic going by only the pilot, but the point still stands that it was such a fun take for her character!

Charlie is one of my favorite characters in the show in part of the POTENTIAL she could have as being the most bubbly sweetheart character while also being the most messed up character in the show. I can't say I have strong confidence with the show's writing and fully expect them to stick with Charlie being the "nice girl but oh no, don't get her angry or she gets scarwy". Which isn't bad for a character mind you, there's just so much more potential to Charlie outside of that trope, especially when you get into the theories of her either being a doll, Roo's biological daughter, or what have you. And for the MAIN CHARACTER of the show, it would be not only interesting but also bring the spotlight back to her.

There's really no question that the side characters steal the show, particularly all the male characters. If I'm honest, Charlie does not feel like she gets a lot of love from the show itself when she's supposed to be the main character. She feels far more flat compared to the rest of the characters (again, the male cast in this "female-lead" show has more depth than most of the female cast currently. I wouldn't be pointing this tidbit concerning the genders of characters if it weren't for the fact Viv defended Helluva's lack of development with their female cast by saying "Hazbin is a female-lead show and Helluva is a male-lead" and Hazbin ended up with it not feeling female lead (to me) and the male cast just completely stealing the show. I don't normally care about gender stuff, especially since I do personally lean interest towards male characters. But using one show as a defense for poor development of the female characters, and then that show not really holding up with no very interesting well-developed feeling female characters irritates me. It's just very clear that these shows don't seem to care much about the female cast :/)

If you like how Charlie is written that's totally fine. PERSONALLY, I just think they're missing so much opportunity with her character by just making her the standard female character type. I honestly don't have a lot of faith they'll actually do something with Charlie's character though. She's a pretty static character in S1 being the same from start to end. Not changing or learning anything to create any development. What does the end of season Charlie do that start of season Charlie wouldn't do? Fight back? Because we see with the pilot (which is the “first episode”) that Charlie does fight people if pushed like with Katie Killjoy and even Valentino. Static characters can work in media depending on the show or their role. But Charlie is the MC of a show about “bettering one's self”. So to have her as a static with not a lot of strong dilemmas for herself (like we see with Angel Husk Al and even Vox) seems silly. Plus, considering Hazbin is telling a whole story and it's not a fun episodic thing, characters are expected to grow on some level. Or else, what was the point of their hero's journey?

#I honestly have a lot of problems with Hazbin's storytelling #That the limited time of doing plot doesn't even help it and shouldn't be used to shield the show from criticisms #Especially when you can find the same issues in Helluva Boss that has no excuse with the writing (though it's getting a bit better)#I love this show but goodness gracious it makes me have a tangent about it #Charlie's unimpactful character writing just being one of MANY issues #Hopefully the crew take all the criticisms into account for S3 #S2 if possible would be nice but they probably had it all scripted by the time S1 was airing.#No shame on the female cast either they're fine. But when you compare them to the given depth of characters like Angel Husk Alastor and Vox #They're pretty lackluster. Vaggie's probably the closest to a female character with a lot of layers we've seen in the show #And she wasn't done very well with being essentially just “Charlie's GF” with not much identity outside of that explored much #Some of this may be more personal takes but it's frustrating. Again I don't normally care about gender stuff in media #It was just the excuse to Millie and Loona lacking development that bothers me #Like Hazbin is supposed to make up Helluva's poor writing of their main female leads #Loona got a bit of love with the Bee ep and Verosika and Octavia are pretty good. Particularly V with her relationship with Blitz #Whenever I start talking about aspects of Hazbin's writing I always end up ranting a bit (⁄ ⁄•⁄ω⁄•⁄ ⁄)⁄#Celtrist #cel rambles #hazbin hotel #hazbin hotel charlie #charlie morningstar #hazbin critique #hazbin criticism #hazbin critical #hazbin hotel critical #hazbin hotel criticism #hazbin hotel critique #hazbin hotel rant #You can really love something and still be critical with it #I do it out of love I swear #You're not in the Sonic fandom for like 22 yrs and don't learn to be critical of the media you enjoy lol

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verdemoun · 3 months ago

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Fun fact, Kieran may have been originally supposed to live longer, at least judging by his many unused voice lines (found on YouTube) and a longer hairstyle which I actually think looks better for him (found on rdr wiki of cut content). Maybe he was supposed to go to Guarma? The voice lines to me suggested going on hunting missions with him but I’m not too sure.

spoilers. obviously

fun fact i have listened to the 2+ hours of Kieran's cut voice lines so many times even my housemates know it and groan when they walk in and i'm listening to it. Did you know one of his cut voice lines for a near miss in a shootout is 'whoo, nearly took my head off!' to foreshadow his eventual demise? And he has several variations of lines telling Arthur to rest with the gentlest tone suggesting he would have been one of the few characters to show concern for Arthur's illness in later chapters? And slightly less relevant but there is a cut interaction in where he asks Jack to sneak him some food only for Arthur to threaten to kill him BUT CALLING HIMSELF UNCLE KIERAN???

screenshots by cad5150

About Guarma, all but confirmed. Here is one of his cut outfits, which I think very obviously suits the vibe of what most of the gang wore in Guarma like compare it to Micah's Guarma outfit in particular. Additionally he has this hood as an outfit accessory: some people think it was intended that when he rides into camp Horsemen Apocalypse there's a moment of the hood being taken off and then the characters having a much more visceral reaction to his eyes being gauged out but personally I think it makes way more sense that he was meant to be in Banking, the Old American Art 'replacing' Sean as an extra gun. Which would have been really cool because I would have loved a conversation where they bring up they're a gun short and it spiral into more reflection on how they're not just a gun short, they're a man down, they lost the 'joy in their lives' Sean Macguire and they were still hurting instead of just NEVER MENTIONING HIM AGAIN other than a few rare character lines.

Side tangent also his scarf is different in his guarma outfit which is it's own essay because if you're going off the blue high honor red low honor theory this so strong implies we could have seen some really cool character development. looking at what the gang were wearing in banking and then in guarma there's no obvious explanation as to where he got it. how cute would it have been if we got a scene where mary-beth gifted him a scarf?? but the also terrifying implication that we might see kieran become less high honour good boy blorbo to someone a bit more morally ambiguous?

I think the question really is how he would have fit in in Guarma, which of course we will never know and considering how much cut content there is about Guarma. Like everyone else in Guarma makes sense: Dutch's descent into immorality being so clear even Arthur questions it, Bill being the one trusted to look after Javier following his rescue, supporting their friendship in rdr1, Micah reaffirming his position as an actual piece of shit in his lines responding to Hosea and Lenny's deaths and complete lack of empathy. Maybe a kieran who is slightly more ruthless and active in shootouts in guarma but also shows compassion for arthur as arthur gets sick? Maybe the attack on Hanging Dog Ranch was meant to be more a revenge for Kieran's death assuming he was taken and killed similarly to his death in chapter 4 (given how much much foreshadowing there is for his death), but just another misery in chapter 6 that hits harder because we have more time to grow attached and see him develop?

Except. Except then we get to cut outfit kieran.

first. hellooooo sailor. but who is this man. who is this man who looks older. and wears a very, very low honour red scarf. and is obviously dressed still as an outlaw, and didn't go live a happy life with mary-beth. is it. is it possible. kieran was not always meant to be doomed by the narrative??

is it possible we would have seen kieran become more loyal to dutch and micah, true to his army abandoning, gang jumping, choosing to ride with the o'driscolls rather than die, immediately 'loyal' to the vdls despite torture because being alone meant certain death, coward nature? or would he have just been a character john could encounter in the epilogue? perhaps shaken by knowing arthur, as one of his very, very few friends, died trying to be a better person and abandoned any effort to be more than an outlaw?

but. but kieran. shirt all buttoned up. scarf on. thick coat. hair slightly feral and wild. why does it looked like you're all dressed up for the cold, buddy? like- like you might have been hiding out up mount hagen.

#kieran duffy #my blorbo my love my whole heart #rdr2 spoilers

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saixria · 24 days ago

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I’m not usually opposed to hcs but this “Ares used dark quick thought to help Odysseus in 600 strike” and other divine intervention theories are getting OUT OF HAND ITS THE BANE OF MY EXISTENCE (TLDR at the end)

To start, Vengeance saga hit as hard as it did because Odysseus is all alone. Just listen to the intro of dangerous, the pause where the crew should’ve sung in response like in Full Speed Ahead. Because of all the choices he’s made, he’s fully alone now, and this is the first time he’s ever had to fight without his crew. Charybdis being a mortal facing up against a huge unsurvivable monster AND WINNING is what makes it so POWERFUL, and same goes with GITW/ 600 Strike. It’s the most impactful as a 1v1, Odysseus facing the cause of all his grief throughout the musical, he himself delivering every blow onto Poseidon on behalf of his dead crew. It’s CATHARTIC for him, and for us as the audience, because it’s a perfect ending to what Poseidon started in Ruthlessness when he taught Odysseus to be ruthless.

Dark Quick Thought also just kinda. Cheapens his character development. Dark quick thought inherently causes rage according to Jorge, basically making them more ruthless. If we relegate the reason Odysseus was so enraged and ruthless in straight up torturing Poseidon to Ares’ Dark Quick Thought, that just makes all the build up of Odysseus learning to use ruthlessness and to be a monster worthless. Dark QT isn’t why he’s acting so cold and ruthless; it’s all that he’s endured, forcing him to transform into a monster that disregards all morals just to get home, just to survive. It was Odysseus’ own decision to become a monster, like he literally said “I’m gonna use ruthlessness” in the song Dangerous, not because of any Dark QT influence. The fact that all his rage is coming only from himself, from his grief and exhaustion, and not Dark QT makes this moment all the more haunting.

The fact that this is the climax of his transformation is, and I’m not joking when I say this, illustrated by the line “next to my wife”. The whole musical “sleeplessness” (lol) has always been an indicator of guilt. E.g. “until it is said I cannot rest” “I no longer dream only nightmares of those who died” “I could sleep at night” etc. Even in LiP he was still haunted by guilt, since he’s trapped in Ogygia it feels like all he’s sacrificed has been completely worthless — he killed his whole crew for nothing. His response to Poseidon asking him how he’d sleep at night was “next to my wife”, showing he’s truly “thrown his guilt away” all to get home to see his wife — the only thing he cares about now.

Last thing, the gods just don’t like directly interfering in each others business. Hermes gave Odysseus a windbag and advice but that was it, hes still on his own at the end of the day. There’s a reason for why Athena didn’t ask Zeus to tell Poseidon to chill, why Hermes didn’t directly beat Zeus up for Odysseus. That helps make God Games MORE IMPACTFUL, because here are the gods, stubborn and set in their ways against directly helping mortals, and here’s Athena going through the trouble to request divine intervention ANYWAY, all for her friend. It makes no sense for any other god to randomly come and help Odysseus when they don’t even know the man.

I have no problem with people having fun imagining what would happen if the gods had helped Odysseus fight Poseidon, I’m just really frustrated bc I see so many people say this is “what actually happened” or “what should’ve happened” instead of being a fun hypothetical. There is no proof at all that any other gods came to help Odysseus in 600 Strike; the red eyes in the animatic is literally just symbolic and acts as contrast to Poseidon’s blue glowing gills on his shirt during the darkened torture scene.

TLDR: Direct divine intervention in 600 strike makes Odysseus’ isolation less impactful, cheapens his transformation into a ruthless monster and is just not realistic for the gods to do since they don’t interfere with each others business much.

#that’s not even mentioning the utter lack of proof #I might get flamed for this #epic the musical #jorge rivera herrans #epic ares #epic the vengeance saga #vengeance saga #epic odysseus #xria rambles

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sciderman · 2 months ago

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Hi Sci, I hope you are healing amazing, I have an idea but I do want to see the opinion of an expert of DP an Spidey (you).

I love musicals, and I do believe that a story with those two as protagonist in a musical environment could be something silly but with a lot of potential.

Although I do not know a lot of music theory, I imagine how the plot could work.

A weird phenomenon is occuring that everyone sings and dance just because, while Wade enjoy it, Peter hates it (He has his own self image issues, and the possibility of Spiderman singing and dancing, is an idea that terrifies him), so Deadpool and Spiderman team up to investigate this phenomenon and stop it. (In this scenario both heroes are aquantainces, although Deadpool wants to be besties).

In this story there is gonna be a lot of action, comedy, but what it is more important is the character development, both will have to face their self worth issues, so they can grow individually but also their friendship (with a bit of sexual tension).

What do you think?, what would you add so the story can achieve it's full potential (the musical part is not as important as the plot development)

hot and sexy concept! consider:

similar to the laws of most musical universes, when a character bursts into song and dance it is usually to express a big emotion or desire or truth that the character has been holding down deep inside. hence: spider-man is terrified that if he breaks into song, it'll reveal his secret identity or any other such million different secrets peter would prefer to keep locked away where nobody can find it

wade thinks it's fun and cool and chooses to sing even when he isn't actually really being compelled to - in fact, no music swells when wade sings - he just chooses to do it. he makes up songs on the fly and they aren't the big showtunes that everyone else is getting when they burst into song - nope, there's no backing track, save for maybe some buskers that he hassles to accompany him. there's no thought-through melody or even profound lyrics - and he fumbles on rhymes, but he doesn't let it stop him. he wants a showstopper tune so bad. but all he rhymes about are like, foods. and whatever he sees in front of him, and like, nothing profound. so the orchestra doesn't care for him.

there are a few times when peter's aside, on his own, and the music begins to swell - and only when he really, truly feels like he's on his own, he's about to open his mouth to sing and it's interrupted by wade every single time. at times wade knows there's about to be a musical number and tries to edge in or turn it into a duet but the orchestra just fumbles out as soon as wade's janky lyrics start. and wade's like, dancing like untz untz untz on the stage trying to keep it up but the music fizzles out and he sighs, defeatedly.

so we're following this character whomst the orchestra gravitates around trying to force a song out of but peter absolutely will NOT bite and/or is always interrupted - and a character who desperately wants his song and dance but the orchestra won't let him have it

they're constantly at odds because wade thinks this is awesome and he kind of doesn't want to stop the villain responsible for it because? a world where people randomly burst into showtunes? that's awesome. and spider-man's just with the reasoning that his identity is at risk. he has so much to lose. and what about all the people who have secrets to hide? what about people who will be put in danger? you wouldn't get it. mr i-only-sing-about-tacos.

wade's bummed. goes off alone, all sad. has this little aside where he tries, so so hard to have his own song. the orchestra swells. he opens his mouth, but the key is wrong. he fusses and asks the orchestra to play in an e-minor. he clears his throat and he tries again. still off. can we get it a little more upbeat. better. let's introduce some maracas... yes.. okay... now we're getting it. some saxophone, if you please. needs more cowbell. and wade's shaking his hips and REAAALLY feeling it and he's about to open his mouth and

the ground shakes and we're about to finally be acquainted by our villain,, and it's a musical battle and fists just aren't cutting it. peter's trying to beat the shit out of the villain but keeps getting blasted back by music. wade cottons on that they need to fight fire with fire and tries to get the orchestra back on his side but his lyrics are Not fire and musical yo mama jokes only take you so far.

eventually emotions come to their high, maybe when they're finally facing the big bad, peter can't help but finally let out his song - maybe it's a duet, if you want to be gay about it. peter sings his truth and it blasts our villain away, babey. they save the day.

after this, wade and peter return back to an nyc that isn't bursting into song every 5 minutes and peter's so, so fucking thankful. they shake hands. wade pulls peter into a hug. they're at train station.

a busker is playing a violin. wade starts to sing.

peter begs him not to.

a percussionist on stage joins in.

wade puts his whole deadpussy into it.

wade finally gets his own heartfelt closing number about all the feelings he felt and all the things that he learnt, and how he and peter will always be friends forever.

(peter: i'm leaving)

#sci speaks #why did you give this to me. sighs.#spideypool

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raven-at-the-writing-desk · 8 months ago

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Out of curiosity, do you happen to know why Jade is so secretive about himself? I think it's no one's surprise when I say that Jade is more often than not secretive/guarded about himself. Jade is a master in hiding his emotions/thoughts. And even when he's revealing any information about himself; I feel suspicious about it.

So i always wondered why he's so guarded/secretive about himself? It's either the trope "intriguing mysterious character" going or he genuinely has a reason why he likes to be in control EVEN with his own feelings. Maybe it's a Merfolk thing? Maybe he's scared of being vulnerable?

At the end of the day, it's only speculation why he's the way he is. I think the only genuine thing we know he likes is mushrooms.

What do you think?

Know? No. I don't think anyone really "knows" why Jade is secretive about himself. Maybe not even the devs themselves know!

Let's speak in terms beyond the trope he fits into; I feel it can be reductive to say, "the character is this way because that's what he's supposed to be by design!" To begin with, I don't think it's a merfolk trait because we do not see the same characteristics in his twin (who openly blurts out secrets, including his own UM) nor in Azul (who technically is also secretive, but has a backstory which explains the insecurities behind his behavior). I also would not frame Jade's mysteriousness as a matter of being "scared" of vulnerability. Yes, he does not like to be in situations where he is vulnerable or others can take advantage of him. However, I don't believe this disdain comes from a fear of intimacy or of showing others his "true" self. Jade has made clear that he finds it easier to manipulate others and to gain their trust if they perceive him to be a non-threat. (Look no further than his Ceremonial Robes vignettes, where he tricks a fellow vice dorm leader, Trey.) It’s also true that he enjoys teasing others and purposefully dropping vaguely worded phrases to alarm them—this is how he has fun, and he maintains this with people he is close with (Azul and Floyd). Is it considered “not being himself” when he is still calm and mysterious with them? Personally, I don’t think so. He’s being open with them in his own way.

I think a lot of the ways Jade acts can easily be attributed to his upbringing. We've received several hints that the Leech brothers' father is quite wealthy and influential, and may be involved in shady dealings. Furthermore, he and his twin grew up in the Coral Sea, which is described to be frigid and boasts dangerous creatures such as sharks. Jade was therefore raised in an environment where self-preservation is a priority and he was taught many skills to adapt to his surroundings and any scuffles he may get into (from martial arts to lock picking and undoing knots). If we run with the popular “Leech mob family” theory, their father would have enemies and even business associates trying to get a one-up on Papa Leech—possibly via his sons. Jade would have to be pretty alert and capable to deal with such encounters. It’s also these situations which may have led to him forming a distrust towards most others or feeling a need to conceal or misdirect his real thoughts/emotions. (Anyone could be an enemy or trying to use him for their own means.) This thinking could have developed into a kind of coping mechanism in which he is the one to first outdo and betray the other to prevent being the victim himself. He likes having the leg up on others; that control is a “security blanket”. It can be interpreted like a survival tactic that translated over to land after so many years of living in a treacherous sea.

I also believe that this background has had an impact on how Jade’s hobbies and other behaviors. He has explained before in his Birthday Boy vignettes that he likes terrariums because the management aspect gives him a sense of control, which is relaxing. He also tends to be an enabler and not intervene if he thinks the situation is funny or engages in it himself (such as when Azul is being teased), which are more subtle ways he entertains himself. Thus, Jade more often than not doesn’t act overtly and maintains that “support” role both in an effort to divert from his own shadiness and as the result of his upbringing in which he has to be alert for survival.

Now, the big question you’re probably having right now is “But what about Floyd?! Why doesn’t Floyd turn out like Jade if they basically grew up in the same environment?” Well, that’s simply because they’re their own people (something Floyd himself states) even if they are twins or related otherwise. Growing up in the same household and neighborhood does not guarantee you will have all the same interests or the same personality as a sibling. Floyd learned, adapted, and reacted differently than Jade did. He’s the upstart, the loudmouth, the one to jump to violence as a solution. Jade is not.

I really love the mysterious aspect to Jade. Sure, it feels like we cannot entirely trust anything he says, but I feel that’s part of his intrigue! I like trying to parse out what’s true and what’d false in his dialogue 🫶

#twisted wonderland #twst #Jade Leech #Floyd Leech #Azul Ashengrotto #Trey Clover #disney twisted wonderland #disney twst #Tweels #Octavinelle #notes from the writing raven #question

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salty-an-disco · 4 months ago

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*thinks about how there's several different versions of Hero who acts a little different depending on which route you take him through–*

*thinks about how the Hero that appears in the middle of the final battle describes himself as being 'all of them'*

*thinks about how all those different Heroes might not have been able to completely integrate themselves into a single individual*

Conclusion: Hero would develop a system (a median system, to be more exact)

Yep. This was the main reason I started drawing different variants for Hero in different chapters and givin' them different names, everyone can go home now /lhj /silly

Anyway, since I already drew all the guys, might as well talk about them in the context of Hero being a system

(note: I've semi-recently found I, myself, am a system, so a lot of this is me processing this stuff and trying to puzzle things out through my blorbo. shout out to Hero for making this discovery a lot easier to digest. that means a lot of what I'm writing here comes from my own experience and perspectives. Also, I'll be calling the different Heroes 'facets', as that represents better what they are to him)

Since they all come from the exact same source (forms through Chapter I), they don't really see themselves as all that separate or different people. The different titles are more nicknames than anything, they're all 'Hero', just– from a slightly different angle and with different roles/priorities. Hero doesn't hear distinct voices in his head like Quiet, he's more like Shifty, in a way, having their feelings and different texture affect his behavior.

Hero is vaguely aware of these different facets, even giving them those titles as a way to organize and understand himself, but doesn't worry too much about it. That's just how he is.

As for the different facets and their role within the system–

– Hero: Host; front-stuck – Technically speaking, his route would be the Stranger one, as that's where he spent the least amount of time in Chapter I and didn't develop any other identity besides 'Hero'. Not necessarily the 'original', and would rather not worry about that lest it triggers another existential crisis, but is definitely the 'main one'. The main face that's always there. Behavior and thought-process can change depending on other facets present.

– Savior: Protector/Persecutor – Formed when his will power was broken and subdued by someone far stronger. Is intent on not letting that happen again. Very headstrong and certain of himself; he has to be, or else their willpower will break again. Mainly appears to help deal with threats much bigger than them. (Fun fact: in warped AU, he and Hero were fused together)

– Champion: Physical Protector – Formed by a desire to fight and persevere against an opponent that can kill you. Very strategy-minded, focused on better ways to get out of a confrontation alive. Will always try to get out of battles with the least amount of injuries to the body possible. Does not like confrontation, but will go through it if it means survival. Appears anytime there's a need to fight and/or survive. Often alongside Savior or Fledgling.

– Liar: Social Protector/Caretaker – Formed when forced to betray someone you previously intended on helping. Despite the title, Liar is very aversed to lying, and despises when others are being dishonest. Why play these weird games that just makes things more difficult? Can't we just be blunt with each other and makes things easier? Appears when the host feels judged or like he's being given an unfair assumption during a social encounter, or later on, when the host is thinkin' back to a certain social situation that didn't go to well. Helps process those leftover feelings and make sure the host is doing well emotionally and socially.

– Fledgling: Protector – Formed when made to feel cornered by a dangerous creature and clawed to death. Similar role to Champion, in theory, though he appears, more broadly, when the host starts feeling cornered in any way. Which doesn't happen solely in physical fights. Very helpful when appearing to deal with a physical threat, not so much when the threat is more emotional or social.

– Dashing: Emotion Holder/Uplifter – Formed from a desire to do nothing but good to someone else. Not as positive and optimistic as his paired voice during The Damsel, but still makes sure the host knows doesn't forget there's always a bright side and some hope to hold on to. Makes sure the host is taking the time to appreciate the things and people he love and that he isn't getting to caught up in worries and anxiety.

– Accomplice: Memory Holder/Cheergiver – Formed when despite your misgivings, you put your trust in someone else. His role is more vague than the others, but is generally there to give support to those outside of the system. Makes the host take a step back and let someone they trust take the reigns, for once.

– Haunted: Caretaker – Formed while spending a good few lifetimes in Nothingness. Not exactly sure what he's supposed to do here, but tries his best to help. Took some pointers from Cold and encourages the host to put feelings aside for now, if only to focus on taking care of the body before diving back into them. The one that knows self-care, and appears when the body desperately needs it.

– Dreamer: Trauma Holder – Formed as you tried to close your eyes and pretend there's no danger just in front of you. This one is Trauma Personified and mainly only appears when the host is triggered. When he appears, it's very difficult for Hero to differentiate reality from delusions, and it feels like he's back in the construct, fighting for his life and sanity.

– Ribbons: ???/Shell – Formed across 4 chapters; as more pieces broke off, very little was left of him. Less of a facet and more a general feeling of Nothingness. That can be useful when the host is feeling too overwhelmed to think. Just kinda makes Hero zone out and shut down when he appears.

Bonus: what it looks like when some of the facets are close to front. Whether or not Hero will shapeshift depends on how long a facet lingers, and how much they're affecting him. Often, he doesn't shapeshift at all despite the many facets that appeared throughout the day

#this is half-projection half-character study #voice of the hero #slay the princess #stp headcanons #system headcanon #plural headcanon #sal rambles #sketches #sal draws #kinda nervous to share this but ye aijsdjjdjdjdm

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