#it's a meta party!

[the-barefoot-hatter]

thinking about Bill Cipher and how his big thing is yes, taking over Gravity Falls/Earth/the entire dimension as the new "Lord and Master for all time"

but also as a HOST THAT NEVER DIES

it circles back to partying. An endless nightmare of a party, yeah, but a party. That's the first thing Bill says to Ford once the cat's out of the bag, that he's going to teach his dimension how to really party.

and then- he does???

he introduces himself and then his entire gang, by name. like a good host. he decorates. he has snacks and drinks. he has games. he has music. he deals with essentially a noise compliant from the (time) cops. he provides, personally, private entertainment for his VIP in a special suite

he does all this with madness bubbles and violence and kidnapping, but Bill welcomes everyone to Weirdmageddon.

and Phase 2 of Weirdmageddon? Is just the same, but BIGGER

it's really really funny that's been the goal all this time

it's also kinda... sad. Bill wants a good time, to be a great host, to keep the party going at all costs-

But the host doesn't get to party, not really.

It's work to keep a party fun, it's work to keep looking cool, it's work to get rid of pests, it's work to make sure you have another venue always lined up after you destroy the current dimension

are you even really having fun Bill?

[neo--queen--serenity]

This episode really highlighted how close Marcille, Laios, and Chilchuck actually are.

The viewer is used to seeing our main characters behave like coworkers up to this point—even friends—and they express normal, understandable levels of concern and fear when their other party members are in danger. But when the nightmare attacked Marcille, it brought out sides of Laios and Chilchuck that the viewer hadn’t seen before.

Laios immediately notices when something is wrong with Marcille, and he tells the others as soon as he’s sure of the problem. Chilchuck and Senshi then follow Laios’ lead as it becomes clear that he intends to make her get some rest.

We see Chilchuck’s hands lay out the bedroll and Senshi’s hands set up the pillow, working in almost perfect tandem as Laios physically wrangles Marcille into bed.

Senshi is in a similar perspective as the viewer, and mostly sits and watches the ordeal unfold. He doesn’t have a shared history, like these three do, so he helps in little ways, but mostly waits on standby for direction.

From here on out, it’s mostly Laios and Chilchuck who take over in planning how to help her.

It’s uncommon for Chilchuck to openly show such distress and worry for one of his party members. He’s used to Marcille being able to defend herself; he’s used to her being capable and strong. He immediately defers to Laios for instruction, (rightly) assuming he will know what to do.

This actually produces a reaction close to real fear from Chilchuck, who outright SMACKS her in a panic to wake her up before getting any further information.

Laios has to quickly stop him, explaining that he could truly hurt her if he interrupts the attack this way. He tells them how he’s going to wake her, and he doesn’t hesitate. He jumps straight in, explaining what he’s doing for the others so that they (Chilchuck) won’t be afraid.

Chilchuck doesn’t question him once. He just does what he can to hurry along the process. He tucks Laios in with his blanket as soon as he lays onto Marcille—an unnecessary action that betrays how much he cares for both of them.

And Laios succeeds in helping Marcille out of the nightmare’s grasp. While trapped in her mind, he reassures her, protects her, tells her how much she’s valued and appreciated. He isn’t embarrassed or sheepish about it, either; he openly declares these things like it’s the most normal and obvious thing in the world.

He gets her out, he saves her. He did the exact thing he set out to do, even though he’d never done it before, and only had Falin’s secondhand information to work with.

Once he wakes, Chilchuck immediately checks on him to see if he’s alright. Chilchuck is clearly still rattled, displeased with having to wait while both of his close friends were unconscious, fighting a battle neither he nor Senshi could see or help with.

Marcille wakes up shortly after Laios, but Chilchuck is still on edge, worrying that she’ll fall back asleep. Laios, too, has a moment of alarm when he makes sure she won’t close her eyes again.

Once he takes the subdued nightmares out of Marcille’s pillow, only then do Laios and Chilchuck relax.

Laios, for his part, remained calm and collected almost the entire time. He did not show panic or fear when it became clear that Marcille was being attacked, nor when he told the rest of the party what he’d be doing to help her. And once the nightmares had been collected from her bedroll, he gently explained what happened, to everyone else’s horror.

Seeing this, it’s not a huge surprise that the Touden party is so successful. We’ve seen Laios handle danger with a level head; we know he’s capable.

But it’s an entirely different kind of talent to face a threat that’s targeting one of your closest friends—which can make even the most competent fighter sloppy out of fear of losing them—one that requires a high-risk, specific rescue style that none of you have ever tried before. And then pull it off flawlessly. Like damn, these guys are lucky to have him.

[vaguely-concerned]

the more I play the more I think lucanis basically knows it's illario who betrayed him right from the beginning (he's had a year in the ossuary to think. not that many people knew where he was going. when you ask him 'did Illario know you'd be on that ship' his only answer is the hardest flattest 'yes' you ever heard). so it's not so much about figuring out who the traitor is (because that's ludicrous. we all know. immediately. they didn't really bother to hide it lmao) as about methodically closing off every single avenue of denial lucanis has clung to that whole time with as much or little gentleness as you might prefer until he has no choice but to admit it. because the moment he has to admit it, he'll have to do something -- feel something -- about it. and that's such a catastrophic event in lucanis' inner landscape (he has had TWO people in this whole entire world up until now and will do anything to hold on to them with a heartbreaking child-like desperation, even at and especially through the detriment of his own self) that he'd rather just. not. what if we quite simply. didn't. what if we just stayed here in the emptiness where we can both pretend you didn't hurt me in a way I should never forgive. I have so much practice in that with caterina already it's always worked out great for everyone so far. (press x to fucking doubt but that's trauma logic for you lol)

after everything illario did, so much of the storm of lucanis' emotions around it is 'what the FUCK did you get yourself tangled up in this time and how do I get you out of this mess safely'. what's worse: the fact that your brother murdered you, or that he put himself in horrible danger doing so and thus exposed you to the risk of losing him forever. lucanis' heart certainly has an opinion here and it's fucking unhinged (affectionate)

the themes of dissociation in lucanis' character in general makes me feel nuts. allllll these contradictory messy things he needs to cut off from each other because they can't coexist or be easily reconciled inside him. but all remain stubbornly true separately anyway and will have their due one day. love and resentment. tenderness and fear and rage. terror and longing. love and freedom don't coexist. the burned out golden child anthem is playing in the background. he was always caterina's favourite and he has to keep striving to deserve that dubious honour with every breath he takes and then, presumably, mercifully, some day he will die and be excused and can rest. and until now he's suppressed all the -- natural, healthy, protective! -- negative feelings that threaten the few attachment relationships he actually has, at the cost of ever actually having his needs for connection and safety met and leaving his core self imprisoned and compromised. and spite goes 'what. no. that's dumb fuck that' (*spite voice* I do not understand that and even if I did I would not respect it) and does not allow him to fall back into that, which I think is what saves his life, ultimately. it took being possessed by a demon for lucanis to even contemplate telling anyone he loves 'no' in any way, but hey. whatever gets you there right lol

lucanis is dealing with the freeze response allll the way down baby. and he was even before the ossuary, that just turbo powered it and brought it to a breaking point way before it could happen naturally. but something was going to break eventually no matter what, and I'm just glad that in the end, through the power of friendship and also pure spite, it doesn't have to be him

[metajinxer]

Happy Birthday Meta Knight!!! Can't forget about my man's special day!

[metamatronic]

rewatching gravity falls for the first time since release—spotting so many small foreshadowing details i never noticed. stan screaming when he first saw the wax statue of himself, gideon exclusively calling stan “stanford,” the room that dipper and mabel fight over in the body swap episode clearly being fords, stan grabbing the glasses off the table and polishing them sadly. i know there’s probably more i missed, too. it’s such a good show.

[chimerafeathers]

i know we love to rag on Siffrin for feeling so miserably guilty and manipulative for the crime of [checks notes] “doing nice things for their friends so that they’ll be happy and care about him even if it’s not perfectly sincere on his end”

but like. in context i don’t think that thought process is anywhere near as nonsensical as it always sounds written out like that

i’m sure i’m just stating the obvious here but it’s not really about the “crime” of making people happy. it’s about what he’s not doing, which is anything that would allow their friends to have any real knowledge or agency over the situation they’re all in.

it’s about never acting according to his real feelings in the moment and letting them see the messier version of him that exists now, never allowing their relationships to evolve or develop meaningfully beyond the “safest” iteration, the thing that is Known and produces the Correct Results, because anything else has the possibility of leading to negative emotions towards Siffrin.

Siffrin knows he’s not really doing all this for their benefit, not entirely, because the “right” thing to do would give them the full context to choose how they feel and what to do about it. they’re happy, but in a way they don’t get to keep. they’re happy, but in a way that keeps Siffrin safe from anything more complex and real. they’re happy, but only because some Siffrin in the past said the right things once, and this new, bitter, lonely, desperate version wouldn’t know how to get the “correct result” without a script to follow. they’re happy, and it was real once, it meant something once, but not anymore.

they cared about that Siffrin, yes, but would they still care about this one, if they knew? if Siffrin ever allowed them to know? (he won’t, he can’t, he refuses.)

and there’s something that could have been said in favor of Siffrin allowing himself this “selfishness” if it made him happy anyway, if it could be a genuine source of comfort in a difficult situation—but it doesn’t! not really! because that guilt is there, because that fear is there, because of how flimsy it all inevitably feels.

so they’re not doing it for their family’s benefit, because that happiness is predicated on lies and ignorance. he’s barely doing it for his own benefit, because they’re torturing themself by revealing things they no longer want to reveal, concealing things they no longer want to conceal, acting out of fear of rejection rather than genuine desire for connection. who benefits from this hollow “kindness,” really?

that’s why the last loop had to be the ugliest one. Siffrin had to see that the worst could happen and there could still be love and connection on the other side. that even when the party sees the worst of him, when they have the agency he’s been knowingly denying them, they will still choose to love him.

[invested-in-your-future]

The Portrayal of DID in Ave Mujica

(I have to preface this by saying that I am approaching this from a narrative writing standpoint and from my own personal delving into psychology overall. The subject topic is complex and the medical knowledge on it is ever-evolving, so if any of my notions are outdated, I am very, so very sorry.)

(I also understand that the topic of trauma and DID might be a triggering experience to some people, so caution is advised.)

(The discussion will also have open spoilers about the show and as such is tagged with spoiler tags.)

If there's one thing I would never expect when watching a music show, it is for it to turn into a deeply introspective psychological drama about flawed characters grappling with anxiety, mental wellness, toxicity and so on.

I did something like this a few times before and I can't help but want to explore and convey my thoughts on the character writing and handling of dissociative identity disorder within this show.

Now, Ave Mujica's predecessor, MYGO (to which Ave Mujica is a sequel), did play with the portrayal of neurodivergent-coded traits and still remains one of the best attempts at that overall, but a lot of that could be written off as subtextual.

So Ave Mujica portraying DID (Dissociative Identity Disorder) in a textual way comes as a surprise.

What's even bigger surprise is the lengths the show goes to make the portrayal feel authentic and how up-to-date the overall knowledge within the writing is.

Now, for starters, some explanation is needed.

What is DID?

Dissociative Identity Disorder (DID) is a type of dissociative disorder that usually develops in early childhood due to traumatic experiences—most often emotional or physical abuse or neglect.

The conditions within the environment lead to a child failing to integrate into a unified identity due to compartmentalizing their trauma and various other facotrs. In layman's terms, "distancing themselves" from their own psychological trauma.

The key aspect to understand is dissociation, a concept that is crucial to DID but NOT limited to it. To quickly explain what dissociation is—to handle specific amounts of stress and trauma, the brain copes with the information via "disconnecting" one's sense of self from perception.

Dissociation is actually a very common reaction to trauma and can manifest in different ways without it being DID (hence dissociative disorders being a whole branch of stuff)—like, for example, dissociative amnesia, where a person might forget selective memories associated with a traumatic event.

Grief tends to sometimes lead to dissociation, especially during the early phases, too.

Another common example is depersonalization, which involves "perceiving yourself as an out-of-body observer," which usually involves an altered perception of time too, with time slowing down or speeding up or the concept of time losing meaning.

Both of those can manifest as part of DID, but can also exist separately—for example, derealization and depersonalization can be symptomatic of PTSD.

DID in itself as a concept is about a person at a young age failing to integrate into "one".

The way a child's growth goes is that the mind reintegrates and parses those their experiences and traumas shaping their identity. Experiencing dissociation doesn't instantly mean DID, because dissociation by itself is a common trauma-parsing mechanism, as I said before. A child can experience trauma, neglect, or abuse without it leading to DID.

In the case of DID, the child fails to integrate, the trauma/abuse/neglect instead leading to compartmentalized elements working together—a system.

It's important to note that trauma doesn't create alters, as it's been thought for a while. It's not something fake or "split" or "created"—the system is all the alters as equally "real"; it's just that alters themselves might have different traits of the identity.

While alters are identities, they aren't necessarily separate people—they are a system. Alters might differ from each other, and have separate memories, and skill sets, but every alter is part of that system. Alters don't appear out of thin air as separate entities and it's better to view a system as an entity comprised of equally real alters functioning together, with the "primary" one (the one that's out for the longest periods) being often called "the host".

Thus, alters can be subtle and almost indistinguishable from the host. And even if they have distinct personality traits, most alters would have an awareness to "fit in" by not standing out, instead internalizing them and trying to mimic the host personality (because it's "normal").

There isn't a secret evil spirit or a ninja assassin living in a person—portrayals like that (ex: the movie "Split") are extremely harmful because they perpetuate a toxic stereotype that just isn't true.

There's no "real personality and fake personalities" and so on. The current understanding of DID is a child at a young age, due to internal and external factors, failing to integrate into a singular identity.

Now depending on how young we talking, the person might have had a personality-before or might not have at the point DID develops, but the concept of "original/core" personalities is currently considered antiquated.

And just like alters aren't "created," they can't "die" either.

Now that this covered basic terminology and information, I can actually discuss about the show itself.

First, let's talk about Mutsumi and her character.

Mutsumi

From the very first appearance in MYGO, the characterization conveys the personality of someone who is stoic, internalizes her emotions, and has trouble communicating with others—her first spoken line in the show is ambiguous.

Mutsumi is a stoic, shy student who had been in a band together with her childhood friend, Sakiko, and three other people. The band imploded after her childhood friend suffered from circumstances she felt she couldn't share with others and disbanded it.

The character is often coerced or influenced by others to do things for them and plays more of the role of an observer.

It becomes quickly obvious that Mutsumi herself is extremely uncomfortable with this role—not only blaming herself for the band's breakup but also feeling awful about her friends' mental well-being afterward.

Meanwhile, Mutsumi's childhood is no better—as a child of a star actress and a famous comedian, Mutsumi didn't have what one could call "a normal childhood.". Her parents had surrounded her with wealth but at the same time had adopted a completely hands-off approach, which led to her feeling neglected and alone. For example, she doesn't even call her mother and father dad/mom/father/mother/etc., instead opting to refer to them by their first names like friends would do. The mother is also enamored with being an actress—for example, one of the things she would offer her daughter's friends visiting would be to watch movies she starred in.

The show makes sure the audience gets a sense of the scale of her home life—a luxurious house filled with servants where her mother is a star rather than a parent.

What's more, due to the circumstances of her parents she's constantly compared to her mother and father and their talents, with expectations placed to follow in their footsteps. This ends up with her feeling like she has nothing of her own in her life—whatever praise or expectation is placed upon her ties to The Star Actress and The Comedian instead of who Mutsumi is as a person.

As a result, she values the bonds she has formed with other people a lot. She cares deeply about her childhood friend (whose family circumstances are the actual reason for the band breakup), and she cares about the one other bandmate who had kept in touch with her (the person who is mainly keeping in touch due to selfish goals though).

So when her friend decides to create a new band, Mutsumi feels responsible to support her and help her.

Unfortunately for her, her friend is going through a lot emotionally, and the entirety of the new band consists of a lot of openly toxic individuals.

Thus she is placed into a situation where she has to juggle the neglect and distance she feels at home, the expectations her suffering friend is placing upon her, the expectations the world has for her due to her parents, and the pressure from being a member of an extremely popular band—a tough deal for someone who from the beginning had trouble expressing herself.

But hey, at least since the band has the whole pseudo-visual-kei thing going for it, she will be able to wear a mask.

Which is where her journey through Ave Mujica starts.

Ave Mujica and DID

The first notable thing we see happen is her struggling with an interview, reinforcing the idea that she has trouble expressing herself.

Ironically, this is another case where someone else ends up speaking over her.

The episode ends with the first notable trigger for her emotional state worsening, which is one of the bandmates going off-script and ruining the whole "secret identity" thing by unmasking them live on stage to an audience of hundreds if not thousands.

Considering her character set-up and her issues and insecurities, this is about the second most terrifying thing to Mutsumi in the entire world.

As the bandmates argue and blame each other over what had happened, the show then proceeds to take time to showcase how the pressure and the stress of what had happened affect her psychologically and emotionally.

This is a character who had been defined by the impostor syndrome caused by the neglect of her parents and comparisons society draws to them due to their fame—essentially getting doxxed live to an audience of hundreds if not more.

The show then dedicates its runtime to showcase how this character is slowly ground down by the building up pressure and anxiety, the dam breaking due to the traumatic experience—especially when she flubs an interview, causing even more tension and pressure.

"Don't speak out; play your role; don't make mistakes; be perfect or people will hate you."

The show makes sure to slowly build tension and highlight the growing anxiety and the increasing levels of dissociation the character experiences from the world around her as she goes through interviews and photoshoots—interactions that only worsen her mental state by anxiously comparing her to her parents or reminding her of the mistakes she made, as numbness overtakes her.

The anxiety, the stress, and the tension within all build to the point of insomnia as the character retreats to the one place she was implied to feel safe in throughout the show—the rehearsal room at home where she would spend time alone playing her guitar.

Because, again, as implied, her parents don't exactly pay any attention to her beyond showering her with wealth, and everyone else views her as an extension of her parents. So for her this is one spot that is truly hers.

And even that spot has now been taken because her mother had offered the whole band to use the rehearsal room. It's no longer just her space.

Depression, anxiety, and insomnia are but a few of the things that both influence and happen as a result of dissociative disorders

The show highlights the character's worsening physical state due to her deteriorating emotional state, to the point that the character has trouble walking down the hallway.

More importantly, the people around her—her band, her parents, her friend—they don't realize that. If anything, they put more pressure on her shoulders, they tell her to not stand out, to play the role to perfection, to not ruin the performance or further ruin the band's reputation.

The pressure and tension build to the point where the show depicts the first on-screen dissociative episode for the character.

Experiencing dissociation from gazing into a mirror is actually pretty common, as is the idea of recognizing your reflection as someone else. It's not limited to DID, however. There are common experiences where people suffering from anxiety might feel a sensation that they are looking at a stranger for example. Gender dysphoria might also elicit a feeling that the reflection is "wrong".

The show also showcases another common DID symptom: losing large chunks of time as the character finds themselves jumping from the changing room to the middle of the scene without knowing how she had gotten there.

The scene also involves the character witnessing(and more importantly, recognizing) multiple of herself. While the most common way for the host personality to perceive alters is auditory, visual perception is also possible, as are all other senses.

The series of visual hallucinations ends with a character making a mistake live on stage and experiencing a complete dissociation as she slumps onto a stage prop chair motionless like a doll with strings cut..

Essentially, this is a moment when no one is in control. The host personality has experienced complete dissociation, but neither the host personality nor any alters are "behind the wheel.".

Now, to this point, the idea is still subtextual (barely) in that the story shows but doesn't tell what is happening.

However, what comes after this grows more and more textual.

The dissociative episode and perceiving multiple of "you" leads to the character experiencing even more vivid hallucinations.

This time, however, the character directly acknowledges and converses with an alter within her mind-space.

Having a healthy and proper way of communication between host and alter(s) is actually crucial to functioning as a healthy system and living with DID.

Most of the conversation, however, happens within mind-space, as the character relives her past experiences and memories as if she were watching them as an observer, with the alter narrating her life's story.

The mindscape is often metaphorical so the alters don't necessarily always appear human, but they always would be "humanlike", because the brain perceives the alter as alive. The form alters might take within the mindscape is often dependent on the kind of trauma a person has suffered.

The story as narrated by the alter establishes the reason behind why the character values playing the guitar so much—because it's something truly hers, something she had learned on her own and something that is in no way "because of her parents".

But she feels like she's not good enough.

She can't be expressive, she has trouble communicating her emotions, and thus her playing skills, while technically perfect, lack that self-expression capability.

She can't make the guitar sing.

And thus due to impostor syndrome, she concludes that being "wrong" somehow is why the bands she gets involved with on her friend's behalf keep breaking up—why her best friend keeps suffering.

A person suffering from anxiety, trauma, and neglect, someone who has issues expressing themselves, would often wrestle with issues of self-hate and depression and Mutsumi is no different there.

Experiencing one's own memories from an outside perspective, as if watching a movie or seeing themselves from outside observing something is once again quite common in terms of DID.

As the toxicity within the band keeps growing and her friend keeps suffering, the character's anxiety and stress build further, the auditory and visual hallucinations intensifying.

Just a reminder that while this goes on and Mutsumi slips in and out of her mindscape, her best friend, her parents, and the whole band are completely unaware of any of this. In their minds, the dissociative episode she had experienced was "her acting out" or "acting" or just being "closed-off".

This is the first case where the alter has a direct and open back-and-forth conversation with the Mutsumi, rather than narrating her life like before.

Alters within a system often end up serving specific purposes—because they are more comfortable doing something the host alter isn't. Sometimes it's a single memory the host can't parse or a personality trait.

The alter in question showcases worry for the host's well-being—A Protector.

The alter represents worry over the character's own well-being and where the current stressful self-destructive path may lead.

(Important Note: I do feel the need to say that alters do not neatly fall into classifications and there's not some "class system" for Alters that is always true. There are many complex reasons for how alters within a system can be and there's a lot still unknown, as is true with the overall human mind. Since alters aren't created or "split", an alter merely providing a specific role doesn't mean they exist solely for that role, as it becomes clear with the case within the show too.)

The alter believes that if Mutsumi stays with the band, she will experience the full brunt of the band imploding and the alter also perceives Sakiko as someone who is not healthy for the character—toxic even.

Mutsumi however reaffirms that she wants to support her friend no matter what, to always be by her side.

Eventually, however, as the days go on, and the band keeps arguing, the character ends up tying together what is happening now with a traumatic event in her past—her best friend's previous band imploding in a similar fashion.

The character draws parallels between the two situations—between two traumatic experiences—which further worsens their wellbeing.

As a side note I do love Dutch-angles and how universal they are in conveying things going wrong somehow or being unsettling.

All of this leads to the final straw—a confrontation with her best friend, where the character ends up being accused of "not being good enough" and "not supporting her like a friend should".

Why can't she smile or talk or be more social?

Now I do feel the need to interject and say that while her friend is completely in the wrong here, things aren't that simple. Sakiko also has her own issues, depression, traumatic experiences, and absolutely horrible life—all of which she is unable to properly parse and thus turns towards alienating everyone who cares for her rather than showing how hurt she is.

This is the final straw, the moment where the anxiety and traumatic experiences build up to the point where the host just wants to escape.

A moment where subconsciously she'd want to turn to the someone for help.

This is also the first time this alter is properly given a name (one of Mutsumi's stage persona, Mortis).

The scene is eerie and haunting, but it has to be—sleeping is as close as the situation can get to ego-death.

(Because, like I mentioned before, parts of a system can't "die".)

Once the stage play starts, both the bandmates and the audience are treated to a performance that is unlike the character's usual self.

Mortis fulfills their role, shielding the host from a traumatic experience, taking it up to themselves to do something the host would suffer trying to do. In this case, it's to pretend everything is fine and play the role her best friend expects her in the band—to smile and to talk and to help keep it together.

From this point on, Mortis is in control.

She smiles, is social, and delivers efficient jokes to lighten up the mood—she pays attention to the wellbeing of other bandmates and is extremely expressive.

It needs to be noted that the bandmates and parents STILL have no clue. The other bandmembers barely knew her for a month so they don't really see anything wrong with the change in how the character behaves. If anything they see it as an improvement.

Mortis is doing everything they can to do what the host was too anxious to—to be a perfect actress, supportive and caring for the band, and nurturing an environment where the band stays together.

There are a few problems, however.

For starters, Mortis doesn't know how to play guitar, at all.

It's a skill and talent the host alter developed and as far as systems go not everyone would have access to the same memories, experiences, or skills and it's possible for alters to develop different skills than the host too.

And second of all, as the one who wants to protect Mutsumi, Mortis feels disdain towards the main source of Mutsumi's anxiety and depression—her childhood friend, Sakiko.

In Mortis's eyes, the dissociative episode the host suffered and the extreme amounts of anxiety and stress are all because of Sakiko.

This comes to a head in a scene where Sakiko, after spending a whole episode feeling uneasy because of how different Mutsumi is now, decides to have a one-on-one talk with her about what's going on.

It's in this scene that the show textually acknowledges DID.

What finally tips her off is that Mortis refers to her differently than Mutsumi would.

This scene also provides a direct affirmation of the fact that parts of a system don't "die"—they might however go dormant and "fall asleep".

As a side note, the scene does contain ominous framing, but it's mainly due to it mainly being from Sakiko's POV. The writing, however, makes it extremely clear Mortis isn't a villain as much as someone protective of Mutsumi and spiteful towards Sakiko due to her neglect of her best friend—and that Mortis isn't entirely wrong to blame Sakiko for this.

This is kind of surprising because that's pretty "new" information as far as the medical topic of DID goes. People used to think alters could die due to a faulty understanding of the idea stemming from the older now debunked theories as I mentioned before.

The reality, however, is, that alters aren't really something "different" nor "created/split"—a system has the same brain, and the same biological functions, which means the brain can't perceive itself as "dead".

DID develops at a young age due to neglect trauma or abuse. It doesn't suddenly happen because of some extremely tragic event as fiction often depicts it (the tragic events however can cause the host to dissociate and push specific trauma onto an existing alter).

The show, once again, acknowledges that too!

The scene basically spells out that Mutsumi's DID developed at a young age as a result of parental neglect and anxiety. Note that the show doesn't imply Mortis "having been created" ever.

Mortis basically spells out what Mutsumi wouldn't have been able to say—she speaks of the stress the band had caused Mutsumi and how Sakiko's neglect and toxicity ended up causing her to retreat into sleep.

(Once again have to add this: Alters can differ in terms of their thoughts, species, speech patterns, gender orientation, etc. Alters even can have different heart rates, eyesight, and how they respond to allergies.)

Mortis is resolute to protect Mutsumi and her band, but she's also a child—one that can be very blunt in the ways Mutsumi isn't and also naive in the way Mutsumi wouldn't be.

She can't help but detest Sakiko for her toxicity and the trauma it has caused.

She bluntly states that Mutsumi ceding control to Mortis is Sakiko's fault and if Sakiko keeps acting this way instead of actually parsing her problems, Mutsumi might never return.

Mortis isn't merely "a role protecting someone". She is childish and she is, in a way spiteful and she has an opinion about Sakiko that Mutsumi might not agree with.

There's a struggle there because the dissociation between the two alters is too big—there's a lack of communication as once Mutsumi gets to interact with Mortis again, the two are talking past each other.

Mortis is way too focused on what Sakiko had caused and on how it had hurt Mutsumi, while Mutsumi is still ever so focused on how much Sakiko herself is hurting and ignoring her own problems.

It's somewhat common for alters to communicate their memories or experiences with each other via mindspace creating a filing system of sorts as some described it as a computer with a search bar or a cabinet.

The show makes sure to highlight the dissociation currently between Mutsumi and Mortis and the communication between the alters having been strained due to conflicting motives and viewpoints on their mental wellness and how much a person Mutsumi cares about affected it.

The show also doesn't shy away from the problematic treatment of mental wellness in the world and how often it gets sensationalized.

The first major example is the public's reaction to Mutsumi dissociating on the stage—the band is flooded with demands to REPEAT that "performance". In fact multiple show appearances and stuff set that as a condition for the band appearing at all. To the public there's not even an ounce of worry that this was something real—to it couldn't have been anything but acting. Which is actually a common toxic reaction towards systems in the real world. Even within the Ave Mujica tags there were people screaming how "Mutsumi must be just pretending to have it".

Even one of Mutsumi's teammates mistakes her dissociation and Mortis for masterclass acting talent and is STILL haunted and feeling inferior by it even after she KNOWS what actually happened.

The characters also use the outdated term "split personality" when conversing about Mutsumi and Mortis and a majority of the cast doesn't "get" what this is and are way out of their depths—Sakiko blames herself for "having broken" Mutsumi, Umiri and Uika just completely don't care, Nyamu feels insecure and the MYGO cast are also just as out of their depths even though they display far more empathy.

It's a sheer contrast to one character who has no direct connection to Mutsumi but is known for her blunt nature and ends up recognizing both Mutsumi and Mortis as individuals (even asking for the name of each alter when they exchange introductions) and befriending Mortis.

Likewise, when Mutsumi and Mortis end up arguing over their motives and goals and falling down the stairs, the first reactions the onlookers have is to...snap photos and film the situation because it's a famous person and maybe this is some performance too! A completely cold and cruel audience of observes that keeps snapping photos even as another characters desperately begs them not to film this.

And of course, it gets shared and goes viral on social media.

Overall so far the representation of DID and overall mental-wellness issues in Ave Mujica (and MYGO) have been the series highlight and I certainly hope the show continues to treat the subject matter with care and research needed as it further delves into the character.

Another highlight is the variety of issues and insecurities the other main characters are facing—from Sakiko's complex traumatic experiences and implied self-harm tendencies, to Uika's obsession, to Nyamu's insecurities to Umiri's complete emotional disconnect and compartmentalizing to the point others see her as lacking empathy (even though that last scene implies it's not completely true, so we don't really know what's exactly going on there).

Ave Mujica, if it lands, is shaping up to be one of the best shows in a while when it comes to character introspection and psychological themes.

[blorbologist]

Y'know, I think I figured out why the Hells still feel like a new low-level party to me, even though they're level 13 and almost 100 episodes in.

I don't quite think it's the lack of conversations, or the fact half the party's plot hooks are big ties to past campaigns - though that definitely plays a part.

... Bell's Hells still primarily rely on quest givers.

Most of their goals are given to them and do not feel organic to the party, and constantly remind us that the Hells are pretty much never the most powerful people in the room. Which is usually something you see with a low-level party.

NPCs offering jobs is not a bad thing; it's a very common plot hook. Matt has been extremely skilled with using NPC quest givers in those two campaigns. Not only do they provide an obvious plot thread, but they can put the party in the path of others (say, the Nein running into the Iron Shepherds while doing a job for the Gentleman and everything that came of that). And the Hells had a solid start with it too - Eshteross was an excellent quest giver!

The problem is that Bell's Hells have never really not had a quest giver.

Maybe it's a byproduct of the more plot-heavy structure of this campaign? But while prior parties have felt like they decided on their course of action and what they prioritized, Bell's Hells feels less like level 13 (13! Level 13!) experienced adventurers and more like an MMO group clicking on the exclamation point over an NPC's head. Where does the plot demand we go next? Who do we report back to?

They're level 13.

At level 13, Vox Machina had just defeated a necromantic city-state to clear their name and Percy's conscience. And, you know, the Conclave just destroyed Emon. No one was explicitly telling the group to gather Vestiges and save the world (though Matt guided them there), and they were usually among the most powerful people in the room. They chose which Vestiges to prioritize, which dragons to tackle when, even if the over-all plot was pretty clear.

At level 13, the Mighty Nein were celebrating Traveler Con (another PC goal, I'll note) after brokering peace between two nations, accidentally becoming pirates and heroes of the Dynasty. The Nein regularly chose what to do based on personal goals, not grand ones. Though definitely smaller fish than Vox Machina at this level, they were very independent and gaining solid political clout.

While we're at it: level 13 is one level lower than the Ring of Brass, who had a huge amount of sway over Avalir. They ended the world, and also saved it, while in the grand scheme of things being only a smidge more powerful than Bell's Hells are now.

Can you really see the Hells wielding that amount of influence, when they're constantly being told what to do next?

The god-eater might be unleashed, so Bell's Hells have no time to do anything but what is asked of them. No time for therapy unless stolen from Feywild time, no travel on foot and late-night watches. They haven't even had time to grieve FCG. Percy was grieved in the middle of the Conclave arc. Molly was grieved when half the party was still in irons.

Matt is in the very unfortunate spot of not being able to give the Hells the same agency as the other two parties. Not only because of the world-ending plot introduced so early on; they are surrounded by characters they know (and the cast knows) are stronger and wiser than them - the familiarity of the past PCs and NPCs is to their disadvantage.

Why would the party reasonably ignore Keyleth's task that will help save the world and go off on a romp? Why would the cast when they know well Keyleth has to be sensible and with the best intentions in mind? The stakes are just too high.

It means that the Hells still feel like they're running errands instead of pursuing their own destiny. Their accomplishments are diminished as just being parts of a to-do list, and any stakes feel padded by several level 20 PCs/NPCs standing 5 steps away ready to catch them.

This isn't Bell's Hell's fault, nor is it Matt's. It could be amended, I think, if the Hells are really left to their own devices for a long period of time without support and shortcuts (like during the party split)... which would be really tricky to pull off at this point in the campaign.

They're level 13. They're big fish, but they're stuck in a pond full of friendly sharks, so they don't feel big at all.

[chekhovs-tantrum]

All of the kisses in the Locked Tomb series thus far, organized chronologically and described accurately

Inspired by @wifegideonnav's post on Tamsyn torturing us:

Suicidal ten-year-old makes out with corpse; gets possessed

^Same kid gets eyebrow kissy and baptism from hometown butch who she's definitely killed a few times

^Same kid sticks vomit-covered tongue into throat of vicious socialite immediately after lobotomy to forget dead girlfriend

Honorable mention because it happens offscreen: Dead Girlfriend's Mom (haunting same kid) (different haunting) vent-reminisces in memories about her unholy thruple-with-two-bodies

Socialite delivers averted cheek kiss with a womp womp womp

Sloppy bisexual thruple (different thruple) fuck God after lemon queen's ex-husband takes her cannibalized nun-wife's name in vain 

Dead planet baby feeling herself; kisses own reflection

DILF distributes daddy forehead smoochies

Dead planet baby perfectly mimics dead bestie's knuckle kiss to codependent bodysharing cousin

Honorable mention because there's plausible deniability: "horrifying noises" made by twins upon reunion 

Dead Girlfriend sees girl who owned/tortured her for years, stares longingly; dead planet baby rolls with it 

DILF gives real kisses to members of thruple (different thruple-in-two-bodies) before besties mutually explode in death-by-codependency

Dead planet back in second body. Bite. 

[kingthunder]

I saw a few of those "bg3 characters driving a car" headcanons and decided to do one myself for fun.

Lae'zel: She learned how to drive on the opposite side of the road from everyone else and her instincts are all wrong for her current location, but back home she's an excellent driver with a spotless driving record. She actually follows the service schedule in the car manual. She gets incensed at people who don't maintain their vehicle properly or who disobey road rules. Her car is immaculately clean. She would love to speed a motorcycle down one of those desert highways with no speed limit, but she's never gotten the opportunity and knows it's too reckless besides. But she wants to.

Karlach: She's had a motorcycle for ages and is a skilled if aggressive driver. However, she only recently learned how to drive a car. She is very enthusiastic about it and always volunteers to drive even though she's not very good yet. She's one of those people that do driving "pranks" like swerving back and forth to make people shriek/laugh, or doing "3, 2, 1 BLASTOFF" and gunning it. Could easily be provoked into an impromptu street race. Drives way too far on empty or with the check engine light on.

Shadowheart: Drives stick so that no one else can drive her car. It's a beat up old station wagon with a busted tail light and looks like shit on the outside, but inside she turned it into a goth mobile with like black velvet seat covers and stuff. She named the car but she won't tell you what. She has an air freshener hanging from the rear view mirror that smells like night orchids. She's a perfectly good boring driver with nothing to note about it UNTIL one day a cop tries to pull her over for her busted tail light and she hits the gas and pulls out all these street racing moves that you had no idea she was capable of and shakes the cop. She'll let you pick the music but if she doesn't like it her silent disapproval is so withering that you voluntarily change it to something she does like.

Astarion: Never got a driver's license and isn't about to get one now. Passenger princess who likes to control the radio but his taste in music sucks. He makes funny mean comments about other drivers and pedestrians. He'll complain if you ask him to fill the gas tank but he'll do it; you're paying for it, though. Actually pretty fun to go on a road trip with because he doesn't care about stuff like "making good time" and he's up for stopping anywhere that looks like it might be entertaining.

Gale: Never got a driver's license because he was always too busy with his studies to care and his mom drove him around and/or did all his errands for him anyway. He's real good at maps though and likes to be helpful by being the navigator. He's the smartest man in the world but he's completely stymied by a gas pump; you're better off pumping the gas yourself and sending him into the gas station for snacks. He always manages to conjure a full meal out of convenience food, somehow, and he's really good at feeding you while you drive.

Wyll: He saved up and bought his own fixer-upper car after getting kicked out of the house as a teenager. Good driver in general. People always think he would make a good designated driver, but actually he likes drinking socially and will politely decline requests to be the DD unless there's no one else available. Sometimes when he's having a bad day he blasts music really loud and finds a deserted area to just fuckin tear ass down as fast as he can go (he'll only do this alone and doesn't tell anyone about it). Never lets you pay for gas even if you offer. Will pick up hitchhikers.

Halsin: Has been driving the same car since 1973. Drives that specific car really well. If you gave him a modern car he would have no idea what anything on the dashboard does. Honestly, he prefers to walk or bike anyway.

Jaheira: Has a fuck-off huge SUV full of empty cans and wrappers from her kids. Absolute maniac of a driver who tailgates and speeds with no regard for road signs or lane markings. She is going to GET where she is GOING and gods help you if you get in the way.

Minsc: Failed the driving test three times and just gets rides from Jaheira. This does not bother him in the slightest. He tells you that Boo can drive vehicles you've never even heard of.

Minthara: Has run someone over on purpose.

[theerurishipper]

Tim Drake, for no reason at all:

Dick Grayson, Tim's big brother in every conceivable way for the past several years:

[galactaknightyaoi]

HAPPY BIRTHDAY, GALACTA KNIGHT!!!! And congratulations to Meta Knight for experiencing the Cain Instinct for the first time.

Galacta Knight, as you might've been able to tell already, is one of my favorite characters, and KSSU is one of my favorite games (the original SS was my introduction to Kirby!) so I wanted to go all out. Happy day, old man. I pray for at least 20 more years.

Oh, and don't worry! He's not upset about the cake smash, he thinks it's funny. And he got back at him.

As for the in-universe explanation for there being 16 candles in his cake?

... 500+ didn't fit in safely.

The birthday boy and his family were just a bit too flammable.

[muffin-snakes-art]

They're playing Mario Party

[javsarts]

Got bored, I did some portraits of my main party

[pocketgalaxies]

We want to destroy my mother. (insp by @dadrielle)

[i-dreamed-i-had-a-son]

Honestly I understand why Megatron is obsessed with Optimus Prime. Megatron is doing his darndest to run an evil army, but because it's an evil army everyone is constantly betraying him. He tells them infighting is destroying them, heck, he's even tried to be empathetic, and they turn right around and attack either each other or (more frequently) him. Is it any wonder he's almost happy to see Optimus on the battlefield?? At least with him, Megatron knows what to expect--bro will be there to fight him every time. Simple! Consistent! An opponent who's actually in front of him instead of behind his back! What a relief...

In short Optimus is basically Megatron's comfort item and I don't blame him for that