#like a character is going to get all these cultural narratives but what if ... they were capable of decency and critical thinking?

[serpentface]

Do you conlang? I was wondering if you had naming languages (or possibly even more developed ones) for pulling the words you use. I tried to search your blog but didn't find anything, wouldn't be surprised if the feature is just busted tho. Your worldbuilding is wonderful and I particularly enjoy the anthropological and linguistic elements.

Ok the thing is I had kind of decided I was not going to do any conlanging because I don't feel like I'm equipped to do a good job of it, like was fully like "I'm just going to do JUST enough that it doesn't fail an immediate sniff test and is more thoughtful than just keysmashing and putting in vowels". And then have kinda been conlanging anyway (though not to a very deep and serious extent. I maybe have like....an above average comprehension of how language construction works via willingness to research, but that's not saying much, also I can never remember the meanings of most linguistic terms like 'frictives' or etc off the top of my head. I'm just kinda raw dogging it with a vague conceptualization of what these things mean)

I do at least have a naming language for Wardi (and more basic rules for other established languages) but the rudimentary forms of it were devised with methods much shakier and less linguistically viable than even the most basic naming language schemes, and I only went back over it LONG after I had already made a bunch of words so there's some inconsistencies with consonant presence and usage. (This can at least be justified because it IS a language that would have a lot of loanwords and would be heavily influenced by other language groups- Burri being by far the most significant, Highland-Finnic and Yuroma-Lowlands also being large contributors)

The 'method' I used was:

-Skip basic construction elements and fully move into devising necessary name words, with at least a Vibe of what consonants are going to be common and how pronunciation works -Identify some roots out of the established words and their meanings. Establish an ongoing glossary of known roots/words. -Construct new words based in root words, or as obvious extensions/variants of established words. -Get really involved in how the literal meanings of some words might not translate properly to english, mostly use this to produce a glossary of in-universe slang. -Realize that I probably should have at least some very basic internal consistency at this point. -Google search tutorials on writing a naming language. -Reverse engineer a naming language out of established words, and ascribe all remaining inconsistencies to being loanwords or just the mysteries of life or whatever.

I do at least have some strongly established pronunciation rules and a sense of broad regional dialect/accents.

-'ai' words are almost always pronounced with a long 'aye' sound.

-There is no 'Z' or 'X' sound, a Wardi speaker pronouncing 'zebra' would go for 'tsee-brah', and would attempt 'xylophone' as 'ssye-lohp-hon'

-'V' sounds are nearly absent and occur only in loanwords, and tend to be pronounced with a 'W' sound. 'Virsum' is a Highland word (pronounced 'veer-soom') denoting ancestry, a Wardi speaker would go 'weer-sum'.

-'Ch' spellings almost always imply a soft 'chuh' sound when appearing after an E, I, or O (pelatoche= pel-ah-toh-chey), but a hard 'kh' sound after an A or U (odomache= oh-doh-mah-khe). When at the start of a word, it's usually a soft 'ch' unless followed by an 'i' sound (chin (dog) is pronounced with a hard K 'khiin', cholem (salt) is pronounced with a soft Ch 'cho-lehm')

-Western Wardin has strong Burri cultural and linguistic influence, and a distinct accent- one of the most pronounced differences is use of the ñ sound in 'nn' words. The western city of Ephennos is pronounced 'ey-fey-nyos' by most residents, the southeastern city of Erubinnos is pronounced 'eh-roo-been-nos' by most residents. Palo's surname 'Apolynnon' is pronounced 'A-puh-lee-nyon' in the Burri and western Wardi dialects (which is the 'proper' pronunciation, given that it's a Kos name), but will generally be spoken as 'Ah-poh-leen-non' in the south and east.

-R's are rolled in Highland-Finnic words. Rolling R's is common in far northern rural Wardi dialects but no others. Most urban Wardi speakers consider rolling R's sort of a hick thing, and often think it sounds stupid or at least uneducated. (Brakul's name should be pronounced with a brief rolled 'r', short 'ah' and long 'uul', but is generally being pronounced by his south-southeastern compatriots with a long unrolled 'Brah' sound).

Anyway not really a sturdy construction that will hold up to the scrutiny of someone well equipped for linguistics but not pure bullshit either.

[sallykie]

I've decided. I don't like the HTTYD movie sequels' xenophobia era. I don't think the themes should have gone that way.

[doedipus]

a large amount of time I've been spending on -untitled undefined scope original fiction project- since the last time I posted about it has been trying to develop the protagonist concept I came up with last summer or whatever into like, a character that would feel real and era appropriate.

it's fun research to do. naturally a lot of the details I assigned to her are things that I already think are cool, so it's been a lot of fun trying to trace her traits back through the relatively recent past, getting reminded of how much things have changed, or where the gaps in my intuition are, and then doing a flurry of reading to get a sense for exactly how someone like her and the people around her could have happened and what her life was probably like leading up to her present day. hopefully this results in some good good verisimilitude.

[dataframe]

i'm leaving it off just after chapter 10 because otherwise i will be reading this for the rest of the night without properly processing it but truly. truly. this series was made for me. everything abt these two already i am so curious to see where it goes...

[pyrrhiccomedy]

I feel like we need a refresher on Watsonian vs Doylist perspectives in media analysis. When you have a question about a piece of media - about a potential plot hole or error, about a dubious costuming decision, about a character suddenly acting out of character -

A Watsonian answer is one that positions itself within the fictional world.

A Doylist answer is one that positions itself within the real world.

Meaning: if Watson says something that isn't true, one explanation is that Watson made a mistake. Another explanation is that Sir Arthur Conan Doyle made a mistake.

Watsonian explanations are implicitly charitable. You are implicitly buying into the notion that there is a good in-world reason for what you're seeing on screen or on the page. ("The bunny girls in Final Fantasy wear lingerie all the time because they're from a desert culture!")

Doylist explanations are pragmatic. You are acknowledging that the fiction is shaped by real-world forces, like the creators' personal taste, their biases, the pressures they might be under from managers or editors, or the limits of their expertise. ("The bunny girls in Final Fantasy wear lingerie because somebody thought they'd sell more units that way.")

Watsonian explanations tend to be imaginative but naive. Seeking a Watsonian explanation for a problem within a narrative is inherently pleasure-seeking: you don't want your suspension of disbelief to be broken, and you're willing to put in the leg work to prevent it. Looking for a Watsonian answer can make for a fun game! But it can quickly stray into making excuses for lazy or biased storytelling, or cynical and greedy executives.

Doylist explanations are very often accurate, but they're not much fun. They should supersede efforts to provide a Watsonian explanation where actual harm is being done: "This character is being depicted in a racist way because the creators have a racist bias.'" Or: "The lore changed because management fired all of the writers from last season because they didn't want to pay then residuals."

Doylism also runs the risk of becoming trite, when applied to lower stakes discrepancies. Yes, it's possible that this character acted strangely in this episode because this episode had a different writer, but that isn't interesting, and it terminates conversation.

I think a lot of conversations about media would go a lot more smoothly, and everyone would have a lot more fun, if people were just clearer about whether they are looking to engage in Watsonian or Doylist analysis. How many arguments could be prevented by just saying, "No, Doylist you're probably right, but it's more fun to imagine there's a Watsonian reason for this, so that's what I'm doing." Or, "From a Watsonian POV that explanation makes sense, but I'm going with the Doylist view here because the creator's intentions leave a bad taste in my mouth that I can't ignore."

Idk, just keep those terms in your pocket? And if you start to get mad at somebody for their analysis, take a second to see if what they're saying makes more sense from the other side of the Watsonian/Doylist divide.

[quercus-queer]

In case anyone was wondering about the Lilo and Stitch movie here’s the highlights from someone chronically online enough to have seen the movie through snippets lol

Nani does in fact give Lilo up to the government, ppl defend it by saying David’s mom is her foster mom now but Lilo is still in fact in the system and can easily be taken away from David’s mom if conditions are “unfit”… the exact same situation Nani was in before lol

Took away all of Nani’s support system that the original movie develops for her except for David/his mom

Had Nani treat Lilo like a burden for “realism”… anyway…

Lilo literally says “you’re so smart Nani, I think you should join the Marines”

Nani was deeply connected to her culture and family, that aspect of her just isn’t there at the end of the day (and part of that is because Sydney is not indigenous Hawaiian and it shows… in looks, actions, and line delivery) and the conclusion to her story being giving up her kid sister to the state and leaving her home for a “better” education and future is atrocious

They had her go to California to study marine biology. First of all, it was implied she was a pro surfer in the og movie no hint of marine biology. Not every persons dream is college and it doesn’t need to be part of everyone’s story… the choice of “putting yourself first” in order to get a better education is very #girlboss… Second of all, Hawaii has multiple universities with marine biology programs that would give far more money and benefits to a native Hawaiian than literally any Californian school let alone UCSD lmao

They changed their island from Kauai to Oahu… most obvious reason they did this was because that is the island their resort is on and overrun with tourists. However, with this location change and their wack ass narrative changes they also made going to California even more blatantly propaganda because that is where the University of Hawaii at Manoa is… ALSO, Oahu has major cities… you know how Sitch has to find new meaning for existence because he can’t do what he was programmed to do because he’s stuck on an island with no big cities… yeah…

On this note, pretty much removed all substantial tourism commentary

Jumba is the villain, he sounds like a whiny computer nerd and it’s miserable

Pleakley is lame, rip queen 🕊️

Lilo is pretty well adjusted and normal lol? No fights, no biting, no trying to curse her enemies etc… she’s literally a normal girl which… alright then???

There is no Gantu (rumor has it this is at its core because they don’t want to make law enforcement look bad)

CGI is literally so fucking bad like besides aesthetics the actors literally don’t point to where Stitch is and when they’re supposed to touch it they often miss lol

Editing is also terrible. Every scene lasts like 5 seconds and is jarring, so genuinely terrible I think shows like this are gonna further ruin kids attention spans lmfao

Nani misses Lilo’s actual performance instead of just being late to pick up Lilo from practice after getting into a fight…

Myrtle isn’t white #diversity win

No ugly duckling subplot

Bubbles is not the social worker and is working against the gang (again removing all of Nani’s support system, he literally shows up for every holiday with the fam in the og)

Changing the social worker role from an externally imposing black man with good intentions to a gentle woman has some undertones tbh considering this is the justification: “According to Camp, it was easy for audiences to believe that a towering man with a "Cobra" tattooed on his knuckles was a social worker in the animated movie​​​​​. However, that kind of exaggerated character design doesn't translate convincingly to live-action.”

The new social worker literally tells Nani that the right thing to do is to give up Lilo… very different from Bubbles doing his best to keep the sisters together. Keeping family together is a prime goal in social work btw…

[darth-memes]

Look, I know the situation was awful for the characters. But this made me happy in a way I cannot properly express.

This is Montserrat:

Anyway, time to yap about it under the cut.

It's one of the most important religious sites in Catalonia where I live. It's about one hour away from Barcelona and it is absolutely beautiful.

The building you see there? It's an abbey that has there for over a thousand years. It has survived invasions, fascist dictatorships and many other things and it is still at the center of catalan culture. It has one of the biggest libraries of the country and the oldest boy choir in Europe.

I have an uncle who is a high-ranking monk there so, we have known for years that Lucasfilms was doing something there but until recently we didn't know it was Andor. And I couldn't be happier with the result. I'm not a religious person, but I'm very close with my culture and Montserrat is part of it. Again, it is not that what was in the episode was a terrible situation, but still there were a couple of details that I loved.

The first was the wedding hike. Many people do a pilgrimage to Montserrat, you can get there walking (though if you go I recommend taking the train) and even if it was in a different context I loved seeing this element included in the episode. Also, the part were Mon Mothma says: "Gaze through the ancestral lands, some children sing, the elder waves her hand and we are all purified." Yeah, that sounds exactly like Montserrat. Again, terrible situation for the characters, but it's there! They filmed some scenes in Montserrat and incorporated elements that feel like it!

The other one was the statue that was unveiled in the wedding. Though there is certain tones of colonialism to the gesture, if you know ANYTHING about catalan culture and it's history, you know how to this day, Spain and France have done their best to erase or assimilate it. The language, the culture... The day this episode came out was Sant Jordi, which is one of the most important festivities in Catalonia, one which Spain has been trying to assimilate as "El día del Libro", but traditionally, it has been a catalan festivity.

Montserrat has also been affected because of that during it's long history. And what do they return? They return is a statue!

Guess what's inside Montserrat?

This is La Mare de Déu de Montserrat (Our Lady of Montserrat) or La Moreneta. And, alongside Sant Jordi (Saint George in English) is the patronness saint of Catalonia. It has been in the abbey since it's founding, and although it has never been stolen like the statue in Andor, it has been hidden several times to protect against invaders. It's one of the most important symbols to our people.

So yeah, even though the situation of the characters in Andor it's shitty and not good, I can't believe that it took Montserrat to become Chandrila to see one of the pieces of my culture represented in a big production.

It's kind of bittersweet, because again, it's a terrible situation for Mon Mothma and Leida, but the bits and pieces that relate to Montserrat i found them beautiful and even more respectful than Spanish and French media usually depict (catalans are usually depicted as cold and greedy people who only think of money, when we are not erased all together from the narrative).

If you want to know more, this user has several posts about it:

Thanks!

[reunionatdawn]

Why I think you should be able to romance Yosuke in the P4 Remake

Canonically speaking, Yosuke is pretty much Junpei 2.0. The straight bro best friend to the MC who is obsessed with getting a girlfriend. However, there was a romance route for him that was cut from the game, probably late into development. This would have no doubt recontextualized his entire character arc.

"Comphet," short for compulsory heterosexuality, is a term used to describe the societal assumption that everyone is naturally heterosexual. This concept suggests that people may feel pressured to form heterosexual relationships due to cultural norms and societal pressures, rather than genuine attraction. My opinion is that Yosuke's original character arc was supposed to be an exploration of this idea, due to how much support there was for it in the narrative. And here’s why I think they should add this idea back in for the remake, which looks to be on the horizon.

In P4, everyone's shadow was connected to their sexuality or gender role. Chie was a tomboy who was jealous of Yukiko's femininity. Yukiko was a "Yamato Nadeshiko" who was sick of being fetishized as the ideal girl, which in Japanese culture, is often overly meek. Kanji was bullied because of his feminine hobbies and adopted a hypermasculine thuggish persona. Rise felt disillusioned with her oversexualized idol persona and the performative aspects of show business. And Naoto dealt with internalized misogyny which manifested in her adopting a male persona.

Yosuke: And what's this about checking out this world for Saki-senpai's sake? Hah! I know the real reason you came snooping... You just came because you thought it sounded like a good time! What else is there to do in this shithole? A world inside the TV—now that's exciting! You didn't have a single other reason for coming here, did you!?

Yosuke was the odd one out, as his shadow mainly involved his repressed resentment at living out in the countryside and being very lonely. His shadow also had the least humiliating baggage to expose. He had feelings for Saki. But his shadow self's "dark secret" was that he was more excited about exploring the TV world than genuinely investigating her death. Shadow Yosuke accuses Yosuke of not being as sweet on Saki as he appeared to be. However, this idea didn't really go anywhere.

When the Magician card is reversed in a Tarot reading, it can suggest manipulation. In a relationship context, it means that someone may be presenting a false image or facade in order to manipulate the perceptions of others. And that idea certainly fit Yosuke. He pretended to be carefree. But what if he was also pretending to be heterosexual? What if the "horny straight bro" was just a mask? Is there any evidence of this? Actually, I think there was.

Shadow Yukiko: Tonight, Princess Yukiko has a big surprise—I'm gonna go score myself a hot stud! Welcome to "Not a Dream, Not a Hoax"—Princess Yukiko's hunt for her Prince Charming! And I came prepared: I've got my lacy unmentionables on, stacked from top to bottom! I'm out to catch a whole harem, and the best of the lot is gonna be all mine!

The Shadows in P4 are partly comprised of the suppressed thoughts and emotions of the actual person. There was a part of Yukiko's subconscious that felt like she needed a "Prince Charming" to save her. But the shadows who showed up on the Midnight Channel were also formed from the desires of what the general public wanted to see. Yukiko herself didn't really want to score with a harem of hot studs. It was the male students at Yasogami High who truly wanted to see that happen.

Yosuke was very nonchalant about failing the "Amagi Challenge". He took it in stride, almost as a badge of honor. And I found it very interesting how he showed absolutely NO reaction whatsoever to what Shadow Yukiko said. Nothing. If it were any other boy at school, I'm sure he would have had something to say about the most popular girl talking about how badly she wanted to lose her virginity to a bunch of hot studs. But Yosuke acted like he couldn't have cared less. He just said that the stuff she was saying sounded weird and that was it.

Yosuke: I haven't changed addresses since before we moved to Inaba. I mean, I might get a text from someone…It's hard to call, y'know? If I called people just to tell them my number changed, they'd get annoyed. And some of them never planned to text me anyway… Oh but hey, don't look at me like I don't have any friends!

According to Saki, "Hana-chan" didn't hang out with the other guys much. But in Rank 3 of his Social Link, it seemed like he desperately wanted to have closer relationships with male friends. And that may have been the true reason he happily took on the Amagi Challenge when he was a new transfer student. He probably just wanted to fit in with the other boys.

Yosuke: Haha…I never thought I'd be talking about serious stuff like this. Before I moved here, it was all small talk…Stupid, trivial things. I thought that was fine. It's only with you guys that I talk seriously like this. I dunno why, but I feel like I don't have to lie… Especially with you. You've already seen the worst of me and all. But well…thinking about it now, if someone had to see that, I'm glad it was you. It's a bit late now, but… Thanks for going in with me that time. Yosuke is smiling sheepishly…

By Rank 4, Yosuke acts very different around Yu than he does around the rest of the Investigation Team. He never acts this serious or sincere around anyone else. The other members of the group also open up emotionally to Yu. But Yosuke especially acts like a totally different character. He takes off his mask around Yu and only Yu. He's probably the first friend—especially a male friend—that he ever had where he could just be himself instead of adopting a false persona to fit in.

Yosuke: I can't get my mind off certain things whenever I have a spare moment… (option 1) Yu: Certain things? Yosuke: Uh, you know…stuff. I mean, well… Argh! Let's not get into it! Why do I get the feeling this is going to turn into a depressing conversation!?

During an evening conversation that occurs around Golden Week, Yosuke hints at some unresolved baggage related to his Shadow.

(option 2) Yu: Like Saki-senpai? Yosuke: Oh, come on... Of all the things you could bring up, you pick that one? I mean, that's part of it, but... I dunno, how do I put it? Argh! Let's not get into it! I don't wanna have this conversation!

Saki was part of it, but not the only thing. And he was blushing, too. The implication was probably that he was developing feelings for someone other than her and he might have been feeling a bit guilty for that. Or at least, that was my own personal interpretation.

Yosuke: Y'know, Chie and Yukiko seem different lately. They're a lot closer. Oh yeah, I was just curious, but are you...Ehh, never mind. If we keep chatting, we're gonna be late.

But there is evidence for that interpretation. After Golden Week is over and the group is headed back to school, Yosuke attempts to ask Yu if he is interested in Chie or Yukiko. The fact that he was so hesitant about asking made it stand out a bit to me. He probably had feelings for someone within their friend group.

Yosuke: Oh, I almost forgot. It's kinda off-subject, but as long as you're on the line, mind if I ask something? It's something I've been meaning to ask for a while. So…what do you think about Yukiko and Chie? I mean, let's not mince words: Which one's your type?

Before the stakeout for Kanji, he finally asks Yu which girl is his type.

Yosuke: Huh? Seriously? So that's the kinda girl you go for, huh...? She is a great girl, though. Plenty of fun to be around, too.

If Yu answers that he's interested in Chie, Yosuke acts a bit surprised. Not in an insulting way. He just assumed it would be Yukiko because all the guys in school were crazy about her.

Yosuke: Ohhh, I had a feeling you'd say that. She's actually pretty interesting. I never knew she was like that. My image of her has changed completely, but I like her way better now. Hey, but don't worry. This is just between you and me. Okay, see you tomorrow.

If Yu says that he is interested in Yukiko, Yosuke says he suspected as much. He doesn't say anything about her looks or anything. Interestingly, he just says that his image of her has changed, but he likes Yukiko more now after seeing her true self. Almost as if he didn’t have a very great impression of her before.

Yosuke: That being said…Yukiko, can I have your cell number? Chie: Hey…Was this your plan all along? Yosuke: Uh, no? I got everybody's phone number except for hers. And the Y section of my address book needs some filling out.

During the stakeout, he asked Yukiko for her phone number. So, the player would probably assume that Yosuke wanted to go out with Yukiko. That is what Chie assumed, after all. But I think that was a red herring.

Chie: Hey, how do you think the others are doing? Yosuke: Beats me. For all we know, he's hitting on Yukiko as we speak. Chie: Yeaaaah, no. He's not like you. Yukiko doesn't seem to be interested in that stuff anyway. Wait—are you saying he's interested in her? Yosuke: Huh!? Uh…I…wouldn't know…We don't really talk about that kinda stuff…Hahahaha. Chie: Now I'm even more suspicious! You know something, don't you? Yosuke: I-I seriously don't know! It's not like we've been hanging out that long, haha…

But Yosuke actually seemed less interested in Yukiko herself and more interested in the possibility that Yu might be interested in her. Even if Yu tells him that he's not interested, Yosuke probably didn't believe him. So, it’s possible that he wanted to become closer friends with Yukiko so that he could know right away if she and Yu started dating.

Shadow Kanji: I think that you three…would make wonderful boyfriends. Yosuke: S-Stop it! Y-You got it all wrong!

Kanji's arc introduces the idea of homosexuality into the story. And Yosuke got worked up over Kanji's shadow FAR more than he did with Yukiko's. When he called Yu after Kanji's Midnight Channel program aired, he was "too flustered to get his point across". And Yosuke felt the need to deny Kanji's Shadow almost as much as Kanji himself did.

Shadow Kanji: Accept me for who I am! Yosuke: Wh-Whoa! I really don't swing that way!

It gave me the impression that themes of Kanji's dungeon were just as relevant to Yosuke's character arc as they were to Kanji's. Perhaps even more so in some ways.

Kanji: I, uh…I don't really get it myself. Girls are so loud and obnoxious, so, y'know…I really don't like dealing with 'em. Guys are a lot more laid-back. S-So, uh, I started thinking…What if I'm the type who never gets interested in girls…? And I couldn't accept that, so I kept spinning around and around in my head… Yosuke: Well, I can understand the part about feeling more relaxed around dudes.

Homosexuality is a societal taboo. It is often something that people suppress and do not accept within themselves. It is actually the perfect subject to explore for a game about the shadow self. I don't think Kanji was gay. But I do think that Yosuke was originally supposed to be. And a lot of what Shadow Kanji said hit a little too close to home for him.

Chie: Well, the night's kinda fun. We cook our own meals with mess kits and sleep in tents. Yukiko: The four of us are in the same group. Yosuke: The same group, huh…? Does that mean we sleep together at night, too!? Chie: You wish! Guys and girls sleep in different tents! I'm warning ya…If you leave your tent at night, you'll be expelled on the spot.

When Yosuke found out that they were all in the same group, he actually stood up out of his chair. You're meant to think he reacted this way because he was thinking about sharing a tent with girls. Typical straight teenage boy. But I'm sure he knew they weren't sleeping with the girls on a school trip. His reaction probably had nothing to do with the girls. He probably got worked up about sleeping in the same tent as someone he had been developing feelings for.

Yosuke: This is as good a time as any, so…I-I want you to be honest with us. Kanji: Uh…okay? Yosuke: A-Are you really…you know…? Kanji: Am I really what…? Yosuke: What I mean is, uh…Are we gonna be safe with you? Kanji: Wha—!? Wh-Wh-What the hell's that supposed to mean? I-I already told you guys I'm not like that!

According to Jung, psychological projection is a major aspect of the shadow. When individuals project, they unconsciously attribute qualities that belong to their own shadow onto others. This allows them to avoid confronting these aspects within themselves. If they had stuck with that original idea, I don’t this scene would have been so controversial and offensive to people. By taking Yosuke's same-sex attraction out of the narrative, the game felt a lot more juvenile as a result. Yosuke's homophobia could have been used to explore his shadow self. But instead, it was just used to take cheap shots at Kanji for no reason other than comedy.

Yosuke: W-Well then why are you all hot and bothered about it!? That's just more suspicious!

The irony of this line certainly wasn't lost on me. And I don't think the writers were so lacking in self-awareness that they didn't realize how Yosuke was the one getting all hot and bothered by anything related to homosexuality after Kanji's dungeon. I think it was supposed to raise some suspicions in the player about Yosuke's sexual orientation.

Yosuke: And c'mon, you guys gotta admit I chose some good suits. Those girls might be childish on the inside, but I bet they're gonna turn into some fine-looking women before too long! Don't you think so, Yu?

If Yosuke was always intended to be written as a straight guy or even a bisexual guy, this part would come across as misogynistic and kinda creepy. Even Stupei wouldn't buy swimsuits for his female friends. But if Yosuke was actually meant to be a gay boy, this is more of a sad attempt at imitating a straight boy to appear "normal". And if that were the case, his behavior with girls is a lot more forgivable.

Yosuke: So…? You keep the goods under the futon? (option 1) Yu: Huh? Yosuke: C'mon…No need to play dumb. Don't worry. I'll still be your friend even if you're into the freaky stuff. Yosuke looks like he's having fun.

Yosuke wasn't truly interested in Yu's dirty magazines. He was only interested to learn more about what kind of girls he was into. I know they added a scene in Golden where Teddie finds Yosuke's porn stash and he shows it to his parents. It's played straight as pure comic relief. "Haha, Yosuke never stops thinking about girls". But in his Rank 5 SL, this felt like it was meant to be a more serious topic.

(option 2) Yu: Of course. Yosuke: Hahaha! Why are you acting so dignified about it? Alright, I'll check 'em out when you go take a piss or something. I'll expose your embarrassing tastes!! Yosuke looks like he's having fun.

The "embarrassing tastes" comment was interesting.

(option 3) Yu: What, don't you? Yosuke: Haha! Like I'd hide mine in such an obvious spot! One time, my mom found it and read the title out loud to the whole family… Yosuke is reflecting on his past…

It actually sounds like Yosuke was the one with "embarrassing tastes". If his mom felt the need to shame him in front of the family like that, it leads you to wonder what he was looking at exactly. Sure, it could have been some typical straight boy stuff. But what if it was a men’s magazine or something? Depending on how traditional his family was, he could have received disapproval for that.

Yosuke: So, you ever invited a girl in here? (option 1) Yu: I haven't. Yosuke: Haha, maybe you're more of a man's man than I thought. Yosuke seems happy…

Yosuke seems happy if Yu is not planning to bring a girl over.

(option 2) Yu: I will soon. Yosuke: Seriously!? That mean you're working on someone!? Yosuke is keyed up…

And he gets keyed up if he is.

(option 3) Yu: I have. Yosuke: Seriously!? Who'd you… I'll stop there. I think it's better I don't know. Yosuke is smiling wryly…

He probably assumed it was Yukiko and he didn't wanna know any more details than that. Again, due to comphet, most people would probably assume that he was just jealous because he wanted to date her himself.

Yosuke: Because she likes him…? M-Man, kids sure are mature these days…Well, my first love was in first grade, too! I've always been ahead of my time. But, well…I don't really need that in my life right now. It's just not the time…I have something I need to do before that can happen…

But he actually didn't. His true feelings are quite different than his public persona where he's obsessed with getting a girlfriend. Especially in Golden, like with the motorcycle scene. Yosuke said he was ahead of his time. And I think he was. His character arc seemed to be about being closeted and coming to terms with it. But that was a trickier subject during the time period which the game first came out.

Rise: And the bustline… Yosuke: Huh? Rise: Mine aren't that big. Yosuke: Oh yeah, I see what you mean now… I-I mean…What am I saying!? U-Um, I'm sorry…!

Similar to Yukiko's Shadow, Yosuke had no real interest in the sexual aspects of Rise's Shadow. The Midnight Channel zoomed in to emphasize her chest and waist area, which was due to the general public's interest in her sex appeal. Yosuke told Yu he could tell it was Rise by the hairstyle. However, in front of the others, he said he knew it was her because of her figure. It's a minor detail, but it suggests that his reaction was completely performative. He didn't even recognize her figure in person that well anyways.

Chie: Let's hurry and rescue her! Yosuke! You better not slack off, hoping she'll "bare it all" if we take our sweet time! Yosuke: I-I wouldn't pull a stunt like that! Yukiko: …… Yosuke: Wh-What's with the silent treatment!? I won't do that, I swear! Believe me, I know! We'll rescue Rise before the fog sets in!

The female members of the team assume that Yosuke would want to take as long as possible to save Rise so he could see her strip.

Shadow Rise: Eee, how embarrassing! Is this too hot for TV!? Well, if a thing is worth doing, it's worth doing all the way! I'm gonna bare it all for you! Heehee! Stay tuned! Yosuke: I-Is she serious about baring it all!? Is it me, or are these shows getting crazier and crazier!? Yosuke sounds excited. Yu: We're in no rush. Yosuke: Huh? But if we don't recue her, isn't Risette gonna...s-strip...? *gulp* Dude, we can't let her go through with that!

However, if Yu actually suggests that they take their time, Yosuke doesn't even get why. He doesn't want to see her strip and never even jokes about it, like Junpei no doubt would have.

Snooty student: So it's Kazumi now that Saki's dead!? Don't even bother, she has a boyfriend. Didn't you get it!? Saki didn't like you! We heard so from her! She may have acted that way, but… They started to badmouth Saki-senpai… Yu: Shut up! Yosuke: Yu… Snooty student: Wha—Who are you!? You shut up! Yosuke: You're the ones who should shut up!! What do you know about Saki-senpai!? She didn't do things half-assed like you! She looked lazy, but she worked hard! She talked bad, but she was good inside! So she hated me? I knew that! She's not here anymore! I'm left behind! …Just leave me alone.

In Rank 6, Yosuke didn't become angry when he listened to the girls gossiping about Saki. He only lost his temper when they insulted Yu.

Yu: You were just upset. Yosuke: N-No, I was just… Yosuke is smiling pathetically… Yosuke: Damn…Another pathetic display from Yosuke, huh? Thanks, though. Hearing you say that stuff to them…It made me happy.

Saying "You were just upset" in Rank 7 is a flag that unlocks the option to hug Yosuke in Rank 8. And the Rank 8 hug was probably a potential romance flag, just like when Rise was crying, and the game warns you that this is an important moment and there's no going back. The fact that these flags were still left in the game suggests the romance route was taken out relatively late in development.

Yukiko: The people at the inn keep asking me questions every day, like "What kind of guy is he?" and "Is he handsome?" *chuckle* I'm sorry I got you involved. Yosuke: …… Oh, uh, I'm going to go take a little walk. Yukiko: Huh? No, it’s not what you think!

When Yukiko is at Rank 6, this is the dungeon dialogue between them. There was definitely a love triangle going on between Yu, Yukiko, and Yosuke. Yosuke was clearly jealous.

Kanji and Teddie were conveniently removed from the equation. But Yosuke was a King's Game option. Kanji wanted Naoto to enter the beauty pageant to prove to himself that he was into girls. And Yosuke signed up all the girls. Was he also trying to prove himself straight?

Yu: What kind of girl do you like? Yosuke: W-well, for me, um... I guess a girl that's kind and sorta fragile, you know? Someone I'd want to protect...

Yosuke actually had a hard time with this question. He gets one on those blank scribbly symbols over his head. He was actually describing a Yamato Nadeshiko, which is the idealized woman in Japanese culture. A very safe and generic answer for someone who is "totes into girls" but has no specific type. Kanji's answer to this question was more detailed because he had a specific girl he liked in mind.

Male class rep: Okay…your turn. Who would you want to date? Yu: Yosuke. Yosuke: Okay, we get it! You're good at role-playing! Now quit it! You're creeping me out… Kanji: There are many forms of love…Didn't you tell me something like that? Yosuke: No! Not at all! Well, I admit, I'm pretty dependable…and decent lookin', right?

If Yu sits on girl side, Kanji is also an option. However, Yosuke is the one who gets hot and bothered by homosexuality. At least in public. Privately, he apparently told Kanji off-screen that he had nothing against other forms of love.

Yosuke: Your turn. What type of girls do you like? Yu: A kind girl. Yosuke: Ooh, me too! You get this urge to care for and protect them...

If Yu sits on the boy side, Yosuke is the one who will be forced to sit on the girl side. And he will single out Yu with his question, to learn what type of girl he likes. He can respond that he likes a girl like Chie, a girl like Yukiko, or a kind girl. Yosuke is very happy if Yu says he likes someone he has the urge to care for and protect.

Yu: Any of us you like, Yosuke? Yosuke: Well, you guys are all wonderful... But I think you'd be the most reliable. I-I mean—You idiot! Don't make me play along!

Yosuke would choose Yu to date because he's "reliable". It begs the question. Did he want a kind girl to care for and protect? Or did he truly want to be the kind fragile girl being cared for and protected by a reliable guy?

Yosuke: …I found this. It's a Print Club sticker I took with Saki-senpai… When I first got here, she insisted on taking it… Back then…somewhere inside me, I thought I was above this place… A lot of people saw me as the enemy because Junes was going to ruin the shopping district. But…when I met her, she told me, "Parents are parents. You're you…" Even if she didn't really mean it…it made me happy. Because of her…I started to think maybe this town wasn't all that bad. But then… Yu: She dumped you? Yosuke: No… that didn't matter. As long as she was still alive…

Yosuke was still mourning Saki's loss in Rank 8. But his relationship with her was not particularly close. They were coworkers for less than a year and he knew she didn't even like him. However, she accepted him. That's why he latched onto her. He probably thought he liked her romantically. Maybe he even wanted to like her, since he was so lonely. But I think as he spent time with Yu, he slowly realized that he never really did. But he did have those feelings for Yu.

Yosuke: Yu…I get it now. I wanted to forget about Saki-senpai. How she's not here anymore. I wanted to forget that…I was living a boring life in the middle of nowhere. When the murders started, I got excited…I thought there was finally a point to me being in Inaba…I thought I could forget Senpai was gone…and the fact that I was such a loser…I jumped at the murders and never once thought about what I was doing… I… didn't even take the first step…

I believe Yosuke liked Saki as a person, but he wasn't in love with her or anything. She was a crutch to help him forget his loneliness. And when she died, he latched onto the excitement and mystery of TV world as a distraction. And he felt very guilty over that.

Yosuke: But I think I'm awake now… I need to get over the fact that Saki-senpai isn't coming back… That when this case ends… I'll have nowhere to run… And I won't have changed… …… …You made me realize that. It seems you were able to act as Yosuke's crutch… You feel a bond between you and Yosuke.

The reason Yosuke was crying was probably not because of his deep grief over losing Saki. It was likely because he had found a new emotional crutch. And he was a lot closer to Yu than he was to Saki and even more afraid of losing him. He was afraid of what would happen when the case was over, Yu went back home, and he was all alone again.

(option 1) Yu hugs him Yosuke: You dumbass…That's for girls…

Yukiko's character arc was about moving away from stereotypical femininity and the whole ideal of Yamato Nadeshiko. She became more independent and assertive. But I think Yosuke's character arc was probably meant to mirror hers in many ways. He wanted to be the "girl" in a relationship, but he learned to view that desire as something shameful and he was unable to acknowledge it within himself.

(option 2) Yu pats his head Yosuke: Haha... Quit treating me like a kid...

Amusingly, the kanji for nadeshiko (撫子) also literally means "child being petted".

Yu: Be a man. Stand up straight. Yosuke: Haha… You're right. I wonder what'd be going through my mind if I was man's man like you. Yosuke is smiling weakly…

Yosuke was not a man's man like Yu. He had an obnoxious dudebro persona he adopted in a social setting, but it was not his true self.

Yosuke: This town I hated so much? Now, I love it. There's still nothing here, but I have family and friends...and you. The important things are never far off...They're all around you. Yosuke seems a bit embarrassed... Yosuke: I always wanted to be "special." I thought my life'd finally have meaning if I was "special" to someone. That's why I was really excited when I got my Persona. But I really didn't need it…It's not what you have or what you can do…Just being born, living your life…Before you know it, you're already special to someone. Yu: You're right. Yosuke: Yeah…Like you…You're special to me, you know?

Comphet can cause people to pursue romantic relationships even when they are not sexually attracted to the person. They often don't feel like someone of the same sex is even an option. I don't think Saki was truly "special" to Yosuke. But he wanted to be special to someone else so badly, and he thought that a girl was his only option. So, he latched onto the first girl to show him a tiny bit of acceptance.

Yosuke: There's something I wanted to tell you. Somewhere deep down… I didn't trust you. No, it's more like…I was jealous of you. I thought you were like me. Coming from the city to the countryside, I thought you'd be bored out of your mind here. But as soon as you got here, you called your Persona…Became our leader, gathered people…You're a hero. I like you for that, and I'm proud of you…But I guess I was jealous at the same time. Yu: I didn't know. Yosuke: I didn't know it either…When I called you "special," I thought some more about it. I think out of everyone, I wanted to be acknowledged by you the most…

Yosuke had an unused confession where he would tell Yu that he liked him. And based on the Japanese wording, there's almost no chance it was meant in a platonic way. It's how people express romantic liking. He was jealous of how Yu was special. But I don't think it's because Yosuke wanted to be the hero, the way Junpei did. Yosuke wanted to be special to Yu. But he didn't feel like he was good enough because Yu was more objectively cool and special. He wanted to be an equal partner.

Yosuke: So… I want you to hit me! Give me a good one. Knock out all this crap inside me. I want to be equal to you. I want us to stand shoulder-to-shoulder. So c'mon… Will hitting Yosuke make you and him equal…?

In Rank 10, the game asks whether fighting will make them equal. I couldn't help but laugh. No, I didn’t think it would. It made no sense to me whatsoever.

Yosuke: Phew…The sky's so high up. Is Saki-senpai watching us…? Is she smiling at us? Senpai…I'm going to live. Without lying to myself, without deceiving myself… Days like today, days like before when I did nothing… They're all important days… They're all days you didn't live to see… I'm going to live them here.

As the culmination of his character arc, Yosuke said he would not deceive himself anymore. I was left wondering... When did that happen exactly? I could understand if this dialogue happened after Yosuke confessed his feelings for Yu and finally came out of the closet. Whether Yu reciprocated or not, it would have been an amazing conclusion to his arc and made him a much more interesting character. But sadly, it never happened.

I have no idea why they needed to have a fistfight for Yosuke's Persona to evolve. I think that when the romance confession part of the SL was taken out, the "dude brawl" scene was probably added in its place. They needed some emotionally cathartic moment, but didn’t really know what. I know this wasn’t the intention, but it almost felt like the game was telling me I had to beat the gay out of Yosuke. I didn’t like that.

The question now is: will Atlus change this Social Link in the inevitable remake? I think there’s a good chance they will. The P3 remake removed the transphobic scene. In Catherine, they added a route where Vincent embraced his bisexuality. And Yosuke’s over-the-top homophobia just wouldn’t fly nowadays without some kind of character development.

[starlit1daydream]

On the subject of Equius Zahhak: hypersexuality and patriarchy.

It's been a hot minute since I promised to write something like this, and I've been meaning to test a new writing style for these big posts anyways - so I'm going to try my hand at explaining my personal interpretation of Equius Zahhak.

Equius is one of my favourite side characters in Homestuck, and though the individual components of his characterisation are intentionally facetious and humourous, all of these components then come together to form a fantastic and deeply layered commentary, however unintentional.

Let's begin with the basics: our introduction to Equius proper.

The narrative makes it clear from the start how you're meant to feel about this guy for starters - he's a creep and a weirdo. Nepeta says as much in their very first interaction on-screen:

This is backed up by the narrator themselves exhibiting a discomfort with him, painting him as a cryptic and eerily observant loner:

Once again, he's making people uncomfortable. Discomfort is going to be a very common theme going forward, particularly once we tap into Equius' personal interests and the justification behind them.

The next sign is when we first see him properly on-screen, and the narrator is immediately mortified by the state of his room and advises us to move on with the story.

So, immediately, any cognizant reader knows what's up. This guy is a joke character. A punchline, a fool, a weird asshole with no redeeming qualities. This is, of course, the intended reaction.

...Which then brings us to the subversions involved with Equius' character. Every single off-putting and strange thing about him is subsequently repainted in a more flattering light by the conclusion of his screen-time.

What begins as an overcontrolling, possessive demeanour towards Nepeta becomes a genuine, albeit perhaps overbearing desire to protect his moirail from harm. The context of him being Vriska's neighbour helps us infer that he's very, very aware of the dangers of FLARPing.

What starts as a bizarre and testosterone-poisoned obsession with strength becomes more of a fleshed-out character flaw. It's an inherent fault that Equius cannot control that brings him more distress than anything else. We'll delve into that later.

This is not, of course, to say that Equius is without genuine fault. You are still meant to find problems with his behaviour, of course you are; the Aradiabot fiasco is an intentional violation of personal agency based around an unhealthy obsession. He allows himself and his moirail to die because of his refusal to disobey the vapid and classist hemospectrum.

Okay, so why is he like this?

I'm glad you've asked. This is where this delves more into conjecture, based around a few different things.

The state of the internet and online culture at the time of Equius' inception; and the ramifications therein.

What we know to be true about the aspect of Void, and how Equius interacts with it.

The added retroactive context of Hussie's handling of queer topics (as a non-binary person themselves!), particularly on the subject of gender identity.

Let's start with point one.

Equius and hypersexuality.

At the time of Homestuck's inception, it was a veritable fact that the internet was overrun with overt sexuality, oft for the sake of shock value as opposed to arousal. Screamers and shock sites like 2girls1cup, goatse, Mr. Hands... (that last one is particularly relevant).

I cite Mr. Hands in particular because therein we get to the use of bestiality as a gross-out punchline. This is what Hussie's invoking with Equius; you're looking at this guy and seeing a gross freak who hangs horse porn on his walls. It's appealing to the fact that:

Homosexuality was considered a funny punchline.

The furry fandom was considered a funny puchline.

Bestiality was considered a funny punchline.

And so, this thirteen year old child hanging gay horse porn on his walls is meant to be played for laughs.

But with the retroactive lens we're looking at this through now? It's not only deeply disturbing for reasons I don't think I need to explain, but it's also a portrait of unhealthy teenage sexuality and the ramifications of exposure to explicit content at a young age.

Because it's a veritable fact that Equius does not understand boundaries and has a deeply flawed relationship with his sexuality. It's the kind of hypersexuality induced by childhood exposure to sexual material, and I would go as far as to call it a kind of CSE.

Need more proof of this? Dave Strider. Bro's weird sex puppets and usage of pornography as a punchline undeniably fucked Dave up, and explains the way he so regularly uses sex, particularly gay sex as a source of humour. Dave is the same problem that Equius rises, played seriously at a point in the story wherein these things are no longer treated so facetiously.

Furthermore, it becomes clear that Equius does not actually understand what he is consuming and emulating. Pornography isn't pornography to him, it's fine art. He's uncomfortable and unhappy with his sexuality because he lacks a label for it and doesn't know what it is he's feeling. This is tied to his Aspect of Void; but more on that in just a second.

This is uncomfortable. It is meant to be uncomfortable.

Equius' toying with casteplay and power dynamics is a clear representation of this frayed relationship - and it also segues into our point about his lack of self-worth.

Equius, the Heir of Void.

The Void Aspect. The Aspect of irrelevance, secrecy, ignorance, simplicity and absence, amongst other things.

The Heir Class. The Class that indicates an overabundance of the player's Aspect that overwhelms them and embodies them.

Equius is he who inherits, becomes and is consumed by emptiness. Because Equius Zahhak does not have a sense of selfhood or self-worth. The inference brought about by his title as the Heir of Void is that Equius is overwhelmed by nothingness.

Combine this with his Dersite status and the consensus on Lunar Sway (Prospit indicating externalisation, Derse indicating internalisation) and you get a very clear image of how Equius' title translates.

An overwhelming, consuming sense of internalised absence and nothingness. This is where Equius' hemospectrum adherence comes in! It's a cover up to compensate for his purposelessness and lack of meaningful identity. He sees himself as being deficient in anything real or of substance, and so adheres to the system placed before him because it is the only thing he feels he understands.

Once again, this is uncomfortable and a real phenomenon amongst teen boys. We see it with Eridan, too; young and confused teenagers with no sense of purpose falling into harmful and bigoted pipelines because they have no sense of direction otherwise.

(In a roundabout sense this explains Tavros' role as well; The Page indicates a deficit in their Aspect throughout the session and so the trolls lacking Breath in the form of directionlessness fits fairly well).

It's almost like watching a young boy fall into the alt-right, or start feed into Andrew Tate-style snake oil bullshit. It's the exact same kind of exploitation on a much larger scale; because it's the whole of Alternian society orchestrated by Doc Scratch.

You know... the Doc Scratch meant to represent online groomers?

So, we've been over about all I can cover about Equius' sexual trauma, lack of boundaries and emptiness/lack of self. So, how does this translate? Particularly thinking on the last point, I'd like to give my two cents about a very interesting headcanon for Equius that's been circulating a lot lately.

Equius, and gender identity.

A transfeminine reading greatly enhances the content of Equius' character, and provides a narratively satisfying character arc and means of development for them.

(From hereon out, I will be referring to Equius by the pronouns she/her).

I've seen Nekropsii sum this up beautifully, and I'll paraphrase this interpretation to the best of my ability; Equius' manifestation of masculinity is akin to a poison to her.

It makes her into a grotesque, testosterone-poisoned freak that physically cannot interact with anything around her without hurting it. It is the metaphorical confusion and fury of dysphoria made literal. It is the emptiness and lack of self that I myself can corrobate as a trans woman myself.

Masculinity is a curse for Equius. Much like quite a few other Homestuck characters (Dave & Jake come to mind), Equius really fucking hates being a guy.

So, this ties into my final point.

How I personally would have developed Equius had she been given the screentime to keep being relevant to the story.

The transfeminine character arc seems obvious. I believe that, if a person would be willing and able to tackle the more obscene and deliberately uncomfortable components of Equius' character, you could make an incredibly raw and interesting portrayal of transition and identity.

What's more; this is corroborated by Equius' closest relationship. Nepeta Leijon, the Rogue of Heart. The girl whose role indicates the ability to share identity and selfhood. Nepeta could very, very easily function as a catalyst for Equius gaining her own identity and being helped through the transition process. It makes an already STRONG and stable moirallegiance all the more interesting and heartwarming to witness.

This is not to say that Equius should not have agency herself, of course; an important part of this development would be the formulation of an independent self without debilitating outside influence. It would be allowing herself not to be consumed needlessly by Void.

Equius, and further relationship dynamics.

Equius' relationship with Gamzee (which I have always read as a one-sided kismesis) is also very important to me. This is not healthy. Equius is using Gamzee as a vessel for her fantasies and lack of boundaries, and through her black feelings she vents out her frustration with her sexuality and intrinsic need to obey and serve someone of a higher caste.

I don't think I need to tell any of you how well that works out once Gamzee goes sober. (I'd rather not dwell on the topic of the Makaras too long; that's something for a wholly separate post - and one that I'm sure would end up being rather scathing towards Hussie).

Finally, Equius' relationship with Aradia. This is also one I feel is unhealthy and once again one-sided. It is the same principle as Gamzee; merely in the red quadrant as opposed to the pitch one. Equius is using somebody as a vessel to vent out her feelings of purposelessness and frustration, and deliberately ignoring the lack of reciprocation.

Both of these connections are similar; and both of them end with Equius getting her shit kicked in.

How one would retool and treat these relationships post-character development is up to them, but I personally think it would be healthier for Equius to step away from both of them. I don't think Aradia would want or need Equius' continued presence in her life, and Gamzee is notoriously terrible at relationships. (We know damn well how a reciprocated blackrom with him turns out, just ask Terezi).

Equius, in conclusion.

That's all I really have to say on this matter; a long-winded and ultimately self-serving wall of text that I'm sure will come off as masturbatory and stupid when I read over it again. That being said, I wanted to lay all of this down in one place.

tl;dr - Equius Zahhak is a complex and interesting character with commentaries on teenage hypersexuality and unhealthy masculinity, and reading her as a trans woman provides an incredibly interesting character arc for her in the long term.

[misspermitted]

I’m so unbelievably feral for the idea that, while the rest of the Saja boys are singing to the audience in Your Idol, all of Jinu’s verses are directed towards Rumi. I mean, in all fairness, the entirety of Your Idol is filled with jabs at Rumi and Huntrix, but while the others are singing to the audience directly counteracting Huntrix’s influence, Jinu is just talking to Rumi. Actually just the pure fact that Jinu 100% wrote Your Idol right after singing Free with Rumi drives me insane.

In fact, it makes me so insane I’m gonna meta analyse the entire song right now:

The Pop Industry Commentary

Let us begin with the base level analysis that we shall build off for the stuff that my shipper heart goes feral for:

So naturally the entire point of this song, which is why it’s such a good villain song, is to straight up just tell everyone watching that they’re planning to kill them and the audience not giving a fuck because of the power of celebrities. But what makes this song extra awesome is that it’s also essentially explaining about how teach member’s k-pop trope has manipulated the audience.

Abby and Escapism

Like you got Abs McGee going:

“Keeping you in check

Keeping you obsessed

Play me on repeat kkeuteobsi (endlessly) in your head”

Which is SO COOL because it totally fits with what we’ve seen from Abs. Which is that both Mira and Zoey get repeatedly distracted by him and stare at him (“keeping them obsessed, playing endlessly in their head.”) And one of his only lines is “I know they would (follow us in here), that one keeps looking at me” ie. keeping them in check.

Then his next line:

“Anytime it hurts

Play another verse

I can be your sanctuary”

Really clearly explains how him being, literally, eye candy distracts from things being serious. And further, a meta commentary on using media and simping over pretty abs to escape from life and things that do matter.

Romance and Parasocial Relationships

Then you’ve got Romance’s lines are:

Yeah you gave me your heart

Now I’m here for your soul

Now we don’t see much of Romance but what we do see is really interesting, and very much expands on my interpretation of him. Which is mainly his interactions with Mira (namely, staring) which the movies actual audience went crazy about as cute and romantic.

And that’s really funny because that’s totally what Romance supposed to be. He’s supposed to be the soft sweet one who people transfer onto and trust “Look at him looking at her, surely he’ll get a redemption arc” (he doesn’t)

Making me think this audience reaction was 100% intentional is Romance’s next lines:

Nae hwangholui chwihae (intoxicated with my ecstasy) you can’t look away

Don’t you know I’m here to save you

God the fun meta commentary on K-pop and fandom culture in this song and movie is so awesome. Like Romance being a whole satire on the one band member that has a relationship and gains peoples trust by sharing their personal life. This movie is so good!!

Mystery and Making Celebrities Superhuman

I won’t fully go into Mystery because I’m only analysing the movie song and not the full song which gives him more lines, but my reading of his small amount:

No I’m the only one right now

I will love you more when it all burns down

More than power, more than gold

Is that he’s about the celebrities that are put on a pedestal and have to remain carefully mysterious to stay there, whose fans do literally anything to try to impress them. I could go into how him being Zoey, the established people pleaser’s favourite is a really interesting exploration of who the act of “pedastal”-ing celebrities appeals to, but that. Is. Not. The. Point.

The point is that, in this song, the Saja boys are taking to the audience about, essentially, how they manipulated the hell out of them.

The only exception to this rule is Jinu, and this is because he isn’t a satire of K-pop bands. Jinu’s character is a narrative foil for Rumi.

Jinu’s Lines as Directed Towards Rumi

Now the counter argument to Jinu actually singing to Rumi is that he’s “just singing his master’s song/on behalf of Gwi-Ma). And at some points this is true, especially in the latter half of the song, ie.

I will set you free

When you’re all apart of me

Where “me” is clearly Gwi-Ma. (You may notice the “free” mention here. We shall address the little jabs at Rumi throughout this song in p2).

However there are other parts, particularly the first half, where Jinu is clearly not singing for Gwi-Ma because his tone is wildly different. At least in my opinion.

I saw a comment that really succinctly summed up the tone of Your Idol as someone who has already gotten what they wanted. They’re not asking for the audience’s adoration, they’ve already got it. They’re literally just bragging about it. And you’ll see that’s congruent with my interpretation of the other Saja boys who are just explaining how they’ve gotten such control.

Jinu is the only one who actually asks the audience to do something. And it doesn’t actually make sense that he does:

Listen cause I’m preaching to the choir

Can I get the mic a little higher?

Give me your desire

I can be the star you rely on

Why is he asking the already enamoured audience to listen? Why is he asking them to give him their desire when they clearly already have? Why is he saying that he “could” be their idol when he already is? It’s a completely different tone from the others’: “You gave me your heart” and “You can’t look away” and “I’m here to save you”

Also the phrase “listen cause I’m preaching to the choir” really doesn’t seem like something you’d say to the choir. Just saying.

Let’s Just Assume Because it’s Fun

In all fairness, no matter how much I try to justify it, I can’t actually prove that he’s singing to Rumi But let’s just head canon it because then we get to have some fun.

So Jinu’s first chorus is:

I’m the only one who’ll love your sins

Feel the way my voice gets underneath your skin

Listen cause I’m preaching to the choir

Can I get the mic a little higher

Give me your desire

I can be the star you rely on

Yeah I’m all you need imma be your idol

Now what I love about this is firstly, Jesus Christ the “I’m the only one who’ll love your sins” is so close to “I understand what it’s like to have patterns, I’m the only one who will.” Which is crazy shit. But also so clear in how shame is isolating and Jinu purposefully uses that tactic against Rumi to isolate her while also believing it himself.

Like before that first interaction with Rumi Jinu tells Gwi-Ma he’ll use Rumi’s shame to isolate her from her friends. And his “I’m the only one who understands” is absolutely the first step in doing that. And it works. She questions her order and feels isolated as hell.

But that tactic slowly morphes into something that actually makes Rumi and Jinu healthier, love and acceptance. While Gwi-Ma’s whole thing is seeing your sins and guilting you, Jinu sees Rumi’s patterns and accepts her. And in Free, which Jinu sings like right before writing this one, it gets explicitly stated that Rumi felt like the only time she’s felt like she could breath and like she could be more than her sins is with Jinu.

Jinu’s lyrics here is such an interesting response to “Free” in that he is saying, from this reading: “We can’t fix our sins, but I love you for them.” And, especially with him exposing her in front of her friends, “I’m the only one who will love your sins.”

In fact, it could be said that the entire of his chorus is him saying that Rumi is worshipping a false idol as a hunter. That she is a demon not a hunter. That he can be the code she follows, “the star you rely on.” That what Rumi desires, to “fix” them both, is wrong. Which, though incredibly concerning, is also not wrong. Rumi does realise that the hunter code is wrong, that the thing she is protecting is wrong. That she doesn’t need to be fixed. To a certain extent, Jinu’s points about Rumi and him always being demons, that she can’t fix it, is correct.

I love that if you read the lyrics in this way, you can hear the frustration in some of his lines. Like “Give me your desire” and “No one is coming to save you!” Taken in the context of his lines in Free, where he says that no one sees him the way she does, that it feels right to let her in, that he wants to be free with her, but doesn’t sing along to her chorus about healing what is broken and fixing him. And their later argument where he says that they can’t be fixed.

Why would he be singing to her?

What is also interesting is that Jinu clearly doesn’t expect Rumi to be there. When he hears her voice you see panic flick over his face. So why would he be singing to her?

I think this really gives a bit of insight into Jinu’s character as someone who is way more comfortable singing his feelings then saying them. And someone who is so scared of rejection. Almost every time him and Rumi have a conversation she gets the last word and he is usually quite frustrated with himself about it.

But he doesn’t want to be vulnerable with anyone. Even if he could communicate his feelings he’s incredibly hesitant to because he has been told for 400 years that he’s a terrible person and is both certain and terrified or rejection.

So when Rumi gets mad at him, like in their third meeting or in the argument before this, he leaves before she can say anything else. And probably cries like the boy failure he is. But the entire point of Your Idol is to counteract Huntrix’s influence so he can say what he wants to. About how he doesn’t like the hunters code, about how he wants Rumi to join him. And it’s actually incredibly useful song wise.

I also keep in mind with this headcanon that Jinu wrote this song after Free. Incredibly internally conflicted.

I had other things to say about Baby’s part and all of the subtle digs Jinu put into the song but this has already been insanely and unnecessarily long so, part two incoming for that (maybe).

[meanbossart]

I think DnD lore is fascinating. The detail gone into building this universe should be celebrated, analyzed, and dissected. Pointing out inconsistencies and joking about - even becoming performatively "angry" at clumsy retcons or oversights in good humor - is the right of any devoted TTRPG player or fan.

However, I am really baffled by people who feel the need to point out or even reprehend creators who ignore or change part of the lore in their own stories to fit the narratives they they're trying to tell.

You know whats frustrating about trying to tell a story that takes place in a non-fictional world? That we have to adhere to the rules of how that world functions. Or at least we better do that or else a gaggle of sticklers will come barreling through all of the subtext, themes, and whatever point you the writer were trying to make, to instead point out that the *obscure and deeply debated* historical element you used was incorrect and took them out of the narrative, or ask why the character didn't simply "call the police".

The beautiful thing to me about DnD, on the other hand, is that it is deeply malleable. You can take things out or add things in or change them to your liking all in the name of serving the story that you want to tell and keeping it focused on what you deem important - instead of having to take random detours to explain how unimportant-event-that-slightly-facilitates-my-plot is possible. It was this magical rock. It was the Gods. It was fictional faction established in chapter two. It was this skeleton man I randomly met in a tomb.

I understand that this mindset might not appeal to people who want to read stories about strict and well-defined political and cultural conflict, or centuries-old Godly spats of biblical proportions based on ancient and well-established astral beef - if that kind of thing IS the main course for you, I get it. Go out there. Find it and eat it up.

But there is another section of people for whom those aspects are set-dressing, whose engagement depends more so on dynamics set between characters and their emotional development throughout the story - everything else is there to facilitate these interpersonal journeys and make it as concise and interesting as possible. Naturally, most people are going to be some mix of both archetypes, but I think they will always prioritize one over the other.

Regardless - remember, it's fantasy. You are arguing for (at times demanding, even) consistency in populations and creatures that have never existed. You GOTTA admit that that is a little silly.

[franavu]

I think one of the problems with C3 is structural. Matt seems to be wanting to tell a story with themes about Gods, Divinity and Religion, which, great. But if you're going with those themes one of the worldbuilding questions that should at least be thought about is "in a world where the Gods are real, what does that mean for culture, society and community?" and the answer seems to be "it doesn't". It's like the religion parts are worldbuilding-adjacent, like, "I guess they're religious too." And this was fine for the previous campaigns and literally any other story, but for what C3 is doing, it should at least have been minimally addressed.

Part of it was that Matt could have gone in pre-campaign-prep, "For reasons, your character needs to have an opinion on the Gods that is rooted in your background." Something like, "the orphanage that Ashton grew up in was run by Lawbearer people and they came down hard on even minimal rule breaking, which made it a miserable place for a kid like Aston to grow up in, so he's understandably bitter." Or, "of course Chetney prays to the All-Hammer, he's a craftsman, he tries to go to the temple on his holy day, but he hasn't managed it for the last 20 years, and he feels vaguely guilty about it." That would have at least given the PCs some connection to the larger narrative.

It's also that in the whole first arc the Gods weren't relevant unless the BHs specifically needed a priest for something. And themes of religion could have been there from the beginning, which could have connected with the overall Predathos narrative. I think something really interesting could have been done with Jrusar, and worship of the Lawbearer and the Wildmother, and civilization rising from the wilds. It needn't have been particularly invasive, just there in the background, the same way the governmental structure was explained but not particularly relevant for what the BHs were doing there.

And it's such a shame, because Matt is really good with personal faith, and individual interaction with the Gods, but it seems to break down with organized religion. And I don't know if it's a blindspot, or if he was so busy during pre-campaign-prep that he just went with what he had, which, again, would have been perfectly fine for literally any other story, just not this one. It's just that this whole campaign feels like missed opportunities, and the feeling like it could have been so much better. 

(Like, for example, a personal frustration is that the Vasselheim parts could have shown diversity in forms of worship for different parts of Exandria, and diversity in ritual from priests of different Prime Deities, and show that despite their differences they are all working together towards a common goal. Instead in communal situations, we get fantasy-Protestantism, with a sprinkle of fantasy-Catholicism ritual on top. (And don't get me started on the alcohol ban, don't the fruits come from the Wildmother's bounty, grown and harvested under the Dawnfather's aegis? Isn't the All-Hammer the God of all craftsmen, including the vintner and the brewer?) It could have still been a bleak and hard place, just rooted specifically in the religions and Gods of Exandria.)

[gallusrostromegalus]

Hi! I see your OC Oscar LeColéreux is studying Patent Law. as someone who is literally right now studying patent law, I can tell you that (in the USA), that's not a thing. to be a Patent Agent or a Patent Lawyer, one must first have a technical background (i.e. a degree in science/engineering). Patent Lawyers then go to law school, Patent Agents don't. regardless, both must pass the Patent Bar Exam, administered by the USPTO. this permits them to assist in Patent Prosecution, the process of applying for a patent, including appeals and post-grant proceedings before the USPTO's PTAB. Patent Lawyers can also represent patent holders through litigation in federal court. now that my trap card activation is over, what is Oscar's technical degree in? will he go to law school?

So all of The Lads (All the dogs in this post) have completed their undergrad degrees and are in grad school. They're in the same fraternity, which is to say: they're all renting the same house near campus and convinced a national engineering fraternity to count them as a chapter and help them with the rent and groceries.

Oscar's undergraduate degree is in Materials Science Engineering and he was planning on becoming a research chemist but quickly discovered he liked arguing with people and picking apart contracts more than being exposed to major industrial hazards. He's currently in the law program at College University along with his fellow engineer-ishes.

(more under the cut)

Oscar, Alexander, and Issac are all have proper engineering undergraduate degrees and are following engineering-related pursuits. Ewan is cutting it fine with an interdisciplinary engineering degree and now getting fully into the humanities. Ujin shouldn't even be there because his undergrad was in education, but that guy could talk the devil into piety so convincing the frat rep that his presence benefited the organization was a breeze.

It should be noted that this is a fantasy universe where the world is populated by anthropromorphc talking animals, so they are not, strictly speaking, in the united states of America, so I can play it a bit fast and loose with the laws and academic processes. They are, functionally, in the furry version of Danville from Phineas and Ferb: not a fixed geographic location, but a small city with any geographic feature or cultural center or political issue is required for the story.

College University is likewise an academic institution so much as an excuse for the characters to spend time together, like how nobody in Ouran High School Host Club ever goes to class. They've got a sportsball program and a law school and the art department regularly explodes and anything else that might be needed for the narrative.

The world itself doesn't even have a name, but of various anthropromorpic universes, this one leans more Beastars than Zootopia- there's birds, reptiles and even fish people, social tensions that arise from the radical differences in body types and break along different axes of power than you might expect, and the whole thing is a metaphor before it is a setting. To resolve the two big problems of any anthro universe:

Where does the protein come from? There are animals in this universe, some of which are farmed or hunted. There was an outbreak of Anthropomorphization that caused the existence of these animal-people like 50,000 years ago. There are no humans, except in the speculative fiction written in this universe. The issue of "What counts as a person?" regularly comes up for debate, and is often a political wedge tool, so the definitions of personhood vary widely across time, location, class and culture.

How does everyone continue their genetic line? Any Anthro can produce issue with any other anthro (barring individual fertility issues), but they are rolling the dice on what kind of creature the resulting offspring will be. Two rabbits are most likely to produce more rabbits, but there's a solid chance they'll produce a chinchilla, a lesser chance of having a swan, and a remote-but-still-possible chance they'll give birth to a hybrid anthro like a rabbit-duck, and an even remoter but still possible chance of making a hybrid with species not seen in either parent, like an eel-horse. Ujin's parents are rats. Most of his siblings are rats, except for his oldest sister, who is a marbled polecat. The more disparate the two parent species are, the less predictable the resulting offspring. An elephant can marry a trout and have a baby tyrannosaur. A notable exception is hybrid/hybrid pairs, which consistently produce single-species offspring, usually from the selection of species available in both parents. A hybrid/single-species can produce superhybrids, (sometimes called Tribrids, but this process can continue well past just three species). Another OC in this universe is a Jackayote, the result of the union between a Jackalope (jackrabbit/pronghorn antelope) and a coyote. 2.1: Nobody in-universe calls themselves by breeds or subspecies. Most of the time they identify more with a broader taxonomic group: all The Lads are all Canines, as are what we'd call wolves, foxes, jackals, tanuki etc. and being more specific than that is pedantic and weird. Knowing your specifc specific species is only important for your medical history or if you're going to have kids. In fact, touting around your specific species in public is seen as over-sharing and kinda suspect, like a guy who is a little TOO into his ancestry. Some groups will distinguish themselves if there is a notable practical difference: Fruit Bats include the Fruit so that a well-meaning host doesn't accidentally serve them crickets, and bears are the same because there's a big dietary difference between polar and panda bears. Cats typically call themselves "purrcats" or "roarcats" because Max, a 4'11" Purrcat has very different accessibility needs than her Roarcat cousin Tony (tiger, 7'2") Birds can be outright secretive about their species, with "singers" keeping their exact taxonomy a secret except among other birds. Birds of a feather flock together, and there's strength in numbers for this historically persecuted group.

--- Anyway, the real answer to this ask is that you probably shouldn't worry too much about the greater worldbuilding here, because all of this is in service of a smut comic.

[username0204]

Personally my biggest Byler proof (or Mike Queerler proof to be exact) is "Smalltown Boy"...

As we all here already know, it was the first song on Mike's official playlist on Spotify and it's about a gay boy escaping a small town be free to be himself right?

Ok, 2 things:

The significance of the 1st song For example, Will's 1st song is "Should I Stay or Should I Go" which has been a significant part of the plot, not just as a background music choice but in the narrative itself. It is established in the show that this is Will's favorite song and has a significance to him and to the plot. So it can't be just a random song that has no personal meaning to the character... the playlists were pre S2 and Max's 1st was "California Dreamin'" (which is basically about wanting to move back to Cali), El's was "Papa Don't Preach" (going against a father figure - here it's about pregnancy but the overall message still makes sense), Nancy's was "Girls Just Want to Have Fun" (feminism, duh), Steve's - "Take On Me" (pleading for a second chance from someone you're in love with), etc... you get the gist... it's not just about the vibes, it's also about the meaning of a song, which brings me to my second point...

The meaning of this specific song This is actually why I wanted to yap about it in the first place... we all know the meaning but I just recently realized how "obviously gay" it was even at the time the song came out... Little backstory - my mom grew up in the 80's behind the "iron curtain" in a country that was basically cut from the west of the world, all "western influences" came from sailers who brought contraband from their travels or relatives abroad who had to smuggle stuff in (like jeans and tapes), very few people knew English at all - she didn't, not a word. As you can imagine the discussion around homosexuality or anything "progressive" was non-existent there. So, back to the point - recently we were listening to music when "Smalltown Boy" started to play. She said that she remembers how big of a hit it was back then, I asked (due to my byler-brainrot obv) if she knows what it's about and she said "It's about... forbidden love" and I was like "Well, he's gay", then she said (remember, they all lived under a rock basically) "Yeah, we all figured that much... even if we couldn't understand the lyrics back then, the music video itself was pretty straightforward btw". So it being about a gay boy is very much in your face, even if it's a different culture and language.

TLDR: What I'm trying to say is that the 1st songs of those playlists have very significant meaning for each of the characters and if people who didn't know the lyrics and were cut from western culture could clock it as gay, then the meaning is clearer than day... they could've just titled it "Gay Boy" tbh

[tritoch]

I wish people were willing to have a slightly broader or more expansive understanding of FFXIV's women because I think there's so much there in terms of easily-unearthed subtext that no one really thinks about! And I don't mean this in a "people need to re-evaluate their response to the women of Stormblood" way (though I do think that's largely true), I mean I think fandom's understanding even of the women it mostly likes is pretty weak. And you can say that's because the women are underwritten, and I won't argue that they couldn't use more attention from the writing, but that doesn't prevent you from analyzing them the way you can any character in fiction.

Like everyone's always like, oh, Y'shtola and Krile are like your snarky wine aunts, haha. But...Sharlayan is a pretty ossified and patriarchal society from what we see of it in Endwalker and places like the AST quests. Can we open ourselves to the possibility that it means something that almost every young Sharlayan woman we meet, almost all young women in academia, tends to be a little sharp and quick on the retort? The arch and snarky ways in which those two carry themselves reflect in some sense the facts that Krile is almost literally a nepo baby woman in STEM who is barely older than her students, while Y'shtola learned her behaviors from her much older female mentor, a woman who hated Sharlayan academic culture so much she literally abandoned it to go live in a cave.

Or like, Alisaie! Fan jokes and meta frequently buy into her tendency to characterize the dynamic between her and Alphinaud as a jock/nerd, street savvy extrovert vs book smart introvert thing. Except, tragically, Alphinaud's highest stat is 100% Charisma and he absolutely pulled in his student days. All his greatest achievements are diplomatic, and he very easily develops strong friendships with people in every culture you learn about. Alisaie is the determined, sensitive genius who revolutionizes Eorzea by proving the tempered can be healed. She's just permanently carrying a chip on her shoulder that while she and her brother are remembered as the youngest students in Studium history, actually he got in six months before her, a fact pretty much no one else ever brings up once. She's constantly fuming over the fact that he was marginally better than her in certain specific ways in high school, and looking to differentiate them in ways that actually fail to credit her own obvious strengths and accomplishments. I think that's so fun! It's so juicy, and it's equally good for comedy or serious character studies.

Venat is a genuinely benevolent hero who has no compunction sacrificing lives for the greater good. Minfilia is kind and compassionate and clearly on some level actually buys into the narrative of her own unique moral authority. Ysayle is a revolutionary firebrand with almost no concern for the common man, whose death reflects her Javert-like inability to reconcile her own romantic belief in justice with the tragic ways her blinkered worldview (born largely of trauma) let her be easily co-opted by a violent system. But even people who like these characters rarely move past surface-level reads (people who think Venat is just an all-loving mommy figure make me want to fucking die). The fandom is allergic to drawing connections the game doesn't draw, and fails to recognize that FFXIV is a game where characters voice understandings of themselves and others that are wrong about as often as they're right.

You can already see the ways that women like Wuk Lamat and Cahciua and Sphene are getting flattened or losing their shading in fan reception and it's boring. Like I'm not even saying this because you should take female characters more seriously or something (though you should), I'm literally just bored to tears sometimes and if you guys turn Wuk Lamat into another Hot Dumb Jock Lady, I will combust.

[utopianparadoxist]

On Roxy, Centrism, Gravitation, and Love

So Candy Roxy has gotten a lot of shit--rightfully so--for taking a consistently centrist and peacekeeping role in the Candy timeline. Generally averse to the spotlight and of the opinion that the Gods, with their outsize importance and cultural weight, should stay out of the governing affairs of regular people, Roxy has largely been reduced to a passerby watching as her friends plummet the world into chaos as they try to tear each other's throats out.

But there's another way to read her fundamental centrism, one where her focus and perspective simply aren't political, but rather interpersonal. As one redditor (I lost the comment and don't know who, sorry!) put it, they read Roxy in this latest update as a character striving to "keep everyone together", to pull the fracturing group back into unity.

Pulling things together. That sounds familiar.

It sounds, in fact, like Gravity. "In physics, gravity (from Latin gravitas 'weight'[1]) is a fundamental interaction primarily observed as a mutual attraction between all things that have mass." In other words, Gravity is a word we use to describe the fact that everything that physically exists, that has substance and matter, is inexorably pulled towards each other.

Rose describes gravitation as "the intrinsic nature of nothingness", that is to say, the nature of Void itself. And while the force of Gravity gets weaker the further things are spread apart, this weak and subtle force is what draws together cosmic gases that compact and condense into each other with such intensity that they give birth to the Stars themselves.

In this way, Void is a force which creates and becomes Light. And in the same way Gravity acts as a force pulling stellar objects together, laying the foundation for organized solar systems and ultimately Life itself--could Roxy be trying to act as a force pulling her friends into harmony reflect her relationship to the Void, right at the time the Black Hole threatens to grind them all into oblivion and they most need someone to rally them to a unified cause?

Let's see how deep we can dive into the dark.

--@lime-bloods's Void/Home Collage.

To start with, there's some required reading to understand where I'm trying to go. The image above is from Homestuck blogger @lime-bloods, who has done some absolutely brilliant work unpacking the symbolic importance of Black Holes.

I suggest reading the images above to grasp the full context of the idea, but in essence, it suggests that Black Holes are synonymous with the concept of the Home in the bounds of Paradox Space.

As Lime-bloods states, The local Black Hole of a Cherub's birthplace is identified as that Cherub's home, and Cherubs always return to this same black hole in order to reproduce. John's speech about the note that desolation plays makes reference to "the Voids keeping neighbors apart", in other words, the houses separating communities into families.

--@lime-bloods's Void/Home Collage.

The Sprites, too, are bound to the gravity of their player's Home during Sburb, unable to leave the house until the player reaches unlocks the ability to summon and eventually release them. This carries over into Homestuck: Beyond Canon, where almost every sprite manifests inside the Black Hole created by The Point.

The only exception to this is Jasprose, who A) As a Light player may have some natural resistance to the call of the Void and B) was the only Sprite explicitly released from her duty by her Player--Davepeta "released themselves" as Davesprite, but we don't know if that represents true freedom from their Sprite nature or merely a more nuanced rebellion against it. That's a tangent though, lets get to The Point.

--@lime-bloods's Void/Home Collage.

The Plot Point is a massive machine created by Roxy and Calliope for the purpose of stabilizing a Black Hole, a supermassive source of literal and narrative Gravity, and for all intents and purposes, it represents a Space/Void fraymotif, or feat of combined Aspect magic.

And what it does once Vriska dives into it is pull her into an cocoon forcing to re-experience of her old childhood Home, her very experience of being Homestuck, to force her to confront and grow past it. In this simulacra of her Home she has to contend with the toxic family dynamics she grew up with--Mindfang and Spidermom as her mothers, Doc Scratch as her groomer and symbolic father.

Diving into the Black Hole makes her once again Homestuck.

"...Understanding that Rose's lapse into alcoholism is her own way of succumbing to 'gravity' - a pull towards toxic familial cycles which not only evokes Vriska's own "addiction" to breaking 8-balls but also literally surrounds the drinker in a dark pocket - her allusions to the Void and gravity here are also tinged by her own experience and outlook as a Seer of Light (who heavily relied on a magic cue ball as her source; a fountain of information which is symbolically opposed to the information-consuming black hole)..." @lime-bloods reader response to my ask.

Lime-Bloods also draws the insight that Rose's relationship with alcoholism--brought out by her grief over the loss/absence/non-existence of Mom in the first place--is itself her succumbing to the call of Void, of Gravity, the narrative and force that pulls her toward Roxy, Mom, and her own childhood. It is in the midst of her alcoholism, after all, that she has the very revelation that leads her to tie Gravity and Nothingness/Void together in the first place.

There's another name for that force. Another form Gravity can take, that is experienced not narratively, but emotionally.

"My instinct is that Rose has reached the same conclusion I have: that 'gravity', as a metonym for the influence of a black hole, is just the inevitable pull towards oblivion. I think she's using "nothingness" as a euphemism for "space", over which gravity has dominion, but through this we can start to appreciate how the concepts of Space and Void weave into each other ("nothingness", "space" and "void" all being functional synonyms)..." @lime-bloods reader response to my ask.

At the same time that lime-bloods identifies Gravity with characters being pulled towards their homes--and so, emotionally, toward their histories with each other, in the context of Child/Guardian pairs-they also identify Gravity with the pull towards oblivion, towards nothingness.

Towards death, like how it was in death itself that Rose's mother gained the gravity to pull her daughter's heart closer to her, bringing all of Rose's love flooding to the surface. Death is itself a kind of nothingness after all, and while Space is the neighbor holding Void's left hand on the wheel, Void spins through the cosmos holding Doom's hand on its right.

And there's something interesting there when it comes to Roxy. A recurring pattern in her emotional responses to death and brushes with mortality. When Jaspers died and she held an elaborate funeral for him in an attempt to connect with Rose, like when Rose died and she held a private funeral for her and reached out to embrace Jaspers, when Dirk committed suicide in Candy and Roxy reacted by proposing to John at his funeral--

when faced with her mortality, Roxy reaches out for love.

She actually lays out this logic explicitly in the midst of her proposal. Death reminds her that time is finite, and that reminds her that what she wants to prioritize in her life is her love and connections to the people that matter to her.

John's inner thoughts in response to her proposal describe love in a rather interesting way, too--describing it as a feeling that goes "unexamined", unobserved, not directly paid attention to, as if out of the spotlight of the concious mind, until it becomes overwhelming and crashes over you.

As if a mass of cosmic nebulae gaining enough Gravity to compact gases together intensely enough to birth Stars--or Light. This association between realized Love and Light isn't new--as the aspect of Truth and Importance, the original comic associates Light with almost every major pairing, including Dirkjake, Vrisrezi, Rosemary and Roxycallie.

But the process of being drawn closer together and developing love, of strangers becoming acquaintances becoming friends becoming family or life partners, gaining importance in each other's eyes through the mutual attraction of Gravity--that process tends to take place mostly in the Void in original Homestuck, askance and askew from the viewer's perspective, hidden and private.

Though perhaps I shouldn't limit the force of Gravity entirely to the word "Love" (perhaps Passion is a better one, Heart's echo to Void's Gravity as a horizontally mirrored pair on the wheel) after all, Terezi tells John that the purpose of kissmesitude is ultimately to force both partners to "Shine a Light" on parts of themselves that would otherwise go ignored in other to improve both parties, meaning Hate can serve much the same purpose.

Dirk, for example, shines a light on massive problems with himself and with his effects on other people interpersonally through his relationships with Jake (Love) and Hal (Hate). Both force him to contend with himself and grow, enabling his eventual rooftop conversation with Dave.

Coming back to the Candy timeline in this latest update, we find Roxy trying to pull everyone in a centrist position on the matter of Jane, again reaching out to the friends she knows and loves for support when faced with the imminent mortality of someone she cares about. She finds nothing.

The thing is, the call towards love, towards Home, isn't inherently either good or bad. What I'd call it instead is essential, as in that in the same way gravity pulls astral bodies together and keeps us bound to Earth, it is in the essence of people to be pulled towards one another.

This contextualizes the Home as a Void symbol somewhat. Above all else, what a Home literally is is a House, and what a House really is is Empty. A house means nothing by itself, its purpose to be a hollow shell encasing people away from the elements.

It is the shared life, the mutual draw of love or the conflict and hate between the people sharing that Home that defines it, that gives it distinct meaning, whether for the better or for the worse. Without that inner Light, a House is indeed a perfectly generic object--an oversized Box, forgettable, infinitely replaceable. A microcosm of the Void itself.

So as Lime-Bloods says, Gravity/Love pulls Rose towards reliving toxic family dynamics, and in this case it pulls Roxy towards saving the life of a fascist who will inevitably make the world more toxic and cruel for everyone, simply on the strength of feeling provided by Jane having been a core part of Roxy's Home herself.

That said, what is toxic in one context can be productive in another, and right now the Candy adults are desperately in need of a leader who can get them all to agree on a direction to take towards solving the very real, very imminent problem of the Black Hole obliterating the Candy Timeline to nothingness.

While Vriska suggests that it may be possible for them to save Earth C from its fate, it is really only Roxy that is stepping up to the plate of advocating for it, continuously emphasizing the metaphysical threat and her unwillingness to abandon her Home, and by association, the very Black Hole that entraps her.

She says it best herself: She feels it in her gut that they can still save this place, and who better than a Hero of Void to make that kind of determination? A Black Hole is after all as much a symbol of Void as it is one of Space.

So I suspect she's going to rise to the occasion of meeting this particular challenge, and if she does, she's going to do so on the merit of the Gravity/Love that keeps her bound to Earth C, in all its wretched beauty.

The two easiest ways I can think of to solve the Candy Earth situation are for either John to dive into the Point and become June, for all the Gods to work together on some sort of large-scale abstract fraymotif or combined God magic the likes of which we've never seen before, or some combination of both.

In any of those scenarios, it feels like Roxy will likely be coordinating and keeping the group on task, simply because everyone else is too distant and divided from each other. And all of this makes me think about someone else. The other Roxy, traveling to confront Dirk in Meat.

When I first read this update, Meat Roxy came off unusually cold to me, surprisingly callous about the idea of killing Dirk. He even came off as willing to do the deed himself if need be, and like he was simply asking Dave if he was up to the challenge.

Now I find myself wondering. It feels to me at the moment like Meat Roxy is playing it cool, so to speak, keeping his own cards close to his chest and deliberately providing the space for Dave to express his own feelings and opinion. Neither Roxy nor we get to hear Dave's answer, but considering Roxy even said he hopes things end hunky dory, he really asked the question as neutrally as possible, providing space for Dave to go either way without feeling judged.

But considering the lengths Jane was able to go and still have Candy Roxy's love keep her attached to her, at least as far as wanting to offer mercy, it seems likely to me that Meat Roxy would feel similarly merciful about Dirk. I'm sure Dirk will do everything in his power to make Roxy and Dave feel they have no choice but to try to end his life, but I think he and we may end up surprised at how far he'd have to go to really convince Roxy of that.

I suppose time will tell. This somehow feels incomplete--perhaps fittingly, even now it feels like nuances of both Void and Roxy escape me, and I find myself simply waiting for what the future will bring. But I think the association between Gravity and Love treads new ground on the subject of Void, and I hope you enjoyed reading about it.

Nothing to do now but wait for the next upd8.

Keep rising.