#makes me feel like someone is listening

[rachthepoet]

Matilda Analysis

A poignant narrative delving into themes of self-liberation, healing from past traumas, and a journey toward healthy love for the sake of oneself and nobody else. It's a testament to the resilience of the human spirit, delivered in an intimate and comforting atmosphere soundtracked by gentle instrumentation. This eloquent reminder to whoever needs to hear that it's never too late to seek the love you deserve and cultivate a life filled with joy and acceptance. Even if one must do so independently and abundantly.

The listener may not know the character of Matilda personally, but they know of her intuitively, anybody who can spare a few minutes to listen is invited in miraculously, as the song's configuration allows. And, what waits inside for those who venture? Harry sitting with his guitar, a concerned friend right as you need someone to be.

Here's a deep dive into Harry Styles' Matilda, from a poet.

Roald Dahl's 'Matilda' + Harry's Take

Roald Dahl (1916-1990) was a British novelist, short-story writer, poet, and screenwriter. He has composed many children's books, and has been bestowed the title of "one of the greatest storytellers for children of the 20th century". His knack was for writing children's books interlaced with rather dark, adult themes — like 'Matilda'.

If you didn't grow up with the book and/or haven't had the chance to read it, here is a summary for a bit more familiarity, which will lead to a more engaged discussion here! But, also, if you're familiar with the 1996 film, as many are, you should be just fine! As mentioned before, much of Dahl's works covered much darker themes. The children's book 'Matilda' speaks clearly of the following: emotional and physical abuse, tyranny, misogyny, scamming, attachment theory, and, the most obvious, child abuse and neglect.

In short, attachment theory believes that every child needs to form a relationship with at least one primary caregiver to develop, healthily, emotionally and socially. In 'Matilda', our main character lacks that primary caregiver until she meets Miss Honey. The impact of Miss Honey's warmth, care, and understanding on Matilda is so grand that trust is built (she reveals her telekinesis power to Miss Honey) and leads to a happy ending, as Matilda's attachment to Miss Honey wins over the weaker attachment of her parents — and Matilda moves in with Miss Honey, finding a loving and caring home/family at last.

Now it's time to circle it back to Harry's Matilda. I believe that Harry has taken on the role of Miss Honey as a complementary to the subject to whom he's disguised as quote-en-quote "Matilda" — a stylistic choice I have no doubt was heavily influenced by Dahl's tale. Not only is Harry a friend giving advice and refuge, but also a welcoming sense of care and a second home, which further ties into the third album's theme as a whole — debates of a house versus a home, and what home means to a person.

In the song Matilda, Harry alludes to similar situations, with direct connections to attachment theory and child abuse/neglect. As the audience solely, we don't know the specifics of the problem, but these are the main issues I grasp from the lyrics alone. Roald Dahl's Matilda, as told in the book, has much intellectual prowess — she's too smart, almost an adult in a child's body, most likely an effect of her circumstances' cause. Yet, set aside the knowledge of her adventurous nature and wits, there's no clear yes or no to answer if Matilda needs comfort. For she never cries, adamantly refusing to do so, and never seems to show weakness. She's too smart for that, after all. The single time she outright exhibits sadness about not feeling the love from her parents is when she's four and confiding in the librarian. I'm going somewhere, by the way, I promise you.

With Harry's Matilda in Matilda, lots of the same traits resurface. An adventurous spirit and a bright mind, but also the tendency to keep sucking it up and not letting one fall to tenderness, because it's been perceived in the brain as a weakness. None of what happened seemed wrong to her until a certain point. This is, apparently, no big deal, or so she says. Harry's Matilda speaks of her experiences like it's nothing at all, but it's everything. She's mighty like her fictional character namesake, so bright and lively that she can light up even the darkest days.

Upon a delicate, sadly playful melody of strings, Harry takes on the role of a friend but also a caregiver to show love to his character of Matilda. The Miss Honey, as alluded to before. In Matilda, Harry makes it a point to show Matilda the love she never received from those who should've given it freely. He expresses that, while none of this is his business, he's been thinking about it in concern. He tells her that she can start a family that will love her, will care for her, and there's nothing to be sorry for. With a wide, bright smile and a sharp mind, Matilda, you can let it go, and you don't have to be sorry for doing so. Let us show you what healthy love feels like.

Lyric Pull Apart

[VERSE 1] You were riding your bike to the sound of "It's No Big Deal" And you're trying to lift off the ground on those old two wheels Nothing 'bout the way you were treated ever seemed especially alarming till now So you tie up your hair and you smile like it's no big deal

You were riding your bike to the sound of "It's No Big Deal" / And you're trying to lift off the ground on those old two wheels: Here a little scene is set, and provides the listener with so much context and information. It's an idyllic childhood moment to picture, riding a bike, but there are cracks already. Cracks in a carefree childhood, cracks in what should've been. The line to the sound of "It's No Big Deal" had people frantically searching for a song to connect, but, from the language used, I never thought of it that way. Rather, it's the soundtrack of dismissiveness, instigated by those Matilda is surrounded with. There isn't a soundtrack of laughter or encouragement, but rather a shrug. It's in the frame of something heard, not something spoken, or, extending, something felt. To the details, the image of the bike is given as those old two wheels — tired, worn, maybe even inadequate. Strong symbolism there.

Then, trying to lift off the ground gives many implications and layered feelings. There's the literal, with a kid trying to play about and do cool tricks, alone on their old bike, maybe dangerous tricks, leaning into the absent parental presence, and maybe seeking attention. There's the symbolic, the imaginative, the evoking of childhood nostalgia and yearning. There's the metaphorical, to fly, rising above where they are stuck, an ache to escape.

Nothing 'bout the way you were treated ever seemed especially alarming till now / So you tie up your hair and you smile like it's no big deal: Those who've experienced trauma may feel or are told that their mistreatment is normal, and/or they shouldn't be the ones to complain because others have it worse. Therefore, they won't speak out because their minds have been conditioned that their issues are nothing to speak of. An internalization. But, as distance and time are gained away from the situation, realization becomes stronger than internalization.

Then, So you tie up your hair and you smile like it's no big deal curates a heartbreaking image of Matilda, self-sufficient and positive because she had to be, tying up her hair with a smile because she never saw the way she was treated as anything but status quo. It's a tragic echoing of the first line of the verse and also parallels Dahl's Matilda with the ribbon in her hair. It relates to the idea of putting on a mask, covering something up by pretending like everything is fine. Matilda, maybe, doesn't want to burden him with her problems and repeats rehearsed mantras in place of it. But, he sees straight through this, and the speaker assures Matilda that she doesn't have to hide, for he's there to listen and care.

And then we get another heartbreaking image, of Matilda as self-sufficient and positive, tying up her hair with a smile because she never saw the way she was treated as anything but normal, and a tragic echo of the first line, where she smiles “like it’s no big deal” - because it’s all she’s heard, the sound of her parents saying it’s no big deal, and she believes them.

[CHORUS] You can let it go You can throw a party full of everyone you know And not invite your family 'cause they never showed you love You don't have to be sorry for leavin' and growin' up, mmm

But the chorus is telling Matilda directly: you can let it go. It's so comforting and beautiful. He is reassuring the character of Matilda that she can drop the smile and acknowledge the inevitable pain caused (see verse 2), and then let it go and let herself grow. It's a gentle, validating way of saying that she didn't deserve the pain back then and doesn't deserve to hold onto it now. The speaker suggests that Matilda, and by extension the listener, has the power to create a new life for herself — one filled with people who have genuine care for her and those who provide the love that has been missing. Attachment theory.

You can throw a party full of everyone you know and not invite your family 'cause they never showed you symbolizes a break from the past and the forging of a new path defined by one's autonomy. Her family, the site of all of this complication and guilt and hurt, whom she now acknowledges caused her pain and never showed her the love she deserved. But now she can go out and seek that love. A reminder to Matilda that she can seek happiness elsewhere and build a chosen family based on love and respect.

Then, the ending line, You don't have to be sorry for leavin' and growin' up, is so important. When trying to extract oneself from an abusive environment, the blame will be twisted and put on the victim. They might try and make Matilda a stranger as a repercussion for her spreading her wings and thriving in the absence of their negative influence. And, here, the speaker is reassuring Matilda that you don't have to feel sorry for leaving and growing up. And, the language choice is interesting, for saying growing up akins it automatically to something natural, something that's bound to happen. Something you shouldn't feel guilty over. He says to Matilda that she should never feel apologetic for her growth.

[VERSE 2] Matilda, you talk of the pain like it's all alright But I know that you feel like a piece of you's dead inside You showed me a power that is strong enough to bring sun to the darkest days It's none of my business, but it's just been on my mind

Matilda, you talk of the pain like it's all alright / But I know you feel like a piece of you's dead inside: This is the only time within the song that there's a direct address to Matilda, although there's an underlying assumption that the song is being spoken to her throughout. This direct address serves a purpose though, as I believe it amplifies the words that follow it, you talk of the pain like it's all alright. While verse 1 framed Matilda as a child, this verse (verse 2) frames Matilda as an adult. She is doing the same thing, the same coping mechanisms, that were instilled in her when she was a child — "it's no big deal" and "it's all alright".

Closely followed by but I know that you feel like a piece of you's dead inside is where the speaker, in one of the few lines in the song to reference an "I", acknowledges Matilda's pain for her. He makes it known that he can see the pain that she's in, even as she tries to dismiss it. It also acknowledges a major recognition of the loss of self due to this past trauma and pain.

You showed me a power that is strong enough to bring sun to the darkest days: This line is just so gorgeous. I have such love in my heart for it. And I feel like many overlook the intention with the word choice, which lends to its touching nature. Choosing the words you showed me a power versus you are the sunshine in the darkest days (or something along those lines) changes the meaning, and makes more of a splash. The meaning shifts from you are sunshine, you are goodness, you deserve to be loved — which is not without its own lovely connotation, of course — to being around you, you radiate this energy and you can teach other people how to love.

In companionship to what's been told about Matilda, to imply that she has this power to bring the sun to the darkest days, to teach someone how to find the sun in their darkest days when she has experienced dark days... it's beautiful. And it's so important to notice that detailed difference and reiterates the notion that as sad of a song as Matilda is, it's also incredibly empowering.

It's none of my business, but it's just been on my mind: And then, the speaker takes a step back. It's not about his experience, and he acknowledges that separation, but does not withdraw his care or concern. It's none of my business is a delicate way to respect Matilda's boundaries regarding her past and the choice of what her relationships look like. He doesn't want to tell Matilda what to do and deny her agency, for then he would become just another one of the people who mistreat her. But it's just been on my mind illustrates the care of the speaker once more, a complement to what precedes it and to the song entirely.

"It's a weird one, because with something like this, it's like, 'I want to give you something, I want to support you in some way, but it's not necessarily my place to make it about me because it's not my experience.' Sometimes it's just about listening. I hope that's what I did here. If nothing else, it just says, 'I was listening to you'." — Harry Styles

[CHORUS ADD ON VARIATION 1] You can let it go You can throw a party full of everyone you know And not invite your family 'cause they never showed you love You don't have to be sorry for leavin' and growin' up You can see the world, following the seasons Anywhere you go, you don't need a reason 'Cause they never showed you love You don't have to be sorry for doin' it on your own

This is the first variation on and second iteration of the chorus, and it hits on the same themes as the first iteration. The first new line is You can see the world, following the seasons. Matilda can leave, not just her family but where she's from, and she still doesn't owe her family justification or reasons. The latter comes from the following anywhere you go, you don't need a reason. The sentiment is continued by the line you don't have to be sorry for doin' it on your own which is the repeated parallel to the previous you don't have to be sorry for leavin' and growin' up. It's so good. In one sense, it applies to the lines immediately preceding it — you don't have to be sorry for traveling and seeing the world on your own. Yet, because of the repetition, there's this parallel created that also refers to growing up. Matilda doesn't have to be sorry for growing up on her own. A grand acknowledgment that Matilda raised herself, and that comes with both sorrow and pride. The sorrow that she had to raise herself alone, but the pride that she is who she is as an adult because of herself.

[BRIDGE] You're just in time, make your tea and your toast You framed all your posters and dyed your clothes, ooh You don't have to go You don't have to go home Oh, there's a long way to go I don't believe time will change your mind In other words, I know they won't hurt you anymore As long as you can let them go

This whole ballad is truly a tour de force, but the bridge is the one to knock me off my feet every time. Much like Harry has done for the listeners with 'Harry's House', the speaker invites Matilda into his home. In the song's case, both literally and metaphorically.

You're just in time, make your tea and your toast: Tea and toast is such a cozy and homey image, and indicates this welcoming, specificity in welcoming into routines, like a fresh pot of tea and a nice piece of toast in the middle of the afternoon. There's no push or rush, as indicated with the you're just in time, as it was and will always be based upon Matilda's timeline. It's a sense of found family and a safe place to land after she's previously seen the world, followed the seasons, and all that. Welcome home, welcome to the party, welcome to the place where you can be you without begging for the allowance to do so.

You framed all your posters and dyed your clothes: I think this is a beautiful way to signify that somebody grew, focusing on the smaller details. But, additionally, there's a full circle moment, calling back to childhood — experiencing the small joys she never had the chance to, as her childhood was spent in a survival state. You framed all your posters and made this new house a home with favorite things from your childhood, now with an added sense of sophistication that was missing previously. You dyed your clothes, changing them to better fit a new stage of life. Parts of Matilda's childhood can be brought into adulthood with her, and reinvented to be rid of the negative connotations that may still be attached. You can let it go.

You don't have to go / You don't have to go home: The speaker reintroduces himself in the song to speak and bring more reassurance to Matilda, with nurturing and welcoming at the forefront. You don't have to go away from where we've invited you, Matilda, with your favorite teas and the way you like your toast, you don't have to go away from this place of people who love you for you. You don't have to go home reminds Matilda that she doesn't have to go back to the people and place she cut ties with, and that's okay. the use of the word home has intrigued me for quite a while, but I think it indicates that Matilda is still presently on the journey to let go of her past.

Oh, there's a long way to go / I don't believe time will change your mind / In other words, I know they won't hurt you anymore / As long as you can let them go: These last lines of the bridge importantly acknowledge the journey — not just of life, and not just the growing up and traveling and exploring — of healing. It's a bittersweet moment here, gently saying there's a long way to go. It isn't solved, it isn't over — for nothing ever is packaged up that neatly in reality. I don't believe time will change your mind, to me, is him saying that it won't be as simple as letting time fall between her and what happened. A lot of blood and tears is going to have to be shed to truly get to the point where it's not a constant background ache. Leading into, I know they won't hurt you anymore as long as you can let them go. Matilda, you need to give yourself permission to let this all go, both the situation and the facade you've been putting on. Let yourself feel, then let it go.

[CHORUS ADD ON VARIATION 2] You can let it go You can throw a party full of everyone you know You can start a family who will always show you love You don't have to be sorry for doin' it on your own You can let it go You can throw a party full of everyone you know You can start a family who will always show you love You don't have to be sorry, no

The shift in the final chorus can be undetectable if the listener isn't paying attention. But, once it's caught, it's impossible to miss again. This is a second variation of the chorus, on its third iteration. In the earlier verse of the chorus, the third line was And not invite your family 'cause they never showed you love. But, after Matilda has worked to let them go, it evolves to You can start a family who will always show you love — highlighting the beauty of found family, a family of choice. And with this evolution in the chorus, the meaning of doin' it on your own has changed, because rather than a reference to growing up or leaving and traveling, but starting a family, one who will love you, and Matilda has done it with her own autonomy. It's the next step on the road to healing, and there's always this reassurance that Matilda can do this on her own. He gives the power back to her and puts it in her palms, for she is strong and she is resilient.

Therefore, the whole message, the thesis statement of the song, lies in the final line: you don't have to be sorry. The song of Matilda is a conversation between her and the speaker, and in response to her unspoken guilt. In the various forms and layers, the repeated lyrics and parallels, context stacked on context, the listener — us, the spectators — is enveloped in the depth of Matilda and her journey. But, in that final line, all specificities and complexities are stripped, to simply conclude it all: you don't have to be sorry, let go of the guilt, and you can be happy.

Matilda left me reeling in a puddle of tears on the first listen, and my emotions are instigated with each listen after. Pieces that send me into a wave of emotions set off a green light, they'll always be my favorite. In a way, Harry has become our Ms. Honey in times we've felt like Matilda, gifted us a chosen family with those who bond over his music. Much like this song, beautiful and evocative it is.

A grand indicator of a great writer is the ability to write so deeply about experiences not necessarily connected to them and their own experience. The times where Harry is the 'outside looking in, narrator of other people's experiences' songwriter has always been something I admire, and the songs I find the most intriguing to study. There's a full narrative, and we are brought into the same emotions Matilda was experiencing at the moment, therefore fully enveloping us in the story. I don't know, you just feel it. And I love that you just feel it.

And he takes such care and consideration with this delicate story. He doesn't have to name them specifically or be overbearing with identifying details, but cleverly uses well-known themes of the Dahl children's book to explore feelings and show understanding. It's a warm song full of strength and bursting with love. A seldom promise to always be there and understanding to a friend who's felt alone and misunderstood in a time when they should've been heard. Making sure they know their power and the power of care and nurturing. And Harry, in Harry's House, will always show you love.

dedicated to this anon <3

Thank you for reading, you’re absolutely incredible! If there are any songs you’d like me to make an analysis of, please send your request to my inbox! along with any questions or insights you might have yourself!

[hinamie]

"I'll show you every day that choosing to live was worth it"

some of my favourite scenes from @hijinks-n-lowjinks' fic things i would miss from the other side . this fic tore my heart out fr but like in a good way and i wanted to pay it homage the only way i know how <3

[lycandrophile]

local cis man makes a “joke” tiktok that excludes trans men from the phrase “trans people” and mocks the music we make based on a stereotype that’s already been mocked to death, then makes a follow up video directed at the trans men who told him it wasn’t a funny joke or just made them feel shitty where he just doubles down and says the joke was fine because it “wasn’t serious” and that the trans men who didn’t like it are “directing their energy in the wrong place”.

maybe one day cis people will learn that 1) most trans jokes simply are not for them to make, regardless of how funny they think the joke would be, and 2) it’s not for them to decide if the trans people they chose to joke about are allowed to be upset that the joke was made. i honestly wouldn’t have even bothered making a post about this if it was just the original video because a lot of trans people also make jokes like this (which i still don’t think are funny or fair) so he could be forgiven for thinking no one would be upset, but the doubling down really rubs me the wrong way.

like, if we can’t even trust cis people to listen to our feelings on something as silly as a joke tiktok about music, how can we trust them to listen to us when it really counts? you can say it’s not that serious all you want, but when it’s already been demonstrated that you don’t always know how something will actually affect trans men, can you really expect us to trust that you’ll know when it is that serious?

because the message that response sends is this: “i find you fun to laugh at, but i don’t think you’re worth the trouble of caring about your feelings. i would rather enjoy myself and entertain others at your expense.” and is that the kind of message you want to send to anyone, especially a group of people you seemingly interact with enough to be familiar with the jokes made about them in their community? even if it wasn’t anti-transmasculine, it would still just be mean, and it’s certainly not a message that will make us see you as trustworthy when shit gets bad.

[raviollies]

I know it's been said but the changes to Maria really grate on me because....this doesn't even read as the same character anymore. Maria's design was purposeful, a very clear specific concept of a 'cool sexy girl who wears leopard print and crop tops, and have a belly button piercing and a tattoo' - it combines to a stand out character portrait of not just Maria but of James, because THATS what he finds sexy and was a stark contrast to modest, sickly Mary. The new design literally just looks like a teacher or a manager now, what the hell is that supposed to tell me about either of their sexualities.

And no this isn't a case of 'tHe cEnSorINg' - this is just misunderstanding the themes. Maria wasn't needlessly sexy, objectified for the viewer; her sex appeal was referenced in the story, and was an important part of it, one of the MAJOR themes.

[owlheartt]

Something I really like about timebomb is that Ekko actually knows what he's getting into.

I'm not really seeing it get talked about but in season 1 they mention that Ekko and the firelights help people addicted to shimmer get off it and lead more fulfilling lives within the community. I should probably rewatch the scene for the exact wording (might be misremembering tbh) but that comment implies A LOT.

First: Ekko's mission is helping people where he can, he would probably try and help Jinx even if he wasn't in love with her

Second: He has experience dealing with severe mental illness as that often goes hand in hand with drug abuse, namely depression/suicidal ideation like what Jinx was exhibiting

Third: He's probably mapped out best course of action FOR dealing with this and has already figured out his own limits/boundaries. Meaning he knew what he was getting into trying to talk Jinx out of suicide, and was thus more equipped to deal with the aftermath

Fourth: He's probably helped ex members of Silco's gang. The firelights seem to have a theme of healing and repairing and recovering, so they've probably also learned to forgive. If they're mission is to rebuild the lanes into a safe space, they can't exclude people they don't like, they have to make room for them. I think they fought Silco out of necessity, and I doubt Jinx would be the first person they help who's killed one of them.

These all might be a bit of a stretch but I think it really fits. Beyond that, it shows that Ekko can ACTUALLY help Jinx. As much as unconditional love can do, Ekko has the tools for Jinx's recovery and a path ready for her. He also probably knows that her "healthy" will look different from AU Powder's "healthy." On top of that, I expect he knows how to respect her even in the middle of psychotic breaks and won't agitate her already frail mental state

[lacystar]

it wouldn't even matter if he did "shit on you behind your back" when you "never say anything back." the thing it absolutely boils down to is that you knew him when he was a minor and he has come forward saying that because of your influence and power, he felt uncomfortable around you. any POSSIBLE comeback other than an apology ends there. slur or no slur, any other response to that is bad. or, is it just that someone underage you've hurt in the past telling the truth about you only scares you when you know they have the public influence to protect themself?

[turtleblogatlast]

Something I like about Leo is that he’s honestly really chill? It’s easy to remember the moments where he’s being obnoxious or excitable but I feel like most of the time he’s incredibly “go with the flow” and has an overall affable demeanor.

[bakudekublogblog]

talking to normal people about mha is always so enlightening because someone told me they didn't like season six and i was like???? THE BIBLE??????? YOU DONT LIKE THE BIBLE??? BAKUGOU KATSUKI RISING?? THE APOLOGY??? THE CHASING AFTER HIM TO FIGHT SHIGARAKI, THE REVEAL KATSUKI HAS BEEN WORRIED ABOUT IZUKU, IZUKU'S FERAL RAGE WHEN KATSUKI IS STABBED, KATSUKI BEING THE ONE TO FIND IZUKU AND THEN THE ONE TO BRING HIM HOME??? YOU DONT ENJOY THE SACRED TEXTS?? and then i'm like oh right not everyone is a fujoshi high on that sweet, sweet bkdk yaoi

[mothmanavenue]

can i confess something else that will absolutely get me stoned in the town square since im dropping my unpopular opinions. I don’t like altean broadsword Lance. i already disliked red paladin Lance. the broadsword was like rubbing salt in the wound. why couldn’t he have his own niche. why was his character development just making him keith. i understand that it was like “he accepts that he doesn’t have to be a leader and excels as a co-leader and you can find happiness that way yada yada yada”. but you could’ve done that without making him keith. also now give him something unique, cool, that falls in line with his sniper bit. i’m not saying just give him another gun, im saying give him something quiet and lethal. like a garotte. yeah i want garotte lance.

i yap a lot more in my notes by the way if you were interested in other unpopular opinions. don’t send me hate messages or comments i won’t read it and will block viciously i also will not be debating this this is my hill to die on <3

[babybells123]

(ASOS, Sansa II)

(ASOS, Jon XII)

[dykedvonte]

One of my mutuals opinions is the "bro code" thing, that Curly is one of those guys who wouldn't care about the victim because the perpetrator is his friend and I'm really banging my head on the wall like that other anon. I've only played through the game once but Curly's behaviour/reactions etc read completely different from the "bro code" thing and I have to wonder if my mutual and I even played the same game.. like the constant digs at him from Jimmy, his body language in his face reveal and so on like you mentioned in your post. While this game is a little different obviously, it kind of reminded of a point in Alice Madness Returns that makes it very clear that Alice's pain blinded her to the abuse of the other children and her failure to act earlier because of it. Curly is guilty of a similar inaction but it doesn't change the fact he was a victim of Jimmy too. I don't think I can look at it any other way because both of these games have really stuck with me.

I genuinely think it really is the idea that people want a simple easy to blame problem and the idea that the only relatable victims of abuse are those that "surpass" it or do a lot to help others. When it comes to victims, especially those that don't fit the typical demographics, who either accidently perpetuate it, enable it or aren't ideal in some way shape or form, people jump to ignore what they went through as it's easier than dealing with those conflicting sentiments.

The bro-code conversation in Mouthwashing stems from a concept I generally dislike that there had to be something about Curly that made him meet or keep being friends with someone like Jimmy. I think people genuinely underestimate how many like decent and good people just know an asshole or are friends with someone who is really bad outside of their view/established dynamics. The game makes it clear none of the inaction against Jimmy is because of a lack of care, it is a lack of understanding from the privaleged postions they have as men to not have to worry about what Anya does/went through and the type of extremes men like Jimmy will go through to cover it up. They are all too preoccupied in their own strifes.

Another thing I see being oversaturated the idea that you have to be a freak, misanthrope or have a disorder to do the thing Jimmy does. The game is an escalation, it's a spiral that I don't see people comment on that Jimmy was not likely having the mood swings and episodes of rage/frustration we were seeing in the game. This is after they all start experiencing the worst moments in their lives that he got THAT openly bad. Of course, this is just my interpretation but much like in real life, people that go to extremes like that usually live mundane lives. It's a pressure cooker affect to where the stress made them pop. It's self inflicted but still the case.

I really think people need to be more willing to acknowledge that not everything needs to be an extreme or in black and white or easy to understand. It doesn't need to be happy or have an answer or solution, especially in the cases where the abused sadly helps perpetuate what they experience. It's not he should've known better from experience or shouldn't he have known what could've happened because victims tend to not like to think in matters of the worst. Not to mention, especially in cases of abuse where it feels so personally directed that you don't expect to happen to someone else.

[lunarharp]

if i just told you i love you would this world change

[petorahs]

shuake works because it feels like akechi's the only one who listens to akira and prompts the otherwise quiet leader to talk.

in a game about defiant teens making their voice heard, goro akechi listens to akira's voice from the get-go. out of detective-sleuthing/work duties, sure, but over time it's clear that akechi genuinely finds akira interesting.

in fact, akechi's confidant route regardless of which game is being played starts with him deeming akira the antithesis to his thesis, a "worthwhile debate partner". akechi values joker's opinions.

its always nice to see people point out that in that one 3rd sem phone call with akechi, its the most involved akira's been in a conversation in-game. i myself remember inserting a lot more input during that story-sequence which usually i can put on autoplay otherwise. akechi, in a whole different reality, still seeks out joker's opinions on it. it's like he trusts no one but him.

and imo this gives a lot of character to akira. he talks the most with akechi. the quietest people have the most on their minds, and it shows with akira. but akira never gets a say in anything, and who would listen? he's less than a nobody in reality since society dictated that. so he pointedly made himself silent, hiding his thoughts beneath an impenetrable mask. during important story moments, akira favors doing more than saying. his teammates and confidants are all directly inspired by his actions over the course of the game.

but with akechi, it's different. actions seem to take a backseat as they continue with their verbal back-and-forth. in rank 7 of royal, they play pool while talking, but it's clear to the outsider that the focus is in the layered conversation they're having. they primarily talk everytime akechi's in the coffee shop, because they dont usually see eachother in their busy schedules. it's not just "hi, hello, how are you?" with them but "i find you and everything you stand for interesting. let's talk more."

there's something to be said about how two people with vastly different and opposing views seek eachother out to further discuss things instead of antagonizing eachother. its why maruki said "despite being enemies, your relationship was never based on hatred or ill will".

their relationship was never a one-sided thing. akechi helps joker as much as joker helps him... arguably more. he eggs joker on, shows him that he can do better. otherwise, the leader would remain stagnant and unchallenged. there is no progress where there is no thesis and-- you can finish the rest.

[puppppppppy]

learning abt friendship decay and "not reaching out to your friends for months at a time unprompted is not neurotypical behaviour" has me feeling a certain way

[falindankovsky]

No matter what I do I can not escape the patho demons

Also did the Blair witch one months ago just never posted it because I was afraid.

[bumblingbabooshka]

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