#not franchises where i expected to find common ground

[incomingalbatross]

Handshake meme, Cassandra Tangled and Murderbot, and the thing they're agreeing on is "these people are incredibly important to me and my favorite people in the universe, but living with them unfortunately involves an inescapable power dynamic which I, personally, CANNOT deal with at this phase of my life"

[aclowntiny]

Foolproof- Seungkwan x Female!Best Friend!Reader

Shoutout to my irl first love for inspiring this…except for any getting together parts 🥲

Word Count: 3738 | Best Friends to Lovers, College AU, some Angst | Warnings: some language, my painfully obvious love for Boo Seungkwan I mean look at him he’s so cute PLEEEAAAASSSSSEEEE

It had been four years. Some would assume there was an anniversary of sorts, but if you were being honest, you didn’t even know what day it was. It didn’t really matter, just that it was early in the year four years ago that you officially met Boo Seungkwan.

You two had become fast friends, the young man introducing himself with great ease and charm, inspiring you to follow suit, and from there it took off- finding common ground was easy for you both. Seungkwan was impossible to dislike, a great singer with lots of music recommendations, the kpop ones being your favorites. He got you into more girl groups than you could count, but you started trying to infect him with your music taste, too.

There was a small student party, just an opening of a new building on campus, and you both went. That night ended up creating one of your favorite memories, the one where Seungkwan taught you how to correctly do the macarena, which you always messed up on, and it looked so funny you couldn’t help laughing as you joined him.

You started to find yourself actually feeling excited to go to class just at the mere prospect of him being there. In that section alone you would always have someone to talk to and share exasperated looks about the professor with. In a rare move, you initiated a study get-together just to get closer to him, and somehow it actually worked. The two of you were the longest ones to stay, and you ended up talking about books and movies and majors and slipping on banana peels far longer than you pored over your drafts.

You went to his performance in the music building, clapping and congratulating how amazing he did. He wasn’t expecting you to bring him a small bundle of flowers, but the way he lit up when you gave it to him was worth it.

Getting him hooked on your favorite game store was his roommates' bane, but your joy, the two of you picking out cute card games and ridiculous board games alike. It sold collectibles from your favorite franchise, which Seungkwan always threw into every birthday and Christmas gift...except for the one that referenced a comedy song you'd shown him, which you two now collectively referred to as your theme song.

Every trip you planned, despite going on very few, included each other. You guys were going to go to an amusement park, to Japan, to the beach, New York, his hometown on a Jeju trip, you name it. You and Seungkwan hadn’t gone on a one-on-one trip yet in four years, which might have been good for your heart in some ways, honestly.

Since Seungkwan lived on campus, you brought your laptop to the dorms and sat together in one of the common rooms so you could show him one of your favorite movies. You met his roommate, Jeonghan, and plenty of others. The three of you recruited Seokmin, Soonyoung, and Hansol, some classmates of theirs, for a dorm game night that became a weekly meeting. On the biggest nights there were fourteen of you there in that room, some fellow dorm-dwellers just wandering into the group, but Seungkwan stuck by you every time until the nerves of bring surrounded by strangers and established friends faded, your chest loosening up again along with your behavior. Soon, you had a large, eclectic, tight-knit group ranging from a handful of music and dance majors that already had at least perfunctory knowledge of each other to Seungkwan's advertising major roommate, a guy studying journalism, a quiet game design major, a fine arts student, and two business majors. One guy would be finishing up a painting for midterms while another had to calculate his fictional project’s cost risks, but you were all the same when Jeonghan cheated, one voice amidst a chorus of mirthful protests.

You got close to the other guys, but not like you were to Seungkwan. Both of you knew each other’s deepest secrets, all your struggles, and you even admitted you thought one of the guys in your group was cute before you realized your personalities didn’t match up like that.

Heck, Seungkwan had seen you literally at your worst, laying eyes on you in your crustiest state when he brought you ice cream after your wisdom teeth extraction. Tired, on meds, no nice clothes or makeup, probably still swollen, but for once you didn’t care. You were confident he’d see you the same no matter what. He was one of your best friends, after all. You didn't have to be fake. You felt the most yourself with him.

Not a phrase you'd have ever expected to use, but Seungkwan became your tangerine dealer. Every two weeks he'd pay a visit to home and come back with a huge box of them just for you. It got to the point where you paid him to bring some back for your family, too, your parents practically begging you to make sure you secured the citrus.

So many days that you strolled down campus lanes you longed to just reach over and take his hand in yours, having some movie moment beneath blowing autumn leaves where it just magically came together and boom, instant mutual love. But you knew firsthand life wasn’t like the movies. Heck, knowing how affectionate Seungkwan could be, he’d probably think you were just doing goofy buddy-buddy hand holding, not hey, you’re the cutest and funniest and most trustworthy person I know, please date me hand holding.

You’d gotten too many mixed signs to ensure a move like that would be foolproof.

Seungkwan asked you to dance at every event you went to that offered it. He also talked about asking a girl again that had requested him, leaving you shaken for the entire remainder of the 'college prom' despite the fact that she left before he could. You faked a smile when Seokmin invited you to dance, but it never came back the same until you and Seungkwan were in his car driving to the convenience store and chatting about your latest projects, no mention of the girl in the envy green dress.

You told him you'd never worn a suit jacket like his one night and he immediately stripped it off, handing it off to you to try.

He described his type once, saying this or that look on a girl was totally his style, and let's just say it was quite far from yours. It was almost laughable if it hadn't made you want to cry. That conversation was part of why you went through such a giving-up phase, trying to get the attention of one of the twelve other guys you hung out with to, somewhat depressingly, no avail.

But then another time he mentioned an old crush from high school, a girl you happened to have class with, and she basically had your style dialed up a notch.

You did try dating once, determined to get over Seungkwan once and for all, but when you showed up to a formal event maximally gussied and Seungkwan was the one who told you you looked nice, not your boyfriend who barely said hi to you, something in your chest just snapped. The other guy wasn't a great fit, either, and you ended up breaking it off when he picked one too many fights over your damn personality of all things. He told you to get serious once and that was the last straw because he'd had months to see your humor.

The next time your ex passed you by, shooting you two a glance across the crowded resident dining hall, Seungkwan pulled the same gag he'd hated just to show him.

One of the guys, Seungcheol, once asked about the two of you and you freaked out, denying anything and saying you guys were super duper close Just Best Friends. Later, you wondered if Seungcheol reported that to Seungkwan. But if he did, then why? How would that come up?

Why did Seungkwan seek you out for trips and hangouts and calls like that? Why were you so much less on edge with each other than you were in the one relationship each you guys tried? Why did he never do a single thing to pursue more in four freaking years? Then again, you did tell him you thought Chan was cute before you realized you couldn't keep up with his lifestyle. Too 'work hard, play hard'. You were used to someone who just wanted attention, something you were happy to give when they were as dynamic, hilarious, and deep down so caring as Seungkwan. But that was beside the point.

God, you wish you hadn't hammered in the point of your friendship so hard with Seungcheol. Had that been the moment that ruined everything? Had not confessing on that one phone call where Seungkwan went off track talking about his upcoming Lotte World trip before you could get around to it been the moment that ruined everything? Had feeling so comfortable, showing even the very inner, more damaged layers of your shell been what ruined it all? Or had there simply been nothing to ruin?

Every time you thought you were done, whether you thought you could be happy with someone or he could and that meant case closed or even that you could put everything you felt in a box and take his smile just as a testament to your friendship, something would happen to make you question what was really going on inside his head or make your heart beat a mile a minute. Even something as simple as going on a thirty-minute drive, eyes scanning Seungkwan's side profile as he talked, feeling a great urge to just kiss him right then and there.

Moving on would get harder, you assumed, when others started to learn. It hadn't exactly been intentional, at least not on your part, but one day you had met Minghao, the arts major from your chaotic game group, for lunch and he'd brought up Seungkwan, one of the biggest connections you two had. Ok, that was fine, just a normal conversation, until that is he dropped a bomb in the form of a very choice phrase.

"If you did that, he would be so happy he'd kiss you," Minghao had joked, eyes rolling a bit as his naturally infectious smile widened.

Your very natural, instinctual, practically biological at this point, reaction to any jokes about you and Seungkwan that anyone made was a deeply transparent glare your eyes melted into before your brain even computed it. Indeed, you felt it before you considered it, but by the time you willed your face to return to normal Minghao was staring at you with raised eyebrows.

"Oh."

"What?"

"You, uh, have feelings for him, don't you?"

"Maybe I was grossed out by your joke," you feigned, pointing accusingly at Minghao with your chopsticks.

Those darn eyes of him were like swords stabbing straight into your soul. "Were you?"

"No," you broke down, melting into a stream of sweet, sad, funny, and everything in between words of your messy failed love and how bad you wanted closure, but not if it came at the cost of losing or disconcerting one of the closest people in your life.

Soon you were sobbing, Minghao sliding out of his bench seat and into a spot at your side, where he pulled you close. You felt tears soak into the chilled fabric of his scarf, but he didn't seem to mind, silently rubbing circles into your back for a few moments before he gently spoke.

"Seungkwan talks about you all the time, you know. I think even if he couldn't return those feelings, it would take a lot worse for him to stop being your friend. He doesn't cut people off easily, you know that."

"I do," you agreed, "he hates it when people do that."

"Then why do you think he'd do it to you, the person he so clearly wants at everything you can be?"

"I-" You inhaled shakily. "I don't know. I've been rejected a lot. I even asked one of the guys out and he turned it into a group hangout."

"Is that why we went bowling instead of-"

"Yes," you muttered into his scarf.

"I really think you need to talk to Seungkwan."

"About everything?" Peeling your face back out of the scarf, you felt a chill breeze lap at the tears drying on your cheeks. "Why?"

"If nothing else because he's standing like twenty feet away giving me a really weird look I've only seen him give Chan, and that has only been since Bowling Night."

"Oh, God, does he think-"

"I don't know, but here," Minghao replied, pulling a handkerchief out of his pocket. Leave it to him to have a beautifully embroidered ruby handkerchief in his pocket instead of a pack of Kleenex crushed beneath everything else in his backpack like every other college student.

"Thanks. Wish me luck."

"I don't believe in luck."

"Gee," you drew another shaky breath, rising unsteadily to your feet, "thanks."

"I believe in fate," Minghao smiled.

Art majors. You felt your eyes squinting in a half-glare before willing your defensive brain to be kind. Dabbing at your eyes, you attempted a wobbly smile, nodding and giving him one last thanks before wandering miserably over to Seungkwan. You couldn't help but crack a smile and chuckle at the way he cocked his head on you, the sound of mirth cracking into a sob because you hadn't fully exited cry-mode.

"Whoa, what's wrong? Or was that good crying? Did Minghao just confess? I gotta say, you and Minghao. Quite the surprise, I kind of would have seen you going for Seokmin or Soonyoung since they're funny and go better with-"

At all that, the floodgates opened again and you just strode off, sobbing. He was practically throwing you at all the other guys. You got it. Maybe that was the closure you needed, though if it was, why did it have to sting like ice piercing your lungs?

You always knew it would, though, if it came to it.

"(y/n), wait! Whoa!" Jogging to catch up with you, Seungkwan physically stopped you from walking, grabbing you by the shoulders and making you face him before he pulled you into a hug. "I'm sorry. I'm so sorry. What did Minghao say to you?"

"Nothing."

Seungkwan's face hardened in a way you'd never seen before, not even when the guys teased him in the ways he hated the most. "Did he hurt you? I love Minghao, but I swear if he said anything that ruined your day I'll punch his lights out."

"No," you shook your head, "no, please. We were just talking about something he thought I should do is all."

"Ok, so he didn't reject you and you're not dating? Good. Great first step."

Shoving the arts student in question's handkerchief back in your pocket, you raised an eyebrow. "Good?"

"Well, er, I mean, that is... you... you can date Minghao. Like, if you want to. I was surprised, but it's not a bad thing, like he's a good guy and all, just really quiet for someone who screams her head off during improv games and takes approximately point five seconds to initiate whipped cream fights."

Another shaky laugh, this time not quite fading into sobs. "Yeah, no. I don't want to date Minghao."

"Good. Great."

There they were again, those little things that got your hopes up. How well Seungkwan knew you, how deeply he was aware on whatever level that you two went together like peanut butter and jelly, how he could always make you laugh, how he seemed freaking glad you weren't getting yourself into a relationship. But if he wanted one, why didn't he say anything?

"Why do you keep saying that?" You burst out.

"What?"

"Good, great, all that," you turn slightly away from him.

He reaches over and straightens the collar of your jacket, yet another of the little caring motions you'd fallen in love with. A small way he touched you when he didn't have to. When his hands fell away, though, his jaw set, eyes fluttering closed as if in pain, like your words were a slap.

"I- I'm sorry, (y/n)."

"You don't have to be sorry," you sigh, "I just...wanted to know what that meant, I guess."

He blinked. "I know I'm one of your best friends and that's all you see me as- heck, I'm probably like a brother to you- but I admit I have a hard time with the idea of you going out with someone who isn't me. My mom told me I needed to realize I was in love with you when I apparently 'constantly talked about only you forever'," he began, making air quotes as he imitated Mrs. Boo, "but ever since I did I can't help but see the guys as threats. Especially Chan, because, well you know. I know what they say, though: you have to let them go. So whoever it is, as long as they're good, I just want to see you smile forever. Even if that's not Minghao or any of the guys. I care about you so much, (y/n), and when you said you wanted to be friends forever it touched my heart because I want the same. I really, really do. Maybe I didn't want to say that all for so long because it would have made it real, you know?" He asked with an awkward chuckle.

Holy shit. This time, your brain overrode your face, preventing a smile in favor of a shout. "I KNEW IT!" You exclaimed. "I knew saying that to Seungcheol was a bad idea! I didn't trust him with my feelings for you because he'd spill, but then why would my dumb ass trust him with a lie? Oh my God, I'm going to kill him. I thought I wasn't your type, so I just... it just seemed easier to hide them. Oh, my God!"

Seungcheol was a scapegoat for all the nights you'd spent cursing yourself, calling yourself stupid for not moving on when you'd gotten this or that sign, for believing this or that sign to the contrary, for hanging onto every last shred of hope that that extra-long hug might have meant something.

"Your feelings?" Seungkwan questioned, hands still on your shoulders as his head returned to its studying tilt. "I thought we were doing mine."

It sounded like a cry for attention, but you knew Seungkwan too well for that. Your face fell, and panicking he cupped your chin and pulled you up, only to see you shaking your head and half-sardonically, half-deliriously, laughing. What the heck were you guys doing? None of this felt real. He'd only processed one thing, and that was getting his confession out there. "I think our feelings might be the same," you reiterated.

"What do you..." Head un-tilted. Eyes wide. Grin increasing. "You were lying?"

"That's the first time I've seen you so happy about filthy deceit before."

"Hey, you told me you weren't going to use that phrase anymore," he pouted. Yep, even in the middle of all that, he was sensitive to the memes he'd made in the group. That was Boo Seungkwan for you, presentations class ace and funniest non-comedian you'd ever met.

"Sorry, it was too funny, Jeonghan loved when you said it then and he still does. Just like me to you," you added, trying to get him back on topic. You were not about to have another Lotte World Phone Call Debacle.

"You love me?" The hand that was under your chin slid to your cheek.

You nodded. "I can't believe it wasn't obvious by, well, everything. When I look at you I can feel the change in my eyes. They have to look different when they fall on yours versus anyone else. They feel twice their size and like they must have that anime shine in them."

"That's...one of the sweetest things I've ever heard."

"Well," you give your first full, genuine smile since bursting into tears on Minghao, "it's true. You make me feel like my fullest self. That's why I always seek you out. I'm scared to sing in front of people, but with you I'll belt out whatever we play. You know things about me my own parents don't even know, and that's because you've given me nothing but reason to trust and value you like you have me."

"Wow," Seungkwan sighed, sniffing, "I...I can't believe I got so lucky, I just..."

The moment he trailed off, you took a hold of his cheek, too. "Hey, whoa now, don't you start crying too, I'll do it again."

"And we don't want that."

You'd cried countless times over your feelings toward Seungkwan for almost exactly four years, though there was no anniversary. You hadn't known how important that day in class would become to you, despite how many times you'd thanked it now. Typed out paragraph upon paragraph about how no one else makes you feel quite as yourself, quite as at home, as the man from Jeju who loved hosting game nights at every opportunity. The man who would never look at a girl like you. You'd tearfully imagined how he'd reject you, how he'd accept you, if your confession would burst out during your first fight like in a movie, if you could ever have that moment in the autumn light you'd always imagined.

Well, it wasn't autumn, in fact it was a cold January day you'd more than shivered through on the lanes between each building, those falling leaves long died away and crumbled into the dirt. The trees looked like sticks, your cute outfits hid under your coats, and sometimes your nose ran. Surely it was right now after all your eyes had done. But somehow, as you looked at Seungkwan, all of that was more beautiful than every red and gold that could have drifted on the wind.

"No, we don't, do we?"

Seungkwan leaned a little bit closer. "I know we're both, like, totally crying, but I think it's safe to say we both know what we do want?"

Tears on tears cancelled out. Mingled, even, like debts paid.

[markerofthemidnight]

Danganronpa Settings And Why They Work

(and also an analysis on Blackened Skies and Project: Eden’s Garden’s settings because why not)

I’ve had a pretty long day today and I’m currently nursing a mental headache that’s slowly over time evolved into a physical headache. What better way that to try and help with that then to get my brain working in an analytical way?

So, Danganronpa settings are cool and interesting. There’s a lot of different ways you can take them, but- as we’ll soon see when we get into this analysis properly- most take the form of some kind of prestigious or fancy area that’s been twisted into a mockery of itself.

Another thing they have in common is that wether a school like in DR1 or a chain of islands like in DR2, Danganronpa settings are secluded places closed off from the outside world, naturally as the goal is to get out. If it would be possible to escape it in normal circumstances, it isn’t now.

So without further ado, let’s talk about them:

Hope’s Peak Academy - Danganronpa: Trigger Happy Havoc

Hope’s Peak is the main standard that all DR settings meet, as it is the first in the franchise. As to be expected from such, it’s rather straightforward when you get down to it, but there are a few interesting details:

Hope’s Peak is a prestigious academy for Ultimates that’s been turned and twisted by Monokuma into a frightening, almost claustrophobic nightmare.

And boy, is its appearance good at nailing that frightening feeling down and making it feel even more oppressive.

The school- specifically around the ground and first floors- is filled with these bright colours all over the walls and floors, in a way that, in any other case, would probably feel bright and happy, but now taken to such an gaudy extreme that it circles back around to being uncomfortable. It’s really dark, too. The shadows feel unnaturally strong.

Why, exactly? Well, if you ask me, that’s because we know that schools aren’t supposed to look like this. Colouring in real schools, to my experience anyways, tends to be quite muted. There might be a splash of colour here and there, but nowhere near like the way it is in Hope’s Peak where you’ve got countless colours being thrown at you and none seem any more overpowering than the other.

The best part about this effect is that, as I specified earlier, it’s most noticeable in the first two floors: ie, Chapter 1. The chapter where finding a way out of the school, no matter the cost, was at its most important: the rest of the game seemed to be more focused on why it was happening, and as soon as that was resolved, the issue of them being stuck there was fixed almost immediately after.

Also, is it just me, or do the rooms in Hope’s Peak either feel incredibly claustrophobic or incredibly agoraphobic?

The 2D rooms feel claustrophobic, since they all open up with the little cardboard cutout props appearing into the room, either popping up by themselves or scuttling in from offscreen.

The 3D rooms feel agoraphobic, since they’re rooms that, unlike the rest, you can move around in, and often tend to be incredibly big compared to all the rest.

Either way, there’s a sense of dread following you wherever you go in Hope’s Peak, and that does a lot to add to the overall feel of the game.

Setting Ranking: 8/10

Jabberwock Island - Super Danganronpa 2: Goodbye Despair

Now, Jabberwock is where things get interesting. This actually might be the most interesting setting on the list, now that I think about it: first of all, it’s the only entry on the list to be set outside rather than inside.

Secondly, and less obviously, getting off the island wasn’t really that… important in DR2? The game, at least the first few chapters, was more focused on getting it back from Monokuma.

However, there is one thing of interest about Jabberwock Island that I feel like I need to bring up: the sheer uncanniness of it.

It’s not as obvious as it was it Hope’s Peak, for multiple reasons (the game’s on an island so it feels more open, the sun’s almost always shining so there aren’t any strong shadows, and while there are still a lot of different colours, they don’t contrast each other and instead come together in a beautiful tropical aesthetic) but that’s all balanced out by Hajime repeatedly stressing, in the prologue, that something is wrong with the island.

And I have to say, I can’t blame him. Jabberwock, specifically the first island, feels almost… too perfect. The sky feels too blue, the beach too yellow, the whole situation is just too good to be true.

Rocketpunch has just about everything you could ever want, even if it shouldn’t realistically be found in a supermarket, like night-vision goggles. The hotel has personal cottages for everyone- all separate buildings no less, not different rooms in the same building- and its own restaurant.

Just like Hope’s Peak, there’s a sort of uncanniness to Jabberwock. An uncanniness that is repeatedly stressed by Hajime, specifically near the beginning of the game.

Admittedly, that uncanniness sort of… dies down after the first half of Chapter 1. I feel like SDR2 probably should have leaned harder into it, but I realise why it didn’t.

The uncanniness is replaced with a more desolate feeling in the 3rd and 5th islands, not to mention… you know what? This deserves its own section.

The Funhouse

Admittedly, there are times in the game where you come to appreciate the fun island aesthetic. The soundtrack, specifically Beautiful Ruin, really nails that feeling: it reminds you that, no matter what Monokuma and his killing game leads you to think, you were originally supposed to enjoy the school trip.

So naturally, the Funhouse segment says to you, “Hey, you know that fun feeling you’ve been appreciating while you can this whole game? Let me hold that for a second,” rips it straight out of your hands before you can even answer, and throws it out of the window for the rest of the chapter.

The Funhouse is everything I described earlier about Hope’s Peak but amplified to 11. The bright, eye-burning colours are back with a vengeance: but whereas Hope’s Peak at least had different sets of eye-burning colours, here, it’s just the same two dumbass patterns on bright lime green and pink wherever you go.

Also, since the Funhouse seems to consist mainly of 3D segments, you’d think it leans harder into Hope’s Peak’s agoraphobia, right? No, actually, it manages to flip that concept on its head: somehow, the 2D rooms seem too big and the 3D ones seem too small.

The fact that the entire cast are slowly starving whilst having to look at images of strawberries and grapes wherever they go just add to that feeling.

Setting Ranking: 7.5/10 (The Funhouse: 4/5)

The Ultimate Academy for Gifted Juveniles - Danganronpa V3: Killing Harmony

Now, I’m probably gonna say this a lot in this analysis, but the Ultimate Academy is… interesting, because it doesn’t really feel like the first two.

It doesn’t have the same uncanny vibe that Jabberwock and Hope’s Peak have: rather, it feels more desolate. The sort of dreary aesthetic it has, and the overgrowth everywhere, adds to that feeling. That your life ends there.

But then, there’s the more futuristic aspects of it. The technology in the school feels high-end, like it takes place a few decades in the future.

Sure, it can be written off as the futuristic parts being Monokuma’s renovations and that the school itself is ancient… but you can never really tell.

And then there’s the Ultimate labs. I don’t know about you, but they’re probably my favourite part of the setting: they’re just so interesting!

We never got anything close to a talent lab in any of the other games… and for good reason, because I couldn’t see it working in any of the other ones.

I think we can all agree on this: if there wasn’t a Killing Game going on, and the place was cleaned up a little, the Ultimate Academy would be a really good place to stay, and the talent labs are part of the reason why this is, wouldn’t you agree?

The characters certainly seem to agree. The only ones who seemed to outright dislike their labs were Ryoma and Maki, who never liked their talents themselves to begin with.

All of the above come together to create a sort of… conflicting feeling about the Academy. Do you like it, or do you not? Is it futuristic, or is it from the past?

Which, I’d say, is quite fitting for a game about the relationship between truth and lies. It makes you question the reality around you…

And then there’s the End Wall. I… honestly don’t have much to say about it. It’s certainly interesting, but probably the most I could add to how it makes one feel is that really pins down the feeling of being trapped, and its sheer size makes you feel a part of something bigger than yourself.

Setting Ranking: 6.5/10

The Despair of the Seas - Blackened Skies (AO3)

(I’m including this because I think it’s a really good an interesting setting. If any of you would like to read it:)

The Despair of the Seas is much like the Ultimate Academy for Gifted Juveniles in that it’s unlike anything else we’ve seen in the list so far… but mainly because it’s actually a blend of the previous three, in its own ways.

The logic behind making it a cruise ship didn’t make much sense to me until starting this analysis, but now I start to realise: Blackened Skies takes characters from all three of the games, and what do you get when you take two prestigious schools and merge them with a tropical island? A cruise ship, obviously.

The Despair of the Seas, as described in the fic, is a very large ship. And, additionally, a ship with a very nonsensical layout. Now, it’s quite difficult to tell how this would make the player feel if it was a game, because it’s not, but… if I had to guess, I assume it would be similar to the feeling of uncanniness DR2 had.

The inconsistency of the ship, and the strange way it seems to be laid out, would make you feel almost… detached from it. Whereas Jabberwock Island felt simply odd in a way that was difficult to keep your mind off of, the Despair of the Seas would feel outright liminal.

Much like, say… purgatory.

It’s also interesting how the outside of the ship is described as just being a dreary ocean painted by grey clouds (or should I say, BLACKENED SKIES?!) It adds to the uncanniness the ship has, and amplifies the feeling of there being no escape.

And not to mention, when you start to think about it… it also highlights the themes of guilt and sin that the story has.

Rough seas are perfectly normal. Unpleasant, but common. And yet, despite your desperation to escape the ship, when you look out the window, suddenly you decide you want to stay?

Naturally, you would. Of course you would. And yet this feeling doesn’t do anything but make you feel worse about yourself.

It’s like you want to stay there, almost. The Despair of the Seas is an incredibly fancy ship, and not even in a gaudy or tasteless way: again, if they weren’t stuck there, the cast might actually want to stay.

But what I have to stress is that it’s like that on purpose. In just Chapter 3 of the story, it’s stressed that the protagonist feels as if the fanciful nature of the ship is Monokuma’s way of rewarding them all for killing.

So it makes you feel… tainted, almost. Like you’re in on the joke. Like you’ve been consumed by pride and greed, and the only reason why you want to leave is your weariness of all the other selfish murderers around you.

Of course, that’s just my interpretation of it. Anyways, the Despair of the Seas is cool and great and go read Blackened Skies if you haven’t already!

Setting Ranking: 9/10

Eden’s Garden Academy - Project: Eden’s Garden

Eden’s Garden Academy is… I dunno, it feels very down to earth in comparison to all the rest.

Of course, I can only go off of what little we’ve seen of the academy in the prologue, but… the best I can describe it is like a cross between the uncanniness of Hope’s Peak and the dreariness of the Ultimate Academy.

Hope’s Peak managed to feel both claustrophobic and agoraphobic depending on the area. Somehow, Eden’s Garden Academy manages to feel like both no matter where you are.

As soon as you wake up in the academy, it feels desolate. Like it’s been abandoned for a long time, and only recently renovated for the sake of the Killing Games: much like the Ultimate Academy except less obvious.

The entire school has a haunting feeling not made much better from the portraits scattered all over the walls. It feels almost like a horror game in that regard, like something’s going to jump out at you.

Another thing that adds to that feeling is how we’ve never actually seen the outside. We’ve been tricked into thinking we were outside, but we’ve never even encountered a window.

What results from that is a feeling of separation from the outside. You could be anywhere right now, and you have no way of figuring out where.

It also really adds to the feeling of being trapped. If the recent teaser is anything to go by, there’s also a fake exit somewhere in the new area, which if anything adds onto that feeling by a long shot.

I don’t really have much else to say since we’ve only seen so little of the academy so far, so… yeah.

Setting Ranking: 6.5/10 (but only because I haven’t seen enough of it)

Thanks for reading!

[detectivesplotslies]

Too many memories, two many occupants

Description: The game is over, and someone has to answer for how it played out. Tsumugi's the obvious answer, as perfectly so as her cosplay. Features VR AU and postgame spoilers. Word Count:  3591 Read on AO3 here

Chapter 1: Beyond Notice

During the trial it had been a lot easier. Having an opposition, having a role, having a part to stick to. There was the audience, there were the fans. There were her brilliant cosplays! There was the vote. She had known what she’d press. She knew where it would get her.

Waving her last, she knew what it really meant. But something within her still grew quiet. Something mourned. The triumphant grin of despair wouldn’t surface, no matter how hard she tried. Her contestants. Her classmates. Her victims. Her cast. They had sentenced her… themselves… to this.

Even though she knew better, she felt numb. Her feet were heavy, rooted to the spot. The others were out of sight. Her executioner flew around above, raining his destruction down on them while she retreated inwards, her vision narrowing. Waving, as her cosplay fell away, as the school crumbled, she should feel the heat of the explosions, but none of that reached her.

She saw the rock. She made no move. Part of her was ready. Part of her was resigned.

It went dark.

Even though Tsumugi knew better she was almost relieved.

Until it was time to wake up.

---

Coming to feels hazy, disorienting. Her limbs jerk awkwardly, as if starting awake from a nightmare, eyes still seeing darkness but hands brushing against cords, glass and consoles. A pair of hands brush her cheek as they remove her headset, and she flinches involuntarily. One of her own hands goes to her face, tugging at its electrical tethers, still taped to her in various nerve points.

She’s not wearing her glasses. Panic washes over her just as the blinding light of the room that refuses to adjust for her does, and her other hand frantically reaches around the pod for where they must have fallen. She’d never leave her glasses. Without her glasses she’s not… she’s…

The light becomes less intense as she blinks, and she can make out the blurry silhouettes of three people in front of her, standing at attention, waiting patiently. One holds a hand outstretched with something silver clasped in it.

Shakily she takes it, unfolding the arms and sliding them carefully onto her face. The unfocused world comes back into sharp clarity. She half recognizes the faces of those who are in front of her. The silence remains. Is she supposed to say something? Eventually the one who returned her glasses clears her throat, and gestures to the others. They begin to remove the wires quickly and efficiently. Tsumugi crosses her arms and rubs at them idly as the rest are secured, feeling like this should be a more private process. As the last wire is removed the one who’s clearly in charge clears her throat again and nods to her.

“The Board would like to see you.”

Slowly, Tsumugi pushes herself out of the seat, wobbling on her feet as she does so, gripping the side of the chair shaped pod, carefully avoiding the lit LCD consoles lining the edges. The trio before her make no moves to help, nor does she request it. The legs beneath her quiver a few times, threatening to fold before her knees lock with some promise of support. Her hand gripping the side betrays the truth though, trembling with effort.

“Alright, take me to them.”

---

They aren’t happy.

There’s some general gratitude that an ending was guaranteed through her actions, but thanks for it are brisk and short lived. There are bigger problems now.

Lost footage was bad enough, but a protest live on air? Sure, there were tons of supportive fans out there with a continued commitment to the brand, but the vocal few were making themselves heard. Sponsors were pulling their funding. Team DanganRonpa needed to make a statement. They refused to take fault, they had the consent waivers, despite the impassioned display on screen. They needed a scapegoat to take the fall, and who better than the face of the disaster? It was for the good of their franchise, and their only chance to hang onto enough profit to keep the company running.

They are firing her.

The show must go on, but they would make a good faith decision to change their methods for the next season. With a brand new production team.They were advancing their technologies still and R&D was indispensable right now, so the focus went towards the writing talent. It was her failure, anyways, they posited. The simulation hadn’t flickered once, even when the jig was up.

Tsumugi is silent and numb as she is told this. Turmoil brews as a debate begins around her about when to release the announcement.

How dare they do this to me? I worked so hard for them! Without me this season would have never got off the ground! Who else had the brilliant idea to move into a space epic? To introduce new worlds for the future of the story? Who risked their life to bring down every last obstacle? Who gave up their classmates? Was chased down for this mad show and they care more about sponsors? How dare they place the blame on a highschooler, when I-

Wait, no, she’s not…

She runs her fingers over her temples gingerly, swaying slightly on her feet. The discussion in front of her ebbs, attention back on her, and some expressions exchanged before they agree to resume once she’s more aware. Perhaps they were too prompt in calling her here, but they had assumed she wouldn’t need long to adjust, since she knew the truth.

They didn’t realize knowing the truth was the crux of her dilemma.

---

Deleting memories when a consciousness was plugged directly into a simulation was very simple. The centers of the brain known to store them were easily targeted without physical intervention, leaving common sense and learned skills. Untethered knowledge, learned without recalling how. The amnesia effect here was valuable. Recalling this knowledge caused a disconnect, and when memories were implanted the brain would do something extraordinary. It would map a route from the presented memory to the knowledge, all on it’s own. Connecting the neural dots and repairing the damage as though it were never there, without guidance or supervision. The human mind was a brilliantly sophisticated device.

Every cast member had been selected with some semblance of knowledge or aptitude for their assigned talent, even if it was utterly average. The knowledge was filled out for each, with painstaking researchers drafting long memories of ancient tomes, infidelity cases, star charts, blueprints, masked faces, island maps and coastal vistas. They filled in as much as possible, but even if they missed something, the mind was resilient, and would work out the holes on its own.

It wasn’t the same for her however.

There was a perk to being the ringleader for the whole affair. The person in charge had to know some of the infrastructure that was keeping them there, some of the motivations. Lest the show fall apart, or even worse be boring. So the game master went into the simulation without memory deletion.

That wasn’t to say that there weren’t memories implanted. That would be too simple. They had to provide some true evidence of their talent to back up the enhancement of their skills and knowledge. Without a sturdy foundation built on confidence any additions would crumble and refuse to attach. Having worked in the costume department for a few seasons before her promotion, her suggestion of cosplayer had been approved almost instantly. Soon the research team was looking up Cosplay Masquerade winners from years past and the details of every prized piece of workmanship, photography and character acting they could find, and drafting it into a light for her as well. Tsumugi had been excited, and had even helped pick her absolute favourites to be remembered as costumes she made.

Ideally, this booster pack of memories for her talent would supplement her own enough to use to her fullest if the time came in game. Her script outline didn’t even call for her reveal, but having been behind the scenes a few seasons, she knew a lot more was up to chance than Team Danganronpa liked to let the media know. She wanted a strong backup at her disposal, should the need arise.

However, when the game began, something hadn’t been quite right. Backstory memories were implanted as planned, but the talents were yet to be placed. Already in the simulation, she couldn’t ask The Board if this was deliberate. It could be a marketing scheme to boost audition rates for the next round. But already her concern grew.

The human mind is a fascinating thing.

The others spoke of being grabbed and taken here. The dots were already connecting, firing on all cylinders, looking for solutions to lost memories that didn’t need answering. It wasn’t as though they erased everything of course, it was impossible to work with a blank slate, so the bits remaining were playing havoc with their reactions. She alone had none missing, and merely nodded along. With the arrival of the talent light, she had an inward sigh of relief. Soon it wouldn’t matter, this would overwrite any unintended connections left by this stunt.

They received the memories.

Tsumugi had never expected them to feel so real. Every costume she had lovingly picked out, from footage and articles, she could feel in her hands, as though she touched the fabric and threaded the seams. Every pose she had seen a cosplayer photographed in, she was viewing outwardly, seeing the cameramen she never even imagined existing prior, while holding her position with careful grace. Every character, be they dramatic, loud, shy, soft or brash, came to her in vivid detail. Their tales, their backstories, their struggles, their gestures and voices.

And it clashed against her memories of Danganronpa.

All these characters, all these series, they were not the ones she grew up on. They were new and relevant, often references classics, selected for memorability, for the audience. And yet now they were intimately hers. They crowded for attention, buzzing and vying for a place as her favourite.

Her true favourites, the reason for her years of work and devotion, were shoved to the very back, not forgotten, but duller. Flatter. The Ultimate Cosplayer was vibrant! Though plain outwardly her skills were undeniable! She wasn’t some drop-out made-seamstress made-scenario writer. Why would she ever want to be?

Therefore, it couldn’t be that surprising how lost in thought she was at her introductions, she spent far too long trying to remember the lines she had written to poke a reference to the show. There were a lot more than 52 killing games to think back on now. She regretted not stocking the A/V Room with more of these shows...

----

With an escort, she goes to her office to clear it out. Memorabilia lines the desk and walls, from seasons past. She looks them over passively as she is handed a box, and begins to take each thing down one by one. Every character, name, and mascot was familiar. Security waits at the door, and she wonders why. What could she possibly do here to harm them anymore than she supposedly already had? She had not been allowed online yet to confirm anything told to her, but she had resolved that when they spoke to her again she’d make it a condition before her termination. They couldn’t plainly believe she’d take their word on it when they put her… no that wasn’t right…

They didn’t put her anywhere, she put herself somewhere.

She shakes her head slowly a moment, the numbness in her hands having returned. Before she can react the snowglobe in her grasp slips out of her clumsy unfeeling fingers and shatters on the floor. Water and glitter splash the floor as tiny Monokumas skitter outwards past her feet across the room, freed from their little round prison. Security whirls around to face her at the sharp sound she doesn’t hear. She stands there staring at the base of the glass bauble, dumbfounded.

She vaguely recollects that that had been special. A collector’s item, given to her by someone perhaps? Limited edition? But she felt nothing staring down at the wet shards remaining, her arm hanging limp at her side. Whatever it was before, it was trash now.

Tsumugi is ushered out with her box half packed, with no mention of if she could come back for the rest. Part of her wants to scream to get the rest and cling to it all! It took so long to amass! Without it, what is there to prove her efforts? A larger part of her was happy for it to be out of sight.

She unceremoniously leaves the box in the corner of her recovery room. Not one of her own things is taken out to put anywhere. She likes the room bare and plain. Like her. Just like the girl she thinks she is.

---

Unlike before the game, when the research team and writers had meetings, strategy plans and long discussions, the classroom where Tsumugi stood with the Game Master interface was lonely and cold. There were no intricacies to any of the selections, they were mere branching paths. Sure, she recalled some of the writing details for each from before the season launch, especially the ones she had chosen as her outlined route, but how simply the screen stated them to her was troubling.

The talent had been supposed to be this simple too, but it had depth she hadn’t expected. The selection hovered over the Ultimate Hunt and the mass funeral choices, the ones her writing team had OK’d. She wondered what depth she’d feel seeing fake people mourn her. Would they seem fake?

She pressed the button and waited for the light to pop out of the locker, adjusting her glasses idly and looking out the dark wire barred windows. She thought about her ‘classmates’, who had nothing in their heads remaining to help them deny these. It really was a perfect system. For them.

There was a thud in the locker. Tsumugi returned to her task, like so many all nights she’d pulled before, both real and fictional. She walked over to retrieve it, carefully tucking it into the interior pocket on her coat. Once it was placed that was their plot, no rewrites, no erasing anything. Living the story was a lot more nerve wracking than writing it.

---

Tsumugi knows her way around the building without help, but that doesn’t stop security from falling into step and walking with her whenever she leaves her room. She supposes it’s not to help her, anyways, so it’s not an issue. There’s no regimented schedule for her during recovery, though doctors have visited her room a few times and there was one impromptu check-up with an actual CT scan.

She tells them all she feels fine. Everything is fine. She’s readjusting just fine, thank you for asking. No, no abnormalities. No numbness. No confusion. She does admit to being very tired. That one is a safe answer, it usually makes them leave faster so she can rest. They aren’t very good doctors, she thinks. She wonders if they are just as poorly attentive to the other patients’ issues and lies.

Without a schedule, Tsumugi avoids the cafeteria at what she guesses would be the busier times, but even doing so she has caught glimpses of her cast.

A girl sitting with an untouched meal laid out before her. Her hands clasped in front of her in her lap, eyes hidden behind loose grey hair.

A tall silent boy gazing out one of the few windows into the courtyard. He traces his no longer ringed fingers along the surface.

A coughing bout in the hallway followed by the rush of feet and a familiar loud voice shouting them off.

Echoes of their more vibrant selves, haunting the halls.

She walks into the cafeteria and stops. There are voices but she’s already through the door before she realizes it, eyes darting to the table to the right of the door. Sitting there in what sounded like a disagreement were Shuichi and Maki, with Himiko sitting idly beside the latter cheek resting on the heel of her hand while gazing at the door. The other two don’t notice her but the small redhead locks eyes with her instantly. Her posture stiffens as her eyes widen. The two girls stare at each other for a moment, the conversation a buzz in the background as the air thickens. Shuichi, who’s back is to the door must have noticed because he stops mid-sentence and glances over his shoulder. He freezes.

It’s Maki who stands, nudging Himiko behind her, taking on that intimidating stance. She’s glaring daggers across the room at her, and Tsumugi backs up involuntarily, right into the security guard who was following her into the room. Clumsily, she stumbles forwards to step out of his way and adjusts her glasses, the other three’s eyes still locked on her. Not wanting to leave, but unsure of what to do with herself, Tsumugi steps forwards to the adjacent table and quietly takes a seat.

The eyes on her and the silence are wrong. She’s not someone who gets stared at, at least not when she’s not trying to… this isn’t what she should… what should she…

A placid smile spreads on her face and she nods her head to them. “Good morning, Harukawa-san, Yumeno-san, Saihara-kun.” Her eyes squint almost closed in the forced smile, her cheeks pushing upwards under her glasses that help mask the dark bags. Practiced. Placating. A face both of her make. Painful.

“What do you want?”

Himiko isn’t who anyone expects to talk clearly, Shuichi turning to look at her. Maki squares her shoulders, trying to seem bigger. But the smallest of them narrows her eyes and waits.

“Nothing in particular, really,” Tsumugi drawls, folding her hands in her lap. Out of sight as they clench and fidget.

“Oh sure, your goons won’t give us a moment alone, but you don’t want anything. Like we’d believe that,” Maki says before Himiko can continue, venom in every word. Himiko’s mouth hangs open in the interruption, closing again with a pout.

“My goons,” Tsumugi repeats, noting the pointed look at the security detail that followed her in. “Fortunately, they should have provided you all with your contracts by now, and you can see your rights there. Please do use them to your benefit.”

“Oh right. The contracts we don’t even remember signing,” Himiko mutters.

“That is outlined in them as well.”

“This lack of contact with the outside was not, though,” Shuichi cuts in. The sureness there is from someone who clearly read the contract over more than once. Someone looking for loopholes. The memories he received must still be working overtime. She wonders if he’s as glad to have them as he was when he was when the process was explained? Probably not.

“That’s not my area, I’m afraid the simulation and preparations were my purview, Saihara-kun. Feel free to exert your rights in your contract, though. The company has to uphold it.” The strained smile slides into a more natural one as she continues to speak. It’s easier when it’s not about her.

Shuichi raises a brow. Perhaps he had expected resistance? “So they’re breaking their agreement then, holding us here?” he continues, as if to clarify.

“If that’s what the contract promises, then I suppose that’s the case,” Tsumugi answers. They should feel fortunate they got the opportunity to sign those at all, she thinks. Her hands clench tighter. They are fortunate they don’t remember.

“Like we trust you to keep promises,” Maki spat.

“You don’t have to,” she tuts, “Just use the contract, it’s your tool.”

Maki moves so quickly that thankfully Tsumugi doesn’t have the time to flinch. Himiko grabs her by the crook of the elbow before she’s rounded the table towards her.

“Stop it, let’s just talk somewhere else.”

Himiko stands, and moments later Shuichi follows suit. Maki’s expression doesn’t show any agreement, but she leaves with them nonetheless, glaring back over her shoulder on the way out. The security officers never stray from their posts. As soon as she’s sure they’re gone, Tsumugi lets out a held breath. A few moments pass, and she finally goes to get her meal.

She hopes that they really heard her. Their contracts are so much more flexible than her own. They hadn’t bequeath their identities, their citizenships, they weren’t intellectual property of the company no matter how some of the creative team liked to spin it.Their participation was a limited matter, and she was sure her classmates could argue their way through with that fine print at their disposal. She knew that much. She’d seen them face harder things than legal jargon together of course!

...Her classmates? No. Her cast. Her co-stars. A grimace grows on her face as she returns to sit. They never once had a class together, and the game could hardly be called one… not now. Not with her. Together they could bond in their ignorance. Her contract wasn’t flexible. Her consent was different than theirs. She wasn’t new, or at least not all new.

And she couldn’t leave until they decided the best way for them to kick her out. She takes a bite of her food thoughtfully.

If they can kick me out.

[slasherholic]

Essay: On Michael Myers and Muteness

A little foreword: This essay is in response to a sentiment I’ve noticed circling in the slasher community for some time. While nobody, to my knowledge, has been outright accused or attacked about this, I do find it concerning how eager some are to spew hate when confronted with people who don’t share their specific ideas of how a fictional character should be viewed—especially when those ideas have very little ground to stand on.

This essay will cover common sources of psychological mutism, and examine how they apply (or don’t apply!) to Michael’s character, to determine the most likely cause for his mutism.

Disclaimer: I have no formal education in the field of psychology. All information presented is taken from case studies and the dsm-5.

Let’s begin with some definitions to clear up a few misconceptions.

Selective Mutism.

Selective mutism is defined as the consistent failure to speak in specific social situations in which there is an expectation for speech, despite speaking in other situations. (DSM-5, pg. 195) 

Selective mutism can be diagnosed only when a child has an established capacity to speak in some social situations (e.g., typically at home). Selective mutism is not the consequence of trauma, neglect or abuse—it is strictly an anxiety disorder.

Progressive Mutism.

Selective mutism may develop into progressive mutism. (Note—progressive mutism does not appear to be mentioned in the DSM-5, but it did show up multiple times while I was researching selective mutism. Take the following with a grain of salt.) Progressive mutism is when a child becomes mute in all settings, with all people, even at home. It occurs due to heightened stress within their environment, or by way of negative reinforcement—for example, if an adult tries to help the child out by “speaking for them” during an episode of mutism.

Traumatic mutism.

Traumatic mutism is sudden mutism following a traumatic event (e.g., the death of a loved one).

Note: There are a great many other causes of mutism resulting from psychological factors, ranging from autistic spectrum disorder, to dissociative disorders, to schizophrenia—but considering how we don’t know enough about Michael’s backstory to say whether he is affected by any of that, I’ll be staying away from explanations requiring heavy speculation.

Alright! We have our definitions. Now, let’s see if any of these would apply to Michael’s case.

(Of course, the only interpretation of the character where his muteness even needs an explanation is the “Michael has a mental illness” take—which, again, is just one possible way of many to view him. The mindset that Michael must be unwillingly mute excludes the most canon-compliant take on the character—that he is just evil. Obviously, a Michael who is “just evil” chooses not to communicate with others because he doesn’t fucking care.)

Option one:

Michael is selectively mute. He suffers from an anxiety disorder. He is physically unable to speak under certain circumstances, but, by definition, he is able to speak under other, more comfortable circumstances.

Why it isn’t likely: There is no evidence in canon to suggest that Michael suffers from an anxiety disorder. Zero. You simply won’t find it. If you want to label Michael as ‘selectively mute”, by all means, do so—everybody has the right to their headcanons! But please, understand what you are saying by using that label; that Michael does not suffer from total mutism. There are situations where he can speak, and there are situations where he cannot.

Option two:

Michael is selectively mute, and his muteness has advanced into progressive mutism. 

Why it isn’t likely: Again, for this type of mutism to occur, Michael must have first had selective mutism. We are not told enough of Michael’s background to speculate about whether he suffers from any sort of anxiety disorder, and I doubt we ever will be. While this explanation for Michael’s mutism is technically possible, to treat it as immutable fact would be nothing short of dishonest.

Option three:

Michael is totally mute as a result of trauma. Whether from the shock of murdering his sister, or being suddenly separated from his family, some traumatic event triggered an episode of mutism that Michael never recovered from. He is now permanently mute.

Why it isn’t likely: Let’s get one thing straight—this view of mutism is a Hollywood bastardization.

The trope in which a character is rendered permanently mute due to trauma/psychological factors may be popular in movies and television, but in real medical cases, this idea holds little merit.

“While cases of mutism have occurred as a result of a child being abused or emotionally or physically traumatized, it seems to be very rare. I have not yet seen such a case, where a child spoke normally until a traumatic incident and then stopped speaking.” (https://www.selectivemutismfoundation.org/knowledge-center/common-myths)

“While it is possible for a child to become mute after a traumatic experience, usually the child avoids talking about aspects of the trauma itself, rather than becoming completely silent.” (https://childmind.org/guide/teachers-guide-to-selective-mutism/what-is-not-sm/)

Of course, this is not to say that trauma-based mutism does not exist. It is a documented occurrence, and it inarguably does.

However; to insist that Michael must have been rendered completely, irreversibly mute due to childhood trauma, and that his mutism persisted for the next 55 years, (2018 Michael is 61,) is not a medically feasible claim. This trope works fine in a fictional setting, but please, acknowledge that this attitude is more rooted in fiction than fact. I scoured case-studies on psychological mutism for hours, and was unable to find a single occurrence of something comparable happening. It is statistically more likely that a person who is mute for this long is making a conscious effort not to communicate. Which brings us to the final explanation:

Option four:

Michael can speak, but willfully chooses not to.

It should not come as a surprise that this is the only explanation for Michael’s mutism that can be sourced by canon material. Dr. Sartain, whose entire job it was to observe Michael’s behaviors, concluded that his patient was indeed capable of speech, and that his mutism was self-imposed. In all brutal honesty, the mental gymnastics required to get around this statement is pretty damn ridiculous; and to knock others for not performing the same mental gymnastics is even more ridiculous. 

This explanation is further evidenced by the 1978 novelization of Halloween. (Which, I don’t personally view as canon, but I know of some who do, so it is worth mentioning.) In the novel, Michael continues to speak normally up to a year after his institutionalization. There is no mention of a traumatic event at the sanitarium that might have triggered his muteness; the closest we get is the near-death of a girl at a Halloween party, but it is very heavily implied that Michael was responsible for that incident—and all because the girl beat him at musical chairs.

Simply due to the evidence we have, this option is the most likely explanation for Michael’s mutism. (For those interested, I go more in-depth about this interpretation of his mutism in this essay.)

But! All of this speculation is ignoring the fact that Michael Myers is a fictional character. His behaviors cannot be studied in a medical setting, by a medical professional—meaning that he cannot be diagnosed with psychological mutism in the first place. If you are one of the individuals trying to claim that Michael is undeniably afflicted with any of these forms of mutism, or any other mental illness, etc. You are wrong. That is not how psychiatric diagnosis works. The absolute best we can do is speculate.

So here it is, plain and simple:

If you hold the belief that Michael Myers must be fully, 100% incapable of speech due to psychological factors, and insist that your viewpoint is the only valid one, not only are you ignoring the ambiguity of this 40-year-old franchise, not only are you ignoring the massive potential for individual interpretation, but you are also fundamentally wrong. You are perpetuating false, or highly simplified information about psychological mutism, and you are trying to apply that false information in an ambiguous fictional setting. Please get off your high horse.

The takeaway: Michael’s mutism has many possible explanations.

Due to the fact that his background is not extensive enough to supply us with a set-in-stone answer, it is irresponsible to insist that any explanation is “the right one”.

So headcanon Michael as mute. Headcanon him as fully capable of speech. Headcanon him anywhere in between. I can’t believe this needs to be said, but you have the right to enjoy this ambiguous piece of fiction however you want—and nobody can tell you that you are wrong for doing so.

Thanks for reading.

[popwasabi]

“End of Evangelion” and the tempting nature of oblivion

(TW: Suicide, Self-harm, Pain, Depression, Mental Health, Death)

“End of Evangelion” is a perplexing movie to say the least.

Not that the original classic anime “Neon Genesis Evangelion” series ends on exactly the most conclusive note itself, but “End” takes everything that transpired in the series and literally destroys it.

The films ends with Earth experiencing the long foreshadowed Third Impact and all of the planet returning to the primordial “soup,” as fans call it, with its main protagonist Shinji Ikari and comrade Asuka Langley Soryu as the only remaining humans left. A pseudo, twisted rebeginning of Adam and Eve’s Genesis.

The film is fairly divisive among the fans to say the least. Some fans consider it a masterpiece for its nihilistic tone and mind-bending illustrations of body horror and others despised it for being too dark and confusing with no clear explanation of anything that happened in the film’s events. Hell, even the movie’s fans have a difficult time explaining what exactly happens in the narrative.

I was somewhat in the middle with it after I watched it the first time not super long ago. It was certainly abstract, and I like plenty of stories that don’t make it easy for me to understand. The animation is definitely the franchise’s best and I enjoyed the character moments between Shinji, Asuka, and Misato. But it was also, as stated before, dreadfully confusing and still to this day hard to makes heads or tails out of with its plot.

But, as with more than a few movies I have revisited this year, 2020 helped me contextualize one aspect I think the story is concretely trying to get across.

(We’ll save discussion of “Rebuild” for another day...)

At my lowest points not long ago, I had this frequent vision that would crawl across my mind.

I imagined being up in the clouds on a beautiful sunny day, but I wasn’t floating or flying. I was plummeting, falling like a bird without wings at a speed that would definitely kill me once I got to the ground. But I never imagined actually hitting the Earth like a meat-bagged, human sized asteroid. I only ever imagined the falling part. The wind reaching a terminal velocity and the air rushing past my body and you know what look I had on my face?

Happiness.

I was confused a bit by why I kept imagining this moribund fall into oblivion over and over again. I wasn’t suicidal, though I certainly have had thoughts of self-harm plenty of times before and general detachment from life. But why the fuck was I so happy? I’m about to die after all!

What I have come to realize in recent years, as I’ve developed a better understanding of my mental health and what makes me tick, it wasn’t that I wanted to die so much as I wanted the freedom that comes moments before it. The feeling of finally letting go and letting fate/gravity do the rest.

Years of my life failing at various aspects of societal expectations and career obligations from not being able to get the girls I wanted to date so badly, relationships ending poorly, not quite applying myself the way I should’ve in college, and working a plethora of unfulfilling jobs since graduation made me yearn for that release. Just that feeling of saying “fuck it all” and giving in to the void.

I wanted to stop feeling out of control. The way the world is structured often feels like you are on a wild, rapid river flowing in one very stark direction but you desperately want to go the other way. You keep fighting and fighting it and realize after a while you are just swimming in place, you tire out and either float where the river wants you to go or you drown. I wanted neither of those things, I just wanted control and unfortunately part of life is accepting that a very large percentage of it is beyond your power to alter.

2020 made this feeling starkly apparent once again as we were hit with a once in a lifetime global pandemic that has killed 2.21 million people and counting. As common people struggle to find ways to handle the loss of loved ones and the fallout from economic instability those tasked with protecting us have more or less ignored the cries of needy. Hell, they’re fucking miffed that we would even have the audacity to ask for $2000 of our own fucking tax dollars to put a band-aid on the situation. Combine this with an extremely volatile two-party system and late stage capitalism, we are about as out of control as ever in terms of how much we actually can course correct our destinies in a period like this.

It is why so many irony-pilled millennials and gen z-ers are posting dank memes about meteors colliding with the earth over the course of the year. We’ve lived through two recessions, two forever wars, and now a pandemic in our lifetimes while paying off our crippling debt with slave wages and yet boomers still wonder why we are near universally depressed as a generation.

(Seriously, everybody needs a fucking therapist right now...and also to dismantle the fucking system that’s making us depressed!)

This is what I feel is the real heart of “End of Evangelion.” The movie is a lot of things, obviously, but, after the events of this year and looking back on the more depressing parts of my life, I feel this film is about the tempting nature of oblivion. Giving up when things are clearly beyond your control so you can get that sweet but twisted, fleeting sense of freedom from it all.

Director Hideaki Anno didn’t feel too entirely different about the state of life when he made this series and certainly by the time he made “End” he was in a very dark place.

So, quick history lesson, “Neon Genesis Evangelion” debuted in 1994 and quickly became a classic among fans of anime and the giant mech vs monster genre. Critics loved it for its exploration of mental health and depression and of course plenty enjoyed the hell out of it for its giant monster/robot escapism as well. Fast forward to the conclusion of the series, critics and fans especially are far more polarized. I won’t try to explain exactly what happens in the ending and frankly I don’t think anyone can, but that confusion led to quite a bit of outcry by the fans.

Hideaki Anno, the series’ director, received tons of hate mail and death threats following the series conclusion. The fans hated how abstract it was, how it had an undecisive ending and chose to dive into the mind of Shinji instead of conclusively describing the events of the Third Impact with plenty going as far as to say he had “ruined” his own series for them. This made him unfortunately quite depressed himself over the ending he felt creatively fairly content with.

(I think it should be clear who Shinji is mostly likely a stand-in for in this anime...)

The fan reaction was toxic to say the least and all too familiar for many creatives who didn’t adequately satisfy the insatiable vapid needs of their fandom. Anno did not take this well to put it lightly. A man who was known as a delinquent in high school and expelled from the Osaka University of Arts much earlier in his life, and dealt plenty with his own bouts of depression, Anno had plenty of his own demons to sort out and quite clearly wanted to explore that mental state in “Neon Genesis Evangelion.”

I’ll be honest and say that I myself was not fond of the ending either when I watched it the first time as a freshman in college, and even went as far as to describe it as everything that was wrong with anime to friends in the years that followed for a while. I felt it was confusing and “fake deep,” existential for no reason other than because it just wanted to and people were “dumb” if they liked it.

When I rewatched it again as a much older adult when it came on Netflix last year, I found it much more fascinating and interesting. A sort of abstract introspective into the mind of a troubled teenager, who I had written off many years prior as a “whiny baby.” Though I wouldn’t say I completely understand it still, I get it much more now and I think it has a lot to say about depression and mental health.

Unfortunately, most fans did not have that reaction back then and as a result Anno made his true conclusion “End of Evangelion” as a response to that negativity.

(You’re welcome, nerds.)

As mentioned before, “End of Evangelion” is an extremely nihilistic film that seems to one up each dark moment as you traverse its spiraling narrative. It’s a film where things never get better. If you go into it blind expecting that big last minute heroic save the day moment, it’s always teased and never comes. Things just end very badly for everyone. Nobody gets a “happy ending.”

While the ending to the original series is strange for sure, it does end on a light note that can be interpreted in a number of different ways but ultimately positive. With the way fans reacted to it Anno decided to write a big “fuck you” to them by, in many ways, smashing his toys so no one could play with them again. He even went as far as to splice in the actual hate mail he received into the movie to quite clearly show to the audience, as their favorite characters met their grissly ends, that this was their fault.

(“Gee, I wonder what that was all about.” ~ a fan walking out of the theater back in 1997.)

In a way though, Anno created something strangely beautiful from that reaction. “End of Evangelion” is about giving up in some ways and accepting our inevitable doom. There are no easy answers, no workable solutions to achieve a happy ending because sometimes in life there isn’t one. Despite last ditch efforts by Misato, Shinji, and the crew of NERV the world still ends through the Third Impact. But tonally it’s not quite pessimistic; it’s actually positive, in a very twisted sense of course.

Set to the song “Komm Susser Tod” by ARIANNE, the film’s apocalypse can almost be described as a celebration. With people “popping” and turning into the primordial soup they all largely have smiles on their faces as they kind of get what they want whether it’s a desire to reunite with loved ones, to be with people they have crushes on, or happiness that they have sought for so long in the embrace of others. Everyone’s depressed! But now they are happy because it’s finally all over, they don’t have to give a shit anymore.

As the planet lights up like a Christmas tree, there are images of suicide and death that rapidly cross the screen in the form of the Angel’s final transformation but again, nobody is truly sad about it. They all have some kind of twisted smile or joy that they get from it. It’s a shocking film, if you’re not already prepared for what’s going to happen, and provocative to say the least.

(Can’t decide if I recommend watching this high or not...)

I had no idea what any of it meant at the time when I watched it several years ago (I watched it well after I had seen the original series), and to be fair there are many ways fans have interpreted what exactly took place in the film and have debated endlessly on its meaning for decades now. But at least in my interpretation, after everything we’ve been through this year, “End of Evangelion” to me is about the sweet release of not giving a fuck anymore.

Whether it’s about Anno feeling that way about his own life or the expectations of his fans or both, the film quite clearly doesn’t care about what people may or may not have wanted for Shinji and the NGE characters and is perfectly fine with the way it all comes “tumbling down.”

(He just wants to be with his boyfriend, guys.)

This past July 4th, city fireworks shows were prohibited in my area because they wanted to limit mass gatherings due to COVID but this didn’t stop people from buying plenty of their own to fire off. In what amounted to a collective “fuck you” to everything and 2020, beginning pretty much exactly at dusk people started firing off their at home lightshows like they were mortar gunners in World War I and did not let up until well past midnight. The entire Southern California night sky was lit up not to unlike the thousands of crosses that filled the screen during the Third Impact of “End of Evangelion” and though it could certainly be interpreted as a moment of people patriotically going “Yea, America!” that night, my head canon was much different. It felt like tens of thousands of people across the region just saying “Fuck it” into the night sky at everything; COVID, our horrendous government, police violence, pending World Wars, environmental disaster, and our collective impending doom from it all.

As these fireworks hit their zenith around 9pm I broke out my phone and started playing “Komm Susser Tod” from the movie and it felt perfect. Everyone just wanted to feel that freedom in the moment, that freedom of not giving a damn anymore. To be removed from expectations, from control, from hatred, from pain and it was kind of beautiful in a sick way.

And that’s what “End of Evangelion” feels like to me now; kind of beautiful in a sick way.

(Not saying the LA skyline looked like this exactly but it felt like it haha...)

There are still many ways to interpret Hideaki Anno’s cult classic, and it’s part of its charm but I think the take away fans should have is definitely not that suicide is ok but that we get it. We understand why people have those feelings and why it feels freeing to desire the void and oblivion. It’s a pity that the series most toxic fans didn’t get that clue through the original finale but Anno, not a person who likes  being shoved around, clearly created perhaps the most twistedly beautiful “fuck you” to that in anime history.

As we enter 2021 all I can say is it’s ok to feel like this, it’s ok to desire freedom from the relentless gloom and doom of the world and people’s prying expectations of what they think you “should” be. No one blames you. At the end of the day, we’re all just trying to survive the apocalypse we have zero control over, so the least we can do is be a bit nicer and considerate of one another. 

At least it’ll make the Third Impact more pleasant whenever it eventually comes...

Happy New Year, everyone! 

Congratulations on surviving 2020! Have fun in 2021...

[misiwrites]

Beyblade Week Day 4

i'm sorry i'm out here still posting things so late but here's my fourth and final 4kingdoms-verse oneshot for @beybladeweek2021, mostly this is late because i was out of town last week but these prompts were also the hardest to make a oneshot about, somehow i managed to make a quirky little story about max anyway.

this takes place probably somewhere right before the beginning of the main fic, or close to it anyways. and i feel like this needs the small explanation that 4kingdoms max looks a bit different because the north has no sunlight (don’t ask me how that works. it’s fantasy)

~~~~ ~~~~ ~~~~ ~~~~ ~~~~

Fears / Animals / Winter

“Aaugh!”

As patient as Max is, the strange sound of Giancarlo’s sudden scream followed by a soft, barely audible thump of something hitting the floor in the walk-in closet is enough to snap his attention from the game console in his hands. He casts a curious look across his bedroom to witness the striped leg of a plush toy sticking out through the narrow crack of the closet door.

Now he can already tell what has happened. Regardless, he drops the game on the couch and jumps to his feet to see what his knight has gotten himself into in the closet.

“You opened the forbidden door!” Max gloats at Giancarlo, now standing ankle-deep in a sea of plush toys. “I told you the games are in the second from left, not from right.”

“Is this why you call that door ‘forbidden’?” Giancarlo asks, one hand still on the handle of the closet door that the avalanche of toys descended on him from. “I expected something more... I don’t know... scandalous... or personal.”

“This is personal. They’re all mine.” Max crouches over to pick one of the plush toys up, the yellow mascot character of a popular Eastern children’s game franchise. “Oh man, these take me back. I haven’t really seen them since Mama ordered them to be put away. She said I was too old to keep them in my bed. But I refused to have them taken out, so I got this closet for them instead.”

“Aha. I don’t mean to judge your decisions, but I think there’s a few too many for a closet of this size.”

“Well, they fit in just fine before you opened the door like an idiot.”

Max lets his eyes scan the colourful blast on the floor, admiring the chaos of all the scattered shapes of different stuffed creatures, some more nostalgic than others but each and every one so familiar to him; some expensive and store-bought, some hand-made by his father or someone else, he hardly even remembers at this point; it’s been so long since he was gifted these toys, and at least a couple of years since Judy wanted them sealed away.

And then one of them catches his eye over the rest, one that makes his heart skip a beat of bittersweet joy and longing. He tramples and kicks his way past other toys to get to the middle.

It’s a plush dog, one whose tattered, worn-out shape isn’t particularly distinguishable as a dog. It has an elongated body and small stubs for legs, folded ears – well, one ear, as the other has come off and been lost to time – and a small, thin tail that’s also on its way to come off its stitches but is barely hanging on, miserably drooping down from the back of the caramel brown animal that’s so thoroughly covered in dirt and dust that it looks grey. The dog’s black button eyes are intact, at least, and it still has a red little tongue sticking out of its mouth.

Max is momentarily frozen in place staring at the dog. This toy brings back so many memories, some of which threaten to turn his stomach as the long-forgotten anxiety rushes back in one tidal wave, it climbs up the ladder of his spine like an unwelcome visitor from the past; but at the same time, he loves this little dog so very dearly, his childhood favourite.

“Look at these, Your Highness!” Giancarlo suddenly yells, snapping Max out of his thoughts. “Really fitting, aren’t they? Doesn’t it make you think of something?”

Max turns to see his knight holding three plush animals on his arms: a snake, a fox, and a miniature horse. Max does remember all of them, but none were his favourites. They must have been gifts from his earlier childhood, he has no memory of actually getting them or ever feeling particularly attached to them.

“Umm,” he says, “no, not really.”

“Don’t you remember? The fairytale? A guy talks to a fox, a serpent, and a horse...”

“No, can’t say that rings any bells.”

“Really?” An idiotic grin spreads on Giancarlo’s face, the same one he flashes every time he gets to feel smarter than his young king. “It’s a traditional Northern folktale! Each animal represents one fear that the dude has, and he has to face them one by one. Well, I don’t really remember the details, but it was something like that.” He lifts the tiny horse closer to his face, as if to study it more closely – or to face it, to stay true to his own words, Max assumes. “Was the third one really a horse? I think it was. I guess horses can be scary to some people. They’re big animals and all.”

Max rolls his eyes, truly wishing that Giancarlo would shut up for once and clean up the mess he’s caused in the walk-in closet – or just do anything else and leave Max be, to sort out the sudden, fairly uncomfortable onslaught of memories caused by the discovery of his old stuffed dog toy.

Instead, Giancarlo keeps talking, as he always does.

“If there was a story about my fears, it would probably be... hmm... never eating cannoli ever again... and never going on another date...”

“Some incredible fears you have,” Max comments. “Tells a lot about your psyche.”

“And what are you scared of, Your Highness? What would you face if you met this guy? Nei-i-i-igh.” Giancarlo waves the tiny horse at Max, truthfully not the embodiment of terror by any stretch.

“Me? Well, nothing, really.”

“Come on, now, no need to be shy. You can tell the good old Gianni.”

“I mean it – I have my magic, so there’s no reason for me to be scared of anything.” There’s nothing that Max can think of that he wouldn’t be able to shield himself from with his magic powers, especially his ability to turn invisible. If nothing can catch him or do as much as touch him, what reason would he have to be afraid? If anything, he loves the thrill of almost being caught but disappearing out of sight on the last second. Max prides himself in being bold and resourceful, the master of stealth, and the youngest Genbu-ou with the ability to summon the holy beast of Genbu in the known history of his kingdom.

As long as he has his magic and the golden locket of Genbu around his neck, he cannot think of anything that could cause him fear; and as the king, he can have all the materia he could ever want, so he never needs to worry about running out of cannoli pastries or whatever else.

“Okay then, tough guy,” Giancarlo snorts. “And what’s that you got there?”

Max’s gaze returns to the dog on his arms. It stares back at him with its pitiful button eyes, black and lifeless.

“This used to be my favourite,” he replies, finding the words coming out of his mouth with slight hesitation. “Papa made it for me...”

“Oh? Prince Tarou knows how to sew stuffed animals? Well, I guess that makes sense, since he’s such a talented craftsman – but still... It’s hard to imagine a burly man like him making something like... that thing.” Giancarlo forces down an obvious cackle, raising a hand to his mouth to hide his amusement. “I mean...”

Max knows what he means, the puppy with a hot dog-like physique is a pathetic sight, but he cannot help feeling just a little insulted by Giancarlo laughing at it. This puppy brought him so much comfort during a time of turmoil, and it was specifically made by his father for that very purpose. Tarou most likely stitched it together over a single night all those years ago.

“You mean what?” he challenges the royal knight, his tone arrogant.

“Uh... Well, you know... Oh, never mind.”

* * * * * *

When he was younger, Max had no objections over his sheltered life in the Snow Glory Palace, as it never even occurred to his child’s mind that it could be anything but; and the thought only came to him as he entered the rebellious years of puberty and by the questionable ideas that his whimsical knight planted in his head, the thought that it would be exciting to sneak out of the palace every once in a while and wander around the royal capital out of sight.

Max has always been adored by commoners, as the only son of their beloved (by now former) king, the strong yet beautiful and hauntingly intelligent Mizuhara Judy, the only female Genbu-ou of their lifetime; and as much as Max loves the attention and savours the constant awareness of his status of importance that doesn’t escape anybody in his kingdom, he’s equally entertained by the idea of walking among all these people on a lower social ladder without their knowledge, freely entering spaces where his appearance would normally cause a considerable brouhaha. The complete control over whether he’s perceived or not gives him a great amount of satisfaction.

And, most importantly, his ever-so-predominant mother has no idea about it happening right under her nose. As much as Max loves his parents, like any teenager, he has an innate need to break free and seek independence from them, do as he pleases without their scrutiny, without any adult paying attention to him...

at least sometimes.

How many times has he traversed the narrow streets of the ancient royal capital, heard the snow crunch under his shoes without anyone seeing it’s the young king leaving a trail of footprints on the ground covered in white? And when the snow is quietly falling from the sky, the shield of magic around him reflects his surroundings, camouflaging him from other people’s line of sight, he blends perfectly into the arbitrary dance of the snowflakes in the dark.

Then, sometimes, when he finds a suitable corner or shade or hideout for himself, he plans a delicious little display of seemingly appearing out of nowhere into the spotlight. And all the attention is once again drawn to him.

It’s borderline addicting, that calculated spectacle, the thrill of a surprise and act of rebellion that Max is perfectly aware he’s not allowed to do. That his ice queen of a mother would be absolutely furious if she knew.

Now he’s again walking down a cobblestone street, the stone fence of a cemetery on his right-hand side. There’s a layer of powdery snow on the stone, like the icing of a sugar cake.

A cake, oh, a cake sounds excellent to him; and he’s now across a bridge, and the familiar sight of a cosy little coffee shop greets him some feet away. It has a sign outside, a metallic one, shaped like a kettle that’s hanging above the entrance, the shop’s name written on it in cursive.

Max walks over to one of the shop windows and takes a peek inside, bathes in the golden light coming from the other side of the glass. As expected, nobody pays him any attention, none of the people sitting around the lovely little tables inside see him.

He’s ready to be seen, however, and decides to step inside, greeted by the ring of a bell attached to the coffee shop’s door.

“Good evening!” he says cheerfully upon his entrance, flashing a wide grin to everyone in the shop.

People turn to stare at him. Nobody is smiling back at him.

“Er, good evening,” replies the person working behind the counter. Their voice is polite but wary, they stare at Max like everyone else in the shop, with an expression of wide-eyed confusion.

This is not what Max expected. Where are all the delightful gasps, all the “Oh, Your Highness!” and “It’s the young king!” and “This is such an honour!” – all the surprised smiles and the rush to be the first to shake hands with him? He darts some quizzical glances around the shop, eyebrows raised, but his grin remains.

Maybe he’s come here a few too many times. He should have gone somewhere new instead, not the closest place he could think of.

A bristly feeling that he’s very much not used to suddenly spreads all the way to the tips of his fingers and toes: embarrassment. He’s embarrassed that his magic trick failed, the trick he was so confident in, so proud of.

He needs to get out of here.

And the next moment, he’s walking down a different street, this time in the heart of the city of Resting Palace. The lights here are so bright that they illuminate the black sky and give it a hue of light purple instead, almost a dirty tone, it looks dusty and devours the stars and even the Moon.

He’s walking past numerous people, but nobody turns to look at him. Nobody does as much as grant him a smile of acknowledgment, no faces light up with recognition when he passes by.

He stops to stand in the middle of the street. Someone immediately bumps into him from behind.

“Oh, sorry,” the stranger says and hurries away without looking at him. He doesn’t even have the time to say it was his fault for stopping so abruptly.

Max turns on his heels, lets his eyes wander aimlessly in the scenery. There’s a hotel to his left. There are people everywhere, but none of them are looking his way.

Now another person bumps into him. This is an older man, staggering on his feet and visibly losing his balance for a moment, and he turns to stare at Max with a sullen face.

“Hey, kiddo,” the man groans, “stop blocking the walkway, will ya?”

Max only stares back, not knowing what to say or think. Kiddo? What is this? Why is this person talking to him like this? He’s so dumbfounded by this behaviour that he simply hangs his mouth open without making a sound. Nobody in his entire life has acted this way towards him, and it’s making his blood run cold under his heavy cloak.

On a bewildered whim, he suddenly turns to whoever is passing by his left-hand side on that very moment. “Did you hear how that person talked to me just now?” he asks the passer-by. “How dare he?”

The person he’s talking to casts him a look of utter confusion. He can immediately tell this person doesn’t recognise him, either.

“No, I’m sorry,” the person mumbles hastily and hurries away. Max stares after their disappearing back.

What is happening? What is happening? How could this possibly be happening to him? Now panic is seeping into his heart, he arbitrarily grabs the sleeve of whoever happens to pass by him next.

“Excuse me,” he says breathlessly, “you know who I am, right? Right?”

Another astonished stare, but at least this passer-by is polite. “No, I’m afraid I don’t. Are you perhaps lost?”

“No!” Max’s words now escape as a desperate eruption of discomfort, “I’m the king! The Genbu-ou! Don’t you recognise your king?!”

The stranger’s expression changes slightly – to that of pity, to Max’s horror.

“I’m sorry, boy, I don’t have time to play around with you,” the person says, and the next moment he’s gone.

Max spins around, glancing wildly in every direction, looking for anybody who recognises him. This is the royal capital, isn’t it? It definitely is, he knows the exact street he’s on, but for some reason nobody knows him, he’s only a mile away from the Snow Glory Palace and nobody knows that he’s the king, how could such a bizarre thing ever happen?

“I look like the Genbu-ou, don’t I?” he asks yet another stranger, this time a younger person, a teenager just like him.

The person stops to stare at him, evaluates him with her eyes for a moment, as if she has to think about it first.

“I guess you do,” she finally says, “a little. But Genbu-ousama has spots of black in his hair and skin as clear as snow.”

What? What?

Max drops down to his knees into the snow and now he’s on the riverbank; he hauls his shaking self closer to the aquamarine glow of the water, and he crouches over to look down at his own reflection on the surface.

His hair is yellow like the Sun, bare, the splashes of black brush strokes gone. But his face – his face is covered in something – small dots everywhere, his skin is infested with them, they spread from the centre, the bridge of his nose, in every direction on his skin, he lifts his hands to his face and—

* * *

He opens his eyes. The ceiling of his bedroom is covered in cotton candy clouds of pink and purple, they rotate ever so slowly around the axel of the chandelier in the middle, with stars blinking in and out through the veil.

He rolls over in the four-poster bed that feels like an entire ocean to him. The pillow under his head is wet, it feels gross and he grabs it with two tiny hands, tosses it away as hard as he can and it lands on the edge of the bed. It knocks a couple of his plush toys to the floor.

He can hear voices from behind the bedroom door. It’s Mama and Papa, they are yelling at each other again.

Max rubs his tear-stained eyes and crawls out of bed, wrapping his enormous blanket around him like a cape, he drags it along across the carpet as he makes his way to the door. He stands on tiptoes and opens the door as softly as he can.

He makes his way to the hallway’s railing just in time to see his parents walk into his view downstairs. They’re not yelling anymore but still arguing, in quiet voices now, Max can tell they are spewing arrows of poison at each other even if he can’t make out the words.

He’s staring through the narrow hole in the railing as Papa spots him, it’s probably a subtle sniffle that gives him away up there.

Seconds later, Papa has climbed the stairs and has knelt down to talk to Max in a voice that’s meant to be soothing but is seeping with recently suffocated agitation, and it makes him uneasy.

“Are you having trouble sleeping again, buddy?”

“I don’t want Papa to go away,” Max says, wiping his nose on the sleeve of his orange sleeping gown.

Papa gives him a lopsided smile, pats the top of his head. “I’ll come visit you often, I promise. And – this is only temporary, okay? I will keep talking to Mama, and maybe I’ll be back home in a couple of moons. Papa will bring you lots of presents then, but for starters...”

Now something appears from behind Papa’s back, he’s holding a plush toy dog that has a silly face with a tongue drooping out, its body so long that it nearly matches Max’s height. Papa hands it over to him.

“I made this for you, to help you sleep better. I call it Sleepy, but you can call it whatever you want.”

Max stares down at the dog’s face. It has plain black buttons for eyes, and a third one for a nose.

He presses his own little nose against the button, immediately smearing the dog in the snot and tears of a six-year-old.

“Take me with you, Papa,” he says, the words muffled against the dog’s snout. “Don’t leave me alone.”

“You won’t be alone, Max, Mama will be here.”

“She’s always working, she never pays attention to me.”

“That’s not true...”

“I don’t want to be alone, Papa.”

* * *

He opens his eyes. The ceiling of his bedroom is velvet blue, with the silver sickle of a crescent Moon glowing faintly in the night’s silence.

His heart is beating in an anxious rhythm inside his chest. He quickly sits up in the bed, driven by the panic of the lingering terror of his nightmare that makes his fingertips tingle and his stomach turn, and he gasps for air.

It was just a dream. Just a dream.

The momentary urge to rush to his feet, to check that he actually is who he’s supposed to be in the mirror, recedes quickly upon the realisation that he’s in his own bed, in the royal palace, exactly where he should be. He’s covered in sweat, the blankets feel uncomfortably sticky against his skin, he tosses them aside.

Then he notices three shapes in the darkness, sitting at the end of his bed. A row of three plush animals is staring at him from a distance.

A fox, a serpent, and a horse.

[popculturebuffet]

Scott Pilgrim’s Precious Little Life Review

Happy Birthday To Me, as I continue my birthday celebration by taking a look at comics that have a personal connection to me.. And for our main feature, i’m taking a look at the first volume of a series that was vitally important to a teenage me, Scott Pilgrim. 

Scott Pilgrim is the brainchild of Brian Lee’O’Malley. O’Malley came up with the concept from a number of things. Being a fan of the band Plumtree, O’Malley was curious about the name of their song “Scott Pilgrim” and wondered who this Scott Pilgrim guy was. So over the years he slowly built the guy up in the back of his mind using bits of his life and what not. As for why he ends up fighting 7 evil exes, that came from a discussion with his then girlfriend, later wife and currently ex-wife Hope Larson, where he threw off the joke that her exes should form some kind of League. After finishing his first solo work Lost at Sea, O’Malley decided Scotty would be his next project and the rest is history. To date while O’Malley has written two works since, Seconds which is delightful and Snotgirl which didn’t grab me but I intend to try again, Scott remains his most popular work, in large part due to it’s SUBLIME video game and movie adaptations, the former of which is finally getting a rerelease next month. 

The series charm is in it’s style: A manga styled comic that combines two desperate kinds of story: Shonen Fight Manga and Slice of Life Indie Comics. The story shifts from Scott going through normal life stuff while trying to make his new relationship work and get his shit together and Scott getting into big bombastic fights with his new sweetie’s exes for the right to keep dating her and to you know, stay alive. The series effortlesly blends a video game like world with real grounded characters and is wonderful for it.  As for where I came in, one Free Comic Book day I found a little comic named Free Scott Pilgrim, which I genuinely loved and was instantly charmed by it’s humor and well done art. So I picked up the second and third volumes of the series proper and the first once I could find it and the rest ,as they say, is history. For my high school life, this was one of hte most important things in it and I wrote fanfiction, which I thankfully never put online and in general enjoyed the hell out of the series. Then I just kind of.. let it sit on my shelf for a while. It wasn’t BAD, I just never got back to it and as the franchise went dormant I just sorta slept on it and the movie and that part of me...

Cut to a few weeks ago, when Comixology did a massive sale for black friday that marked a ton of Graphic Novels down to just 1 buck each, and the color editions of Scott Pilgrim happened to be part of this, though only volume 1 was that cheap. But thanks to my best friend micheal and an early christmas/birthday present I got the rest and got to revisit the series as a whole, with me rethinking my previous thoughts of volume 1 and thus.. wanting to review it and share both why this series is so damn special and what’s good, and what’s not so good about it. I’ll also be covering the game, once i’ts re-released, and the movie once i’m finsihed with the comics so look out for that. And get ready to take a trip to the glorious land of canada... 

As a heads up and as you can tell i’ll be using the color version as while I could get scans of the black and white, I prefer the color version. While the black and white was fine and always will be, I think the impressive coloring job really adds to thing and makes the already great fight scenes pop more, as well as making certain background elements stand out a bit. While it does negate the black and white gags, the tradeoff is more than worth it. That being said either version is fine so if you can get the black and white cheaper that’s fine and i’ve kept my original copies, with volumes 4 -6 having been picked up as they came out. 

So as our story starts we meet our hero: Scott Pilgrim Age 23, a charming but jobless and kind of sketchy possible college graduate whose really been adrift in his life since a breakup about a year ago. And when our story opens he’s taken a turn for a worse and decided to date sweet but naive and inexperinced Knives Chau, a 17 year old girl. And why yes the power dynamics there are messed up and why yes Scott is pretty damn sketchy in this moment in time, and while yes I am aware the age of consent in canada is 16, it dosen’t make this any less greasy and the story knows that.  And how it knows that MOST of his friends aren’t on board. The only ones who seems to is Stephen Stiles, leader of Sex Bomb-Omb, the band scott’s in with one of the best names ever and even then it’s hard to tell if he’s being sarcastic or just a total douche. The other, Young Neil Nordgraf, Stephen’s roomate, is well 19 or 20 and kind of a dipshit so we just ignore him. I used to use him as kind of a projection, to put myself in the adventure when I was younger as Neil kind of lacks personality in the comics but in the comics.. he’s not hte best or most complex character. He is great in the movie though and Edgar Wright did an amazing job fleshing him out.  The rest of his circle are .. not so permissive. His best friend, roomate and king of all gays for all time Wallace Wells very much does not want to come with Scott to school to pick her up because every part of that sentence after hurt to type. Granted Scott gets him to come with him with promises of boys, but frankly knowing wallace he was probably just playing along/wants to protect this poor child. His ex and fellow bandmate Kim is clearly bothered by it and is flat out worried Scott is taking advantage of her. Kim and Wallace are easily my faviorites both for personality and because I have a massive crush on both. With Wallace it just didn’t manifest till the reread. Finally Scott’s kid sister Stacey chews him out over it before genuinely wondering if he’s gone insane or he’s actually happy. For my two cents: he’s not. He WANTS to be, but he dosen’t know how. And as someone whose both neurotypical, which given Scott’s troubles with empathy and relating to people like yours truly I strongly suggest he is, and has struggled with depression I can relate to that. He wants to move on but he just.. can’t, he just wants to get past the haze he’s been in since Envy dumped him.. but he dosen’t know how. So instead of doing someting constructive or finding a job or anything .. he just took the first and easiest way out of his depression he could. I’ve done that with video games and stuff. Scott did that by entering a relationship that’s really easy, requires only so much effort, and is with someone who utterly adores, looks up to him and will never expect better. Being with Knives makes him feel better.. but it dosen’t MAKE him a better person. As i’ve made clear dating someone just for a boost makes him actively worse and had fate not intervened, I shudder to think what Scott might have become. That being said his actoins are still creepy and since Scott has a habit of landing ass backwards into being an asshole here’s a counter to track that. That’s 2 for doing this overall, one for tleling her to be good, and 1 for trying to ply wallace with underage boys. 

Your the Scum of the Earth Scott Counter: 1

Thankfully fate does and Scott’s dreams, ones of him crawling through a desert alone, are interupted by a mysterious pink haired girl on skates. The next day he’s just sort of in a daze, kind of confused, and even more so when he sees her IN REAL LIFE, while at the library with Knives. He’s understandably frazzled but ends up finding out he’s not hallucinating when talking to MIcheal Cormeau. Micheal is a minor character and another artist and friend of o malley’s who represents that one guy in social circles who knows everybody. And indeed he knows the mystery girl, Ramona Flowers and that she’s there. Scott TRIES talking her up but just creeps her out, so Scott goes with plan b and decides to ask around about her. Enter Sandra and Monique, two college aquantinces of Scott, who just sorta show up at major events and aren’t that developed or intresting. They turn him to Julie who forbids him to date her. To which I say. 

Naturually we’ll aslo be needing a counter for this. 

Shut Up Julie Counter: 1

Scott however did find out she’s a delivery girl for Amazon Canada, and thus orders some CD’s on Wallace’s Credit card to hopefully see her. And while his behavior IS obessive.. it’s understandable. I’d be weirdly obessed with finding someone too if they showed up in my dreams every day and were apparently a real person. I’d probably play it cooler but still i’ts kind of understandable. So after a day with knives in which he’s clearly checked out she kisses him, he freaks out and it’s very clear that while Scott’s good at attracting women he’s just.. not good with his emotions and has finally woken up to how messed up this is, but has no idea how to get out now he’s intrested in someone he actually has a future with maybe.  Speaking of Scott’s package and Ramona finally arrive. Scott’s move is to.. ask her out abrubtly but after he mentions her Dreams, Ramona finally puts two and two together and explains things: She’s been using Subspace, a seris of highways connected by the subconcious and apparently more common in america, though it’s later revealed she was taught this but being the first book with a lot of the lore and what not ironed out this is fine. Point is she was just using his dreams as transit and didn’t mean to get him obessed. Scott continues to try his schtick and eventually gets her to agree to hang out with him. Why she does I generally do not know, as SCott basically fell ass backwards over himself conversationally, but whatever. If he didn’t succeed we wouldn’t have a plot. 

That being said things pick up a bit with the date though. The scene is really good and simply just the two.. talking. Having plesant conversations getting to know one another. That good stuff. it’s just really nice to read and it’s hard to explain why. Highlights include Scott’s x-men patch, Ramona not wanting to talk about her last job and Scott admitting he hasn’t been obessed in a long time.. and it comes off sweet rather htan creepy like that sounds. It just means he hasn’t fell this head over heels felt like this. As I said Knives was easy.. but this is hard.. and this.. feels right. So as things Snow Ramona yanks scott through subspace to escape the blizzard. 

So we end up back at Ramona’s place and she offers some tea which leads to one of the best gags of the volume as she lists them off: 

So Ramona goes to get Scott a blanket, Scott ends up following finds her changing, and she decides to warm him up another way.. by embracing him... cue.. the inevitible really. 

It feels organic though: The two are clearly attracted to each other and while Scott came on as strong as freaking colossus, he still rebounded well once they hung out and he could relax a bit and show the scott underneath the lairs of dumbass. The two end up cuddling in bed and Scott seems..genuiley happy saying he needed this... awwwwwww. They part the next morning with him asking her to his band’s performance. 

So Scott finds Wallace  at home who says what Scott needs to hear “You need to break up with your fake highschool girlfriend scott�� Granted the entire first 40 pages could’ve been titled that but now he’s actively cheating. He’s also got a letter. 

It’s a death threat Scott barely grazes through, just like an email earlier. 

But scott’s more concerned with his emotional distress.. i.e. the consequences of his throughly shitty actions finally hitting him in the face. 

Scott heads to practice for his gig and can’t bring himself to break up with knives, but does find out about the opposition: Crash and the Boys, based on an NES game title because of course it is. Crash, their leader, Joel their baseplayer who scott hates because he hates all other baseplayers (”I don’t hate myself kim) and Trasha, an 8 year old progedy they found playing Drum Mania. Don’t ask me what that is, i’m not going to get every refrence. 

So at the show Scott runs into Stacey and her new boyfriend Jimmy  with Stacey being supportive. And then Knives shows up and then RAMONA SHOWS UP. Oh no scott’s cheating might be discovered! 

So Scott books it while we’re introduced to Crash and the Boys. Wallace heckles them, to the band’s annoyance, until they eventually get fed up and we easly get the best gag of the volume. I was wrong this clearly tops the tea thing. 

So Crash and The Boys continue to play their set, including a song that supposdely kills the audience but really knocks them out.. which of course bothers kim because they play next. Meanwhile Ramona and Stacey meet and the two really get along.. and come back to find the audience ko’d and Wallace Making out with Stacey’s boyfriend. Oh no! Which is a dick move, no question. But Stacey’s next move is questionable even for a 19 year old: She says “You won’t steel another guy from me and tells wallace to sit over there”. Okay Stacey even if he is bi, and this series has trouble with the concept of bisexuals we’ll get into that later trust me, he made out with someone else entirely while on a date with you. Wallace is still an asshole, it’s part of his charm.. but it dosen’t change the fact your date kissed someone else seconds after you were gone and has been eyballing him all night, as seen even above. He’s not into you as you thought, just accept it, move on, and kick Jimmy in the balls and then wallace like a proper lady. So Scott prepares to play and this happens

And it’s here, at the very end of the comic the series main premise finally kicks in and the world takes it’s true shape. It’s a world where an indie comedy about a mess of a being putting his life together after finding his dream girl.. also has said mess being forced to get into fist fights with wizards, movie stars, vegans, half-ninjas, twin roboticists and a katana wielding douchenozzle record exec in order to continue to have the right to date his girlfriend. 

It’s where the series charm comes from and really what made it a huge sucess so it’s no suprise this volume perks up immensley for the climax. I’ll get more into it’s pacing problem at the end. For now it’s fight time and as we find out in a hilarious and awesome turn.. Scott is the best fighter in toronto.. which just makes me REALLLY want a Scott Pilgrim version of letterkenny. I mean who wouldn’t want to see wayne fight some guy who can turn his hands into dragons or see Squireely Dan do E.Honda’s hand slap move from streetfighter or see the skids all fuse into one mega emo. It’s just.. the possiblities are as endless as they are wonderous and I want this now. 

But yeah as Patel is both the first boss and Scott’s first real opponent Scott.. handles him really easily. This was by design as O’Malley wanted a shonen progression to the fights.. and honestly it’s a great way to do things. Since the fights are styled after shonen and video games, and both have power based progression in bad guys and threats, it just made sense. Patel.. is just pathetic even with his magic powers, and his habit of sending letters and emails just pounds it in. Though he is right to be a bit pissed Scott didn’t read a letter he hand delivered in a snowstorm. That’s just a tad rude. 

Mid-Fight, Scott, now he knows the whole evil ex boyfriend thing, wonders what Matt and Ramona’s past is and while Matthew refuses to tell.. Ramona spills easily. It was midddle school, all the jocks wanted her for whatever reason, likely because from experince in high school, guys really like indie girls. Matthew was the only non-white non jock, so they teamed up and with her strength and his mystic powers they beat them.. but since his use had dried up, she flipped him off and left.  Matthew dosen’t take this well and summons demon hipster chicks to fight while Scott and co, minus ramona, fight back with a finger gun routine and block his fire balls before propelling Scott into matthew somehow, and landing the KO Evil Exes Left: 6 Matthew bursts into coins though fun fact, O’Malley says the Exes all respawned back at home afterwords and learned their lesson. With Pattel I genuinely don’t think he did... but clearly given his penchant for formality what with the letters and emails, he probably felt it’d break protocol to attack before the rest were done. He probably jsut formed a hipster emo band and found more sucess using his magic for that instead and just forgot about the whole thing. Could be wrong but that’s what i’m going with.  So Scott asks Ramona to go out with him then make out with him, both of which she says yes to. Nice one scotty boy. Ramona then explains the whole evil exes thing: He’ll have to defeat each one as they come after him, and while Scott wonders if they’ll come one at a time Ramona’s not sure. As time will bear out, Scott is MOSTLY correct as most exes take him one on one, with the exception of the twins. But since as I said earlier the twins are basically one person, and as we’ll find out by choice, so it’s an exception. Plus their the last step before the final boss, so by that token it’s a bit fairer to have the penultimate boss get an unfair advantage. Scott is fine with that, he and Ramona share another moment and a kiss.. but Scott makes the mistake of asking if gideon is one and Ramona’s head starts glowing with her dodging the subject, though still going out with SCott and him worried.. it just feels.. off. not a bad ending but the only one of the series three cliffhanger endings that just dosen’t work for me, especailly since it is a bit before the Gideon mystery really picks up steam again. But with that we close this chapter

FINAL THOUGHTS:

Precious Little Life is a decent start to the story.  While Scott is loathsome at first, he’s still a compelling character and does get more likeable as things go, the humor when it is there shines and is one of the series best assets and while the fight is short and only at the end, it is oh so glorious especailly in cover with the impacts taking cues from the movie. It’s a good intro to Scott’s world and ther’es a reason the movie adapts this book the closest as it sets up the cast and premise well, with only Stephen Stiles feeling a bit off and ONLY for the first few chapters.  The volume is only really held back by it’s pacing, as before Scott runs into ramona in his dream the story feels a bit sluggish as we’re just watching some douche date a high school kid. While it is necessary to set up the world, it just dosen’t have the snappy pacing the series would be known for and that makes the rest of the series more charming. it’s nto BAD.. but it’s not FANTASTIC like the series would become. What keeps it from being bad is simple: These aren’t general badness signs but more just O’Malley coming into his owna nd getitng better and better as the book goes, to the point that by the next book the pacing is much better and by book 3 onwards he has it down pat.  Overall not a BAD volume but certaionly the weakest of the bunch.. which given it’s still really good says something about the ride we’re in for. I’ll be back sometime in the future, likely january. Yup i’m taking on YET ANOTHER PROJECT. but since this one, while clearly exausting and time consuimg, is much shorter in overall length, and i’m still proritizing the three I have running over this, I think i’ll be just fine. Until next time, have a happy holiday. 

[raleighliving]

Budget Living Raleigh

Living in any city you’re gonna look at higher costs of living.  Rent, utilities, and insurance all add up before you even factor in groceries.  But just because you’re living in the city doesn’t mean you shouldn’t have nice things.

If you find all your money is being eaten by rent, and your bed is supported by the ground itself, then this article is for you; cause we’re going to talk today about bargain hunting in Raleigh and what to look for when you want a good deal on good furniture.  Maybe I’ll do this again for groceries or other such things but for now we’re just focused on general niceties.

Best part of this is it’s gonna be fairly general too.  Anything I mention here you could probably find or do in any American city or small town since the institutions are fairly ubiquitous.  

If you find yourself lacking furniture, decorations, or just general quality of life enhancers my answer boils down to two main points:  Thrifting and Resale stores.  At times they can seem similar enough but there are fine differences that separate the two using fairly recognizable criteria.

“RL,” I hear you say between fistfuls of knockoff Cheetos and self-loathing, “Of course if you want bargains  you go thrifting! Did you JUST hear about Goodwill recently?”  

Yes, in terms of hot takes this is especially dull but what I can lend to the conversation isn’t about how prices at thrift organizations are cheaper than retailers, how you should support your local thrift organizations, or even the general good they provide to low-income communities; what I’m looking at is knowing what you have and what you can expect to find when visiting.  

Take Goodwill, for instance, since everyone has seen at least one in their life. Outside of their larger outlets where you’ll find more furniture, walk into any Raleigh Goodwill and you’ll have seen all of them.  90% of the floorspace is dedicated to cheap clothes with a backwall full of knickknacks and a small bookshelf.  If you’re lucky, there may even be a sofa or two and some paintings along the wall but most of what you’ll find is cheap clothes.

Now, if that’s what you’re looking for that’s great! However, I’ve grown to have a deep distaste for the homogeneity of local GCF stores.  Customers can donate their clothes, toys, and other items to GCF at any store locations; but those items are shipped to processing and then distributed to other GCFs across the country based on inventory need and sales patterns.  What you see in one donation center/store you’ll likely see in every other with maybe the odd rare find if you’re lucky. 

GCF aside your options for Raleigh include org thrifts, mom and pop stores, and discount thrifts to provide some much needed variety in your day-to-day shopping. Each with their pros and cons, yet all sharing the glorious benefit of providing furniture and clothing for a fraction of the price of bigger brand stores.

Org thrifts (short for organization thrift stores, creative I know) are exactly what they sound like.  Thrifts run by an organization or charity, similar to Goodwill's, with a stated goal of helping others and supporting the organization financially over seeking a profit margin. 

Cause 4 Paws, Raleigh/Durham Rescue mission, and Dorcas thrift stores all provide a wide variety of products while using the store proceeds to help the less fortunate; but with phenomenal prices.  It’s not uncommon for a thrift store run by one of these organizations to have fifty cent books, clothing sold by the pound, and furniture/power tools under the $40 price tag if you’re lucky.  Plus, not to sound like a broken record but, your proceeds go towards good causes like animal adoption and feeding the homeless.  

Most thrifts of this nature are run by religious organizations, so if you’re at odds with supporting that sort of thing you might be more interested in the other two options; but otherwise this type of thrift store typically comes with very few downsides. 

|Image Credit:  Dorcas Thrift on Nextdoor

Of course, one of those other options is the standard mom and pop operation.  Not linked to any specific organization or franchise, these tend to be small businesses run by local families serving a smaller radius.  

Prices as a result tend to be a little higher than your average thrift store since it’s, y’know, a business; and the selection can be a little below average, usually consisting largely of estate sale leftovers, but this also works to their favor.

There’s no central distribution center for these businesses, so what people sell/donate to these stores comes from nearby communities typically.  So if you find one near an upper class area like Honeycutt Rd or Ebeneezer Church Rd, they’ll typically have nice furniture, art, and electronics for thrift store prices. 

There’s not too many of these, but my personal favorite is Fabulous Affordable Treasures in Southwest Raleigh.  A decent assortment of clothes and decorative pieces (and a very relaxing general environment) makes it a positive visit even when I’m just browsing. 

|Image credit:  Affordable Treasures Facebook

Finally there’s Discount thrifts.  They’re not too common, and are usually supported by an organization additionally although not all are, but if you find one check back with them regularly because it’s almost guaranteed to be worth it.

These thrift stores operate by having a degrading price scale; setting prices when the object comes into inventory, and then lowering them based on how long its been with them or the condition it was received in.  

Stores like Habitat for Humanity ReStore and Petersons Consigning Design use this, and typically offer discounts upwards of 60% if you wait long enough.  On top of having equally large selections of product from org thrifts, they offer plenty for the savvy shopper. 

The downside is, the best possible price you can receive for any given product is a gamble.  That sweet leather armchair you have your eye on might be dropped from 40% to 50% in the next two days, but if someone finds the price acceptable where it is then that products gone forever (or at least until something similar winds up in inventory).

|Image Credit:  Petersons Consigning Design website

Regardless of which thrift store you choose though, you’re bound to find a bargain in one eventually if you check back every once in awhile.  I’ve only mentioned a fraction of the stores available in Raleigh, if you find a few favorites of your own and check back regularly, you’re bound to find something you’ll love at a price you couldn’t find anywhere else.

Of course, if you’re looking for more niche deals you could always use programs like Facebook Marketplace or Craigslist for people just looking to get rid of their junk.  They’re easy to use and both are incredibly active for the Raleigh area; but if you’re looking for something a little more...interesting then I’d recommend checking out liquidation stores.

There’s not many of them in Raleigh, but recently this past week a store by the name of Treasure Hunt Liquidation opened up with an interesting premise.  They buy tons of returned and opened merchandise from places like Amazon and sell them to other people on a degrading price scale similar to the thrift stores we mentioned above. 

Fridays the price-per-item is $10, and then day by day it drops till it hits $1 per item on the following Wednesdays (and they close Thursdays for inventory).  large bins full of boxed or repackaged goods line the floor with everything from car parts to 3D printing filaments depending on when you can get there. 

Additionally, you can purchase pallets of goods as well; with some of the more high ticket items ranging from $300 up to $1500; but generally containing some of the more desirable items like bikes and kitchen equipment.  

Overall, the whole experience is like a giant rotating lootbox; you’re never quite sure what you’re gonna get when you go but you’re likely to find something that at least catches your eye, even if it doesn’t come home with you.

|Image Credit:  Treasure Hunt Liquidation facebook group

You can’t find everything you’ll ever need at stores like these, but you’ll definitely be able to find affordable furniture and clothes even on a college student’s budget. Even a few dollars saved can make a huge difference though, so if you get the chance or see a store on the side of the road that catches your eye, be sure to at least stop in and see what they have for sale. 

Or, if you’ve read this and have some books/clothes/toys to donate please consider donating or selling them to your local thrift location.  These secondhand finds can make all the difference in the world to a kid who wouldn’t be able to get them otherwise.   Regardless, hopefully at the very least this article kept you entertained, and I hope everyone reading has a great day!

[violethowler]

Death and Separation: Emerging Trends in Pop Culture Franchises

Warning: The following essay contains ending and character death  spoilers for Voltron: Legendary Defender,  How To Train Your Dragon: The Hidden World, Game of Thrones, and everything released under the Disney umbrella since January 2017. That includes Marvel, Star Wars, and vanilla Disney movies, both animated and live action. 

I’ve noticed a pattern in the last couple of years of media consumption. 

Since 2017, there has been a string of major releases by major companies or networks that featured story decisions that proved controversial with audiences. Now, such things on their own aren’t really a big deal because for the most part there’s always going to be some fans who aren’t satisfied with how a story turned out, regardless of their reasons. 

But what I’m noticing is that there is a pattern to which elements fans are criticizing and why. 

As I became aware of this trend I started looking back at media released in the last few years and noticing that many of these stories were featuring the same plot elements, whether they worked for the story or not: 

One common point I noticed is how many of these franchises have taken morally complicated characters that were popular with audiences, and permanently killed them off in ways which a lot of people have found narratively unsatisfying: 

In Star Wars: Episode IX: The Rise of Skywalker, Ben Solo manages to achieve his redemption and turn back to the light after all prior supplementary material showed how Snoke preyed on his feelings of abandonment to groom him into joining the dark side. After being redeemed, his contribution to the story’s climax is being thrown into a pit, where he stays until after Palpatineis defeated, and upon climbing out finds the girl he loves dead. Ben then uses the force to heal Rey and restore her to life, only to immediately kick the bucket himself, after which point the narrative ceases to acknowledge him in any way. 

Loki and his brother Thor reconcile at the end of 2017’s Thor: Ragnarok, only for the film’s post credits scene to herald their encounter with Loki’s former “employer” Thanos. The next time audiences see Loki in the opening minutes of Avengers: Infinity War, he’s strangled to death on-screen by Thanos following a failed assassination attempt before the film’s title card has even appeared. Despite theories that he had faked his death and would return in Avengers: Endgame, the only versions of Loki to appear in the finale of the Infinity Saga are past versions from alternate timelines, with only the characters dusted during Infinity War being brought back to life. 

Gamora escapes from her abusive father figure Thanos in the first Guardians of the Galaxy movie and spends subsequent films building a life for herself outside of Thanos’ toxic influence, with the sequel focusing on her repairing her relationship with her sister Nebula. After being captured by Thanos and forced to bring him to the Soul Stone, Thanos flings her off a cliff to her death when he learns that obtaining the Soul Stone will require him to sacrifice someone he loves, and awakens in a pool of water with the stone in his hand. Despite theories she would be brought back to life in Avengers: Endgame, but like Loki, the only versions of Gamora to appear were from alternate timelines that lacked the dead version’s character development.

Black Widow’s defining character trait across the Infinity Saga has been her desire to eliminate “the red in her ledger” to atone for the things she did when the Red Room had raised her to be an assassin. In Avengers: Endgame, Black Widow sacrifices herself to obtain the Soul Stone in the past to give her close friend Clint Barton a second chance to come back from the brutal path of vengeance the death of his family had set him on, in the same way that he had given her a second chance to build a better life for herself when they first met. 

In Voltron: Legendary Defender’s third season, Prince Lotor is introduced as a morally ambiguous figure with unclear motives. When forced on the run by his tyrannical father, he forms an alliance with the Paladins of Voltron and eventually develops a romance with Princess Allura. In the sixth season, Lotor is accused of mass murder of the survivors of Allura’s destroyed planet and their alliance falls apart. Lotor insists that his intentions for peace are genuine, but his efforts to explain himself fall on deaf ears, and after a battle, is left for dead in the Quintessence Field. The second episode of the final seasons fills in the details of his abusive childhood while showing that despite what he’d suffered, he was genuine in his desire for peace. Seasons 6 through 8 are sprinkled with hints that Lotor was innocent of the crimes he was accused of, but despite Season 8 Episode 6 Genesis depicting him being still alive after four years in the Quintessence Field, the audience is treated to an image of his melted corpse four episodes later, while his abusive mother searches alternate realities for a better version of him.

The first seven seasons of Game of Thrones depict Daenerys Targaryen as someone from an abusive family who was nevertheless determined to rise above her turbulent upbringing and make the world a better place. Over the course of the eighth and final season, her new allies disrespect her, her lover repeatedly betrays her trust, and her advisers not only question her mental stability but immediately attempt to undermine her campaign as soon as a male heir to the throne from her bloodline is presented to them. When her trusted confidant is murdered in the penultimate episode, she snaps and burns large swaths of the capitol to the ground with dragon fire. In the series finale, her remaining advisers convince her lover to kill her for the good of the realm, and her destructive rage is presented as who she always was.  

In the narrative of these characters’ stories, some of these fit with the themes of that character’s story arc. Black Widow sacrificing herself makes sense because of the symmetry with what we know of her backstory. Clint Barton gave her a second chance and guided her back from the dark path she was on when they first met, and in Avengers: Endgame, she returns the favor. Her death, while upsetting to many fans for different reasons, fits within the context of her personal narrative arc from across the last decade of Marvel movies. 

While Daenerys turning into a Mad Queen like her father would still be disappointing to fans hoping to see her disprove the “madness is in the blood” ideas about her family, it wouldn’t have come entirely out of nowhere. The hints that she had the potential to go down that path were there, even if many hoped it would only remain potential. One of the biggest issues is how Season 8 portrayed her descent into madness. Her cruelty towards King’s Landing is treated not as the rage of someone who has been pushed too far, but that this is who she always was. 

Meanwhile Ben Solo’s death came suddenly and abruptly after repeated narrative fakeouts that he came back from. The previous films, novels, and comics had built him up as a victim of abuse and set up audiences to anticipate him breaking free of the Dark Side and finding a happy ending, likely while working to atone for his actions as Kylo Ren. But despite his actor having been promised that Ben Solo’s story would not end the same way that Darth Vader’s did, that was exactly what happened: with the redeemed villain dying to save a person they loved. 

The context may differ, but there is a visible pattern of major genre franchises in the last year taking this type of complicated character and either killing them off when they’re finally in a good place mentally and emotionally, or in the case of Lotor and Daenerys, striping away their happiness to force them into the role of a one-dimensional tyrant and then killing them off. Lotor’s case is even more egregious because there were unanswered questions and inconsistencies surrounding his alleged crimes that after his death were never explained.  

While I doubt the creators of any of these titles set out to intentionally hurt people who identified with these characters, their narrative choices still send very damaging messages. 

These character’s backstories involve them either intentionally or unintentionally set up to fail by the people around them. Where most characters begin with a blank slate, theirs was already written in with expectations, pressure, violence, condemnation, control, manipulation, and/or outright subjugation. Fans young and old find them relatable because of similar rough pasts or trauma, often because or in spite of their grey moral compasses. This type of character resonates with audiences because they represent what it means to be human -  to struggle, to make mistakes, and to have the ability to atone for them in the end. 

Except in recent stories they don’t ever get that chance. Seeing Ben Solo and Lotor and Daenerys and Loki denied a chance at a happy ending tells people who identify with them that they will never find happiness. That their struggle toward the light is doomed to fail and will only end in death. 

And that isn’t the only divisive trend that’s been observed in recent years. Since 2018, there have been sequels and series finales where the characters whose bond was the core of the story go their separate ways either after the conflict has been resolved or as the means to resolve the conflict: 

In the series finale of Star Wars: Rebels, audience viewpoint character Ezra Bridger forces Grand Admiral Thrawn’s Star Destroyer fleet into hyperspace to protect the capital city of his planet Lothal from orbital bombardment. This separates him from his Found Family, and due to their commitments to the rebellion it isn’t until several years later that they set out to find him and bring him home. 

During the course of Ralph Breaks the Internet: Wreck-it Ralph 2, Vanellope von Schweetz becomes enamored with the virtual world of the internet, having grown tired of the routine of her life in the arcade in the five years since the original movie. Ralph’s desire for life to stay the same and his insecurities over losing his best friend drive the plot of the movie, and the conflict is resolved when Ralph learns to let go of his insecurities and respect Vanellope’s wishes. Ralph returns to the arcade while Vanellope remains on the internet, though they stay in touch via video chat.

The series finale of Voltron: Legendary Defender depicts the surviving paladins going their separate ways after the war ends, only meeting up once a year for a memorial dinner to honor Allura’s sacrifice. Lance is depicted with the markings of Allura’s people branded on his face, grieving her as he spends his days working on his family’s farm. Keith returns to the stars to restructure the Blade of Marmora into a peacetime organization. Hunk becomes a galactic chef, while Pidge returns to Earth to build robots at the Garrison. A year after the series, Shiro retires from the job he loves and marries one of the men on the bridge crew for the Atlas. 

In order to protect the dragons of Berk from Grimmel the dragon hunter, Hiccup must send Toothless away so that the Night Fury can lead the Berkian dragons to the safety of the Hidden World. Year later Hiccan and Astrid take their children to the entrance of the Hidden World where they reunite with their dragon friends and their children. 

In order to defeat Thanos and his army, Iron Man uses the Infinity Stones to snap Thanos’ legions out of existence at the cost of his own life. Following Tony’s funeral, Captain America returns the Stones to their original timeline before settling down in an alternate timeline to live a peaceful life with Peggy Carter in the 1940s. After reaching old age, Steve returns to his original timeline and passes the mantle of Captain America on to Sam Wilson along with the repaired shield. Thor abdicates the throne of New Asgard to Valkyrie before setting off to the stars with the Guardians of the Galaxy. Hawkeye returns to the quiet farm life with his wife and children, and the remaining heroes all go their separate ways. 

After the death of Daenerys in the series finale of Game of Thrones, the Westerosi nobility decided to form an elected monarchy, choosing Bran Stark as the next king of the Seven Kingdoms. Sansa returns to Winterfell, where she becomes Queen of the North, while Jon Snow is “exiled” beyond the wall, and Arya sets sail to explore lands west of Westeros. 

In Toy Story 4, Woody is feeling pushed to the side as Bonny plays with him less than she does the other toys. After getting lost on a road trip, Woody is reunited with his lost love, Bo Peep, who has been living alone scavenging from humans rather than being played with by a single child. After rescuing Bonnie’s new toy Forky, Woody and Bo race to get everyone back to the RV before Bonny’s family leaves. Before boarding the RV, Woody ultimately decides to stay with Bo, and he parts ways with the rest of Andy’s toys as the film ends. 

After the previous film was about Maleficent becoming a surrogate mother figure to Aurora, the sequel, Maleficent: Mistress of Evil, is about Maleficent learning to let her daughter grow up and leave the nest. After Queen Ingrid’s crusade against the fairies is thwarted, Maleficent gives her blessing for Aurora’s marriage to Phillip and lets her adopted daughter go. Maleficent returns to the Moors with the promise that she will return when Aurora and Phillip have a child of their own. 

In the course of uncovering and making amends for their bigoted grandfather’s actions against the Northuldra people, Elsa and Anna learn that the rumored fifth spirit that bridges the mortal and the supernatural is actually them and their bond. After breaking the curse on the Enchanted Forest, Elsa abdicated her throne and remains in the forest to continue exploring the full extent of her powers while Anna takes the throne. Thanks to the magic of the other elemental spirits, the sisters remain in constant contact, with Elsa returning to Arendelle for regular visits. 

Star Wars: The Rise of Skywalker establishes that Ben Solo and Rey are a dyad in the Force - literal soulmates. At the end of the movie, Rey sacrifices her life to destroy Palpatine, and after climbing up from the pit he was tossed into, Ben uses the Force to heal Rey’s wounds and bring her back to life, at which point he immediately dies. After a victory celebration with the Resistance, Rey travels to Tatooine and is last seen burying Luke and Leia’s lightsabers in the sands outside the farm where Luke grew up. 

As with the trend of killing off morally complicated characters, some of these examples work within the context of the film. 

Motherhood was an important element of Maleficent’s arc across the two live action films, and learning to let her daughter leave the nest is a classic lesson in a parental figure’s character arc. 

Hiccup and Toothless parting ways fits with the How To Train Your Dragon series’ focus on protecting the dragons and the animal conservation message that comes with that. 

Ezra being separated from his found family at the end of Rebels was a way to maintain Luke Skywalker’s status as the only Jedi working for the rebellion in the original movies without permanently killing Ezra off, and the show’s writers left the door open for a potential sequel focused on Sabine following his trail to bring him home. 

Other examples, however, do not align with the themes of their respective franchises. 

Game of Thrones spent several seasons focusing on the surviving Stark children as they find their way back to each other. Sending them all in different directions at the end feels disappointing and pointless after they had finally been reunited in the previous season. 

The Paladins of Voltron finding their own careers after the war that take them to different parts of the galaxy but still making the effort to consistently stay in contact makes sense in theory, but with the death of Allura it comes across as if her passing broke the team apart. 

While the original Avengers going their separate ways to let a new generation of heroes step into the limelight seems like an organic conclusion to the Infinity Saga, Captain America’s ending in particular feels like a regression. His character arc across his previous solo films has been about moving forward, and Endgame concludes with him literally going backward. 

It’s been common for fan complaints over these story elements to be directed mainly at the people directly responsible for making each project - the showrunners, the movie directors, the script writers…… But I couldn’t help but notice just how many of these examples for both trends fell under the Disney umbrella.

And then I remembered that Infinity War, Endgame, and The Rise of Skywalker all had reshoots done at some point in the production process. 

It really makes me wonder how much of these disliked story decisions were really the individual directors’ and showrunners’ decisions and how much were mandated by someone higher up the ladder. And I can’t help but notice the demographics of the people in charge of these companies and the people affected by them. 

The demographics of fans that enjoy morally complicated characters and want them to have a happy ending, that enjoy stories where the the characters who bonded over the course of the story stay together after their mutual goal is achieved, are from what I’ve observed predominantly made up of women, LGBTQ+ people, disabled people, nonwhite people, and people with mental illnesses. 

And most of the people in charge of these story decisions are cis, straight, neurotypipcal, able-bodied white men. The CEO of Disney... The showrunners of Game of Thrones….. Voltron’s a little more complicated because while Dreamworks made the show they didn’t own the franchise, but the Voltron IP owner is a straight white male.  

These stories are controlled by straight white men, and the audiences that have the biggest negative reactions to these story decisions are women, LGBTQ+ people, and POC. 

Companies may talk about having more diversity on camera and behind the camera, but the people at the top of the corporate hierarchy - the ones with the money and therefore the ultimate control over what gets released to the public - are for the most part the same demographic as they've always been.

And all of these show finales and movies have been released within the last four years, as fandom spaces and American public discourse in general have become increasingly polarized into a black and white mentality with no room for nuance. Where someone can only be either a perfect ally or an offensive oppressor. This trend in killing off morally complicated characters in ways that don’t always work for their character arc has also coincided with the rise of fandom’s pearl clutching over moral purity and whether a villain or anti villain “deserves” a redemption arc. 

Your first instinct will probably be to dismiss what I’m suggesting, insisting that these are just shows and movies and that they don’t matter. That it’s Not That DeepTM. But more often than not the media we consume is a reflection of the world around us. And we are seeing a pattern that as fandom becomes increasingly obsessed with purity and enforces a “one strike and you’re a monster” mentality, the major franchises of pop culture are producing stories where people who aren’t clear-cut Pure Good Heroes or Pure Evil Villains die. 

Also, dismissing people’s thoughts about the social messages of a movie or show, insisting that we’re wrong for saying that something doesn’t fit with the story so far, is part of the problem. Having critics and other fans praising the stories we feel hurt by and dismissing our criticisms as, for example, whiny shippers mad that our favorite pairings didn’t happen, has a very stifling, damaging effect. It tells us over and over again that this is the way that stories are supposed to be, and that there is something weird, broken, wrong with us for not being satisfied with stories that break up the Found Family or kill off your morally messed up fave regardless of whether it actually makes sense for the story. 

It leaves us isolated and alienated from wider fandom discussions because we’re told it again and again until we internalize it that we’re in the wrong. That people just don’t want to make the kinds of stories we want to see. That we’re paranoid for suspecting that there is a pattern when we see this happen over and over. But it’s clear from the way that some creators have acted - going from excitedly promoting their work to complete silence after the initial disappointment over the finale - that there are creators who want to tell those kinds of stories, but they are being silenced. They are being forced to change the stories they wanted to tell because someone in charge didn’t like that kind of story, and because of their NDAs are forced to either keep silent, or lie and take credit for decisions that weren’t theirs. 

It’s easy to dismiss these story decisions as a coincidence. To believe that all of these creators made similar decisions on their own. That they just fucked up a beautiful story on their own with no intervention from someone higher up the corporate ladder. It’s a comforting option. It makes us feel like our criticisms have an impact. Because the alternative? That creators can and have been forced to change their stories because the person at the top doesn’t think that it’ll sell well if it doesn’t cater to the demographic they consider most important? That’s terrifying. 

[morethanaprincess-a]

@trinitytalents​ said:  30. What’s the hardest character type to interact with? & 31. What’s the easiest character type to interact with?

Truthful Tuesday meme (Still accepting! I’m answering these in-between the plots please meme if I get any more)

There’s a few different traits of characters I find difficult to work with. Some of it is writing style based, others are just content based.

Muses who are withdrawn/quiet/not verbally communicative but also aren’t physically communicative are really hard for me to interact with. There are characters, of course, who just aren’t friendly, open, and talkative: there are people who aren’t that way, for whatever reason. But it’s really hard to interact when those same characters don’t give any leeway into interacting with them: whether through body language, actions, or something similar. When a starter or reply has a withdrawn muse where everything in the post is going on inside their head/thinking about the past with nothing happening in the presence of my muse? Yeah, that’s very hard to work with.

I also have a hard time interacting with canon muses with franchises I’m not familiar with whose muns aren’t interested in plotting/brainstorming interactions or a verse that works for both of us. I love writing with all sorts of muses: canon, crossovers, OCs, and otherwise. But it’s daunting when I don’t recognize the franchise or know the franchise backwards and forwards and the other mun expects it (especially if it’s a popular franchise with a large RPC) and isn’t willing to work with me on that. 

I’m also wary of interacting with a lot of fantasy/magic-based muses: magic users, creatures, isekai, etc. Mostly as this just isn’t my interest and while I’m eager to write with muses in those genres, I tend to worry that I’ll get something wrong about it or we won’t be able to find some common ground to create a storyline and/or verse that works for us. I wrote witch and wizard muses for nearly a decade before getting burned out on that fandom and I’m not interested in going back to that. The closest I think I’d get to isekai would be time-travel to an historical period, like the time-travel mechanism in Outlander. 

For the easiest character type to interact with? The obvious choice would be canon Danganronpa muses in DR2 or the Future Foundation, based on canon. There’s always something in canon to touch upon or expand. Otherwise, characters that push Sonia’s buttons (even discreetly. Hi @cadcnce​/Wylan), characters she might come across in work or school (Persona crossovers, fellow royalty like @whitecrowns-blackthrones​‘ muses), or muses that just need a little care, love, and understanding. Sonia gravitates towards muses who could use a good friend, who are strange and misunderstood. Is your muse a social outcast? How about grumpy and withdrawn? Or simply very terse and hasn’t smiled recently?

She’s there. They’re friends now. 

[ranma-rewatch]

Episode 7: Enter Ryoga, the Eternal ‘Lost Boy’

Hey, it’s Ranma Rewatch, I’m on episode 7, and I don’t want to waste too much time with the preamble. I am super excited for this episode, my boi is here, I really hope it holds up, see you after I watch it again!

That wasn’t exactly how I remembered it, but not in a bad way. The episode starts with a short scene that has become pretty freaking iconic, and has been sampled in dozens, if not hundreds, of AMV’s: A man cloaked from head to toe, walking through a desert, his eyes barely visible under goggles. It is a really cool shot that catches the eye right away.

We cut from that to that same person approaching a small village, deciding to throw off his concealing clothes to reveal his typical yellow and green outfit, with a bandanna around his head and an umbrella on his back, which he takes out to slow down his descent when he jumps off a cliff. This village happens to be being attacked by a huge wild boar, wrecking everything in its way, but this fellow is able to stop the animal with little effort and send it flying. When the grateful villagers approach, he only has one question for them: where is Furinkan High School?

At first they don’t understand the question, until they look at what he has for a map and realize it’s of Tokyo. The problem is, this young man is on Shikoku, a completely different island in the archipelago. They point him in the right general direction, and he reveals before the scene ends that he is specifically trying to find Ranma Saotome.

Speaking of the show’s titular character, we get a small scene of him in his cursed form being blackmailed by Nabiki into wearing women’s clothes because all of his stuff is in the wash. After that, we get another scene of the mysterious umbrella-wielding stranger asking someone for directions to Furinkan High School, but this time he’s in Hokkaido. Once again a completely different island, only this time on the opposite end. Fun fact: Hokkaido was the inspiration for Sinnoh in Pokemon!

We get another small cut-away to Ranma in various outfits, then another of our new character somehow ending up back in that village he was in earlier. The point is being made clear to us: he is terrible at getting where he wants to go, but is also so inhumanly strong and resilient that he has no trouble surviving in the wilderness in the process.

What seems to be the next day, he finally gets to where he’s going, just as school is letting out for the day. Ranma is being chased by Akane for something, though we don’t know exactly what. (Of course, we know their dynamic well enough by now to know it’s almost certainly something Ranma did to annoy her.) The newcomer slams into the ground where Ranma is landing at the same time, leaving a crater in the cement from the force of his landing, all while screaming how Ranma has to die.

The problem is, Ranma has no clue who this guy is, which pisses him off to know end. Even after he brings up that his vendetta has something to do with Ranma never showing up for a duel, Ranma still struggles (and fails) to remember this guys name, but luckily he gives it to Ranma anyway: Ryoga Hibiki. They went to Junior High together, and they’d agreed upon a duel, but it never happened because Ranma wasn’t there when Ryoga arrived.

Now, Ranma protests that he waited in the agreed upon empty lot for three days before taking off for China with his dad, which is honestly more time than most people would have waited. As we already know though, Ryoga can’t seem to get anywhere quickly, so he got there on the fourth day. Oh, and the lot was right behind his house.

The crowd of students who only moments before considered him with awe over his fantastic martial arts abilities are now looking at him like a buffoon, and Ryoga is ready to get his revenge on Ranma already. But Ranma puts a pause on that, runs out, and comes back with a bunch of different kinds of bread. Why? Because bread was the reason for their duel in the first place. Their school was only for boys, and getting food at lunch was a nightmare. Ranma ended up snatching the last piece of bread just before Ryoga could get it time and time again, and all the bread he brought was one of each type he’d taken years before.

But Ryoga doesn’t care about that, making it clear that the bread isn’t something he cares about anymore, that Ranma has put him through hell, even if Ranma has no clue what he’s talking about. But before they can get a proper fight going, Ranma runs away, losing Ryoga enough that when he starts busting up the school looking for him, he ends up going the wrong way and out of the area entirely, leaving Ranma and Akane to wonder where he went. We do get to see where before the episode ends: once again back in that village that had the boar problem, where he gets a meal before running out into the evening to find Ranma once more.

Like I said before, this episode wasn’t entirely how I remembered it. Namely, there was a lot more humor than I remembered. For the most part, that’s not a bad thing, there was actually some really good comedy, and I don’t feel like it trampled over the more serious parts of the episode.

If it isn’t clear, I am going to say right now that I did still love this episode. The animation was really on-point, some of the visuals of Ranma darting around people or the brief combat he gets with Ryoga just looks beautiful. Also, even though we don’t get a fight between the two just yet, it’s already solidly communicated, through Ryoga easily beating the boar, barreling through steel barriers, and hitting the ground so hard it destroys concrete, that he is strong as hell.

As much as I love the opening desert shot, I actually think my favorite part of the episode is some of the conversation between Ranma, Akane, and Ryoga. Ranma straining his brain to remember who Ryoga is killed me. It was weirdly relatable too, I’m sure many of us have run into someone who obviously knows us, while we can’t even remember how we know them, let alone their name. The fact Ranma actually specifically bought one of each bread he’d taken from Ryoga before was kind of cute, more than I expected of the usually flippant martial artist.

There’s also an exchange I’ve seen on Tumblr a few times in screencaps and gifs, and there’s a reason people love to share it. When Ryoga says he’s going to destroy Ranma’s happiness, there’s this shot of him freaking out, only to turn to Akane and blankly ask if he is happy, to which Akane doesn’t understand why he’s asking her. They take such a trope-y line from a character seeking revenge and turn it around into a really good joke.

There was also a really interesting thing I noted in terms of translation. After hearing about the string of times Ranma stole bread from Ryoga, Akane makes an analogy to why it mattered so much, but it’s different from dub to sub. In the English Dub, she says the straws broke the camel’s back, a common phrase that seems to fit the situation. But in the English Sub, she says (loosely remembering) “enough dust can make a mountain”, and I think that actually fits much better. After all, we soon learned that the bread isn’t really why Ryoga is angry, but once you do know everything that happened that led to Ryoga’s rage, that analogy fits perfect: it isn’t so much one specific event, as a collection of small events that collected into an enormous vendetta.

All my compliments aside, I did have some issues with the episode. Some of the comedy didn’t really work for me, and that was most true with the early scenes of the Tendo girls trying to dress Ranma in Akane’s clothes. Some parts did make me chuckle, but on the whole the mini-plot made me uncomfortable. Primarily because, as I’ve said before, I feel like the best way to look at Ranma’s cursed form is as a trans man. Even though his body has changed, his gender hasn’t, he’s still a man. The scene has Ranma protesting again and again that he is a man, even as they try to dress him as a woman. The idea of some cisgender folks trying to force a trans man into women’s clothes just...isn’t very funny to me. It’s kind of terrible, at least from a more queer perspective. That complaint done, let’s do the character spotlight.

Oh come on, who else did you think I was going to do? If it isn’t clear yet, Ryoga Hibiki is my favorite character in the series, and he has been since I was a teenager. Who knows if that will remain true this entire watch-through, but so far I’m not liking him any less. I’ll get into why, but first let’s talk about his voice actors.

The voice actor I’m more familiar with, his English one, is Michael Donovan. Like most of the actors for this dub, he’s someone who worked with the Ocean Group for a lot of series around this time period. That said, if you’re a fan of the Fate franchise, he has done some voices in Ufotable’s recent anime adaptations, playing Risei Kotomine and Zouken Matou. In Japanese, his voice actor is one Kōichi Yamadera, and he continued the pattern of voice actors who are well-known in Japan for dubbing English works. He’s most well-known for dubbing over Jim Carrey in a lot of movies, but he’s done a ton of others as well. In anime, some of his notable roles include Spike Spiegel, Beerus in all the recent Dragon Ball movies and anime, and Gentle Criminal in My Hero Academia. Seriously, diving into this guy’s list of roles is like swimming in an ocean of great roles.

So, how do they do? Well, so far I’d say I like both of them a lot, but they do play Ryoga differently. At his core, Ryoga is actually kind of a perfect microcosm of the tone of the series itself. Ranma 1/2 is simultaneously a shonen battle anime, a romantic harem series, and a wacky comedy. Ryoga is someone who takes himself very, very seriously. His desire for vengeance against Ranma isn’t a joke, and neither is his ability as a martial artist. But he’s also a doofus who ends up crossing the length of Japan several times because he can’t follow directions properly and the reasons (so far) for his hatred of Ranma are completely laughable.

I wouldn’t say that Michael Donovan’s performance lacks seriousness, in fact when he wants Ryoga to sound menacing I think he does it well, but on the whole he leans more heavily towards the comedic parts of the character. Meanwhile, Yamadera’s Ryoga hasn’t really sounded silly once to me. He plays the character dead straight, and let’s the comedy come through in the contrast between that demeanor and the circumstances around him. We’ll have to see as we go, but I actually might be preferring the Japanese performance so far, a rarity for me.

Okay, so, why do I love Ryoga so much? There are SO many reasons, many of which I won’t go into just yet because I’ll save them for when they appear in-series. But there is still a lot shown in this episode that I feel I can discuss. To start with, I adore his design. I don’t mean the cloak and goggles, though those are absolutely awesome, I’m referring to his standard mode of dress. The yellow and green as a color scheme, with accents of black to top it off, is something really unique. I don’t know enough about art to really articulate why, but I just love every touch of his design. My favorite small touch has to be the yellow strands wrapping around his lower legs, clashing with his otherwise dark green lower half. I have no clue what they’re supposed to be for, but they just add something, almost making him look more rooted to the spot of wherever he’s standing, more solid.

That is a good word to use for Ryoga in general. Even though we haven’t gotten to see him in a proper fight just yet, we’ve seen quite a lot of evidence of his main attributes. In Dungeons & Dragons terms, Ryoga is making out his Strength and Constitution. He hits like a truck and he can be hit by a truck without slowing down. I love that because it contrasts so perfectly with Ranma’s strength: his speed and precision. I adore it when rival characters actually have qualities that make the fights between them more interesting from the contrast, and Ryoga fits the bill there quite well. He’s also a good foil in terms of personality: Ranma is easy going, likes screwing with people, and is quite quick-witted; Ryoga has a hot temper and a long memory for grudges, hates it when people trick him, and tends to let his emotions do the thinking for him.

I will say it feels like his character has some classic Early Installment Weirdness, as he uses his umbrella quite a bit in this episode. If I remember correctly, after his introductory arc, he doesn’t use his umbrella much at all for the rest of the show, preferring to rely on his fists. It definitely feels like they hadn’t quite nailed the character completely yet, if that makes any sense.

Ryoga is also doing that thing where he’s seeking revenge and really angry, but refuses to talk about why, drawing out the mystery as long as possible. While that trope can become annoying, I don’t really mind it in this case. This isn’t a situation like Godot from Ace Attorney, where Ryoga is purposefully hiding it for some grand plan or something, or to teach a lesson. Ryoga doesn’t go into specifics because A) he thinks Ranma should already know; B) Ryoga is very mad; and C) he doesn’t want anyone else to know his secret. I’m not saying it isn’t stupid that he doesn’t tell Ranma why he’s mad, but I am saying that it’s in-character.

Are you surprised that I adore this episode? You shouldn’t be, I’ve been gushing about it this whole time. Even with the parts I found more rough to watch, this is still my favorite episode of the series thus far, putting the rankings at:

Episode 7: Enter Ryoga, the Eternal ‘Lost Boy’

Episode 2: School is No Place for Horsing Around

Episode 6: Akane's Lost Love... These Things Happen, You Know

Episode 4: Ranma and...Ranma? If It’s Not One Thing, It’s Another

Episode 5: Love Me to the Bone! The Compound Fracture of Akane's Heart

Episode 1: Here’s Ranma

Episode 3: A Sudden Storm of Love

The big question is: will the next episode of this four episode Ryoga arc be even better? We’ll find out next time with Episode 8: “School is a Battlefield! Ranma vs. Ryoga”. See you then!

[caesarclowningaround]

I was tagged by @flightsofwonder! Thanks dearie!! This was interesting and fun!

Rules: List the first lines of your last 20 stories (if you have less than 20, just list them all!). See if there are any patterns. Choose your favorite opening line. Then tag 10 of your favorite authors!

Felt With the Heart (MCU, 1123 words) Jane fiddled with the skirt of her dress for the thirtieth time. 

The Pure and Simple Truth (MCU/Mr. Robot, 2500 words) Gods and monsters. It’s all real. Who knew? For some reason, Elliot wasn’t at all surprised as he stared across the room at the ‘god’ before him. 

Next Stop (Good Omens, 620 words) It wasn’t that Crowley meant to smack his shoulder into the other man’s as he walked through the subway car… but he meant to. 

voulez-vous coucher avec moi? (2019!Aladdin/2017!Beauty and the Beast, 1163 words) Adam could have anyone he wanted. This wasn’t just hubris, it was a fact. 

Shadows (Trouble in the Heights, 561 words) The room is a swirling mass of color and fabrics. 

my happy ending is right next to me (IT movie franchise, 246 words) Richie couldn’t wait to dive into the champagne at the reception. 

Baking Without Flour (Good Omens, 961 words) Aziraphale wasn’t sure what he was expecting when he entered Crowley’s apartment, but he at least expected that he’d be unpacked by now.  

Violet Skies (2019!Aladdin/2017!Beauty and the Beast, 42622 words (and counting)) Another day, another suitor. This one was from the far west with flowered silks and bright pastels. Prince Adam from France. 

Horizon (Star Wars, 1397 words) It was so different than anything Armitage could have imagined. And oh, he had imagined.

the booze and the bell chimes (2019!Aladdin/2017!Beauty and the Beast/2015!Cinderella, 6272 words) 11:00 AM - 6 HOURS BEFORE THE WEDDING “BOOTY BOOTY BOOTY BOOTY ROCKIN’ EVERYWHERE” Jafar nearly jumped out of bed, his heart pounding in time with the pounding in his head. 

The Dream (MCU/Loki: Where Mischief Lies, 602 words) There is pain as he feels the grip tighten around his throat. He struggles for air, knowing it to be futile at this point. Then, a sharp crack of agony… and he’s gone.

Submerge (Star Wars, 8750 words) His father had warned him many times as a boy to stay away from the Dark Shoals. When Kylo took to the sea as an adult, still his father warned him that morning.

Good at Waiting (2019!Aladdin/2017!Beauty and the Beast, 618 words) Adam wasn’t sure where he was at first. But as the world came into focus around him, he remembered. He remembered dinner the night before, celebrating their six-month anniversary. 

Boom, Clap! (Crash Pad/MCU, 12175 words (and counting)) I need to lay off the weed. It certainly wasn’t the first time Stensland had thought this (or even attempted to put the thought into action soon after), much less the first time he had thought it the moment he had woken up from some batshit crazy trippy dream.

The Ocean Under the Moon (2019!Aladdin/They Call Me Jeeg, 1525 words (and counting)) Fabio had a weird, mostly unknown love for thrift stores. 

a lil something (2019!Aladdin/2017!Beauty and the Beast, 728 words) Jafar’s phone vibrates in his pocket for the second time in the past ten minutes. 

Love is a Battlefield (The Old Guard, 1328 words) There was an excitement in the air as they all stood in formation. Syrus pawed at the ground, his hoof kicking up grass and dust that hung around his legs. 

when push comes to shove (2019!Aladdin/Trust, 1371 words) It had started with Jafar grabbing fistfuls of Primo’s ass and a mocking comment about how thin his pants were, which somehow had led to Jafar assuming Primo wasn’t wearing anything under the blue trousers. He assumed correctly.

play us an encore (2019!Aladdin/2017!Beauty and the Beast, 2400 words) “Open your robe.” Jafar didn’t move from where he was standing in the bathroom doorway. Dressed in only his silk red robe, he stared back at Adam, who was smiling in a way that Jafar couldn’t read.

break the bubble (2019!Aladdin/2017!Beauty and the Beast/2015!Cinderella, 1092 words) “Love is like a bomb, baby, c’mon get it on…” The lights flashed as three gorgeous men walked onto the stage, lip synching with the loud lyrics of Def Leppard's "Pour Some Sugar on Me" playing over the speakers. 

Analysis:

First of all, the fact that 11/20 of these are crossovers is pretty telling of what my favorite thing to write is. Most are either Aladdin crossovers or Marvel crossovers (and involve either Jafar or Loki, respectively) so there’s that.

This list goes back about two years, which is interesting because in the past two years I’ve been working on bigger projects most of the time. Notice how most of these fics are under 2k? Most of these started as small fic prompts or 2am spur-of-the-moment ideas and the longer ones are the more self-indulgent fics.

5 of these fics start with a line that’s mostly used to catch a reader’s attention before a tag, which is then followed by a bit of exposition or action. Twice I use song lyrics as a way of grabbing attention because the POV of the character is also having their attention grabbed.

Several times I just jump right into a character’s POV and begin with them thinking about something or essentially telling the reader “what is happening is normal” or “what is happening is not normal” depending on the situation. It’s also sometimes a quick recap or the statement of a fact about our POV character.

Most of the time, I just jump right into the action to get the story moving. I’ve noticed I prefer to do this over giving a description of where we are. If I do give a description, it almost always comes after the opening line. With the exception of Shadows, none of these opening lines are a setting description.

I really do have a thing for crossovers, especially the weird ones LOL I just love the idea of two different worlds connecting in some way and having the characters themselves connect on another level. D*sney’s been crossing over their stuff since well before I was even born, so while it’s not surprising to see a disney crossover fic, I do think there’s something to writing that odd lil ship I’ve written about 7 fics for (dang!)

I tend to deal with themes of forbidden love in various ways and how the characters make those connections despite the fact they shouldn’t be together. Whether it’s as simple as unrequited romance, or they’re enemies, or they’re not necessarily enemies but they really shouldn’t be together... and yet they always find a way. IDK maybe I’m just a romantic at heart who loves seeing love stories about love conquering all. But that being said, the obstacles these characters face aren’t typical ones?? Like, from this list at least, love triangles aren’t something I’m interested in, but if there is a third party (like in Violet Skies) the third party is never really considered to be a “threat” to the main couple. 

That’s probably another reason why I dig crossover ships, because they inherently shouldn’t be together. they’re from vastly different worlds with maybe one or two things in common (like genre or setting or a character detail or just a vibe).

Or I’m just here to have fun and I’m dragging these characters into the fun zone whether they like it or not :P

But really, all of these are love stories in some way or another. Not that I’ve never written gen fic and I love reading gen fic! But I guess my fave fics to write are the shippy stuff. I just enjoy exploring these types of relationships, despite whether or not they “should” be together. Heck, a couple of these do not have happy endings nor should they. It’s really interesting seeing exactly how drawn to that stuff I am.

FAVE OPENING LINE This is kind of a weird thing to say, but I really don’t care a lot of my opening lines most of the time. I think they are what they need to be, but they don’t hit me the way they should? Some of these I kinda wish I could go back and change, though that’s mostly cuz out of all the lines in each of these fics the first lines I’ve read and reread the most. So it’s mostly me being my own worst critic, but I think my best writing comes more in the middle and ends of my fics, not the beginnings. 

That said, I gotta go with Violet Skies: Another day, another suitor. This one was from the far west with flowered silks and bright pastels. Prince Adam from France.

This is one of those opening lines I’d never change. The fic starts off from Jafar’s POV and he is bored of these princes coming and going and starting this big fic off with him being like “here we go again” with this basic description of Adam is exactly where the fic needed to start, so by the time the reader gets to the end of the first chapter, we know this is definitely not “here we go again” with Prince Adam~

TAGGING: @pigsinablanketfort, @heroofshield, @thenightisfullofangels, @raptorwhisperer, @theresatvjoe, aaaaaaand anybody else who wants to do it!!!!

[anythingstevenuniverse]

*SU Spoiler* Pink Pearl Instability

In the “Steven Universe: Future” promo we see Pink Pearl appear three times: lovingly reminiscing Pink Diamond, her eye cracking, and Pearl protecting her. She appears more then Jasper and about the same as Pink Steven meaning she is going to be important in the future plot of the series. Those clips bring us more information about Pink Pearl then “Familiar”. In “Familiar” we see Pink Pearl and Pink Diamond playing and goofing off meaning Pink Pearl has the same playful personality as Pink Diamond, but both had to suppress those urges due to Homeworld society. After Pink Pearl was freed in “Change Your Mind”, she is confused and Steven later explains what happened. Sadly, we did not get a reappearance or more story of Pink Pearl. “Steven Universe: Future” is a new story in the Steven Universe franchise and reveals missing plot points and character we have yet to seen. This includes Pink Pearls personality after the events, her personality in general, and how she reacts to Era 3. However, it seems Pink Pearl has not let go of the past.

Everyone has come to the assumption Pink Pearl does not only admire Pink Diamond but has an unhealthy obsession. The image of her smiling in adoration with a Pink Diamond silhouette. That basically screams I love Pink Diamond. However, this adoration turns into an obsession with an idealized Pink Diamond. Much like Pearl in the earlier season, Pink Pearl is idolizing a “perfect” Pink Diamond. She finds no flaws in her Diamond and will project that perfection onto Steven. It took a long time for Pearl to accept that Pink Diamond/Rose Quartz has flaws and Pink Pearl was mind controlled for over 6,00 years, it will take more than 2 years for her to accept the Pink Diamond was a flawed Gem.

Pink Pearl’s mental state is extremely unstable. Having this obsession of an idealized Pink Diamond is causing her physical form to literally crack. Unfortunately, Steven will not be able to heal her. Garnet explained in “Monster Reunion” that Steven’s healing powers can only heal physical damage not mental damage of a Gem. Pink Pearl’s cracking eye is most likely related to her unstable mental state much like corruption. Notice how she is smiling while the crack is expanding. The cracking could be caused by her denial of a flawed Pink Diamond or remembering something Pink Diamond did that does not fit her image. Because Steven cannot heal her crack using his powers, he must convince Pink Pearl to accept Pink Diamond as a flawed and imperfect being. Otherwise her crack will continue to spread, and she may snap and project her obsession of Pink Diamond onto Steven.

Pink Pearl’s projection of Pink Diamond onto Steven is going to be an indicator of Pink Steven related powers. Steven tends to stay away from the past, especially events related to Pink Diamond. However, Steven is still fixing his mother’s mess and Gems who have been inflicted by his mother’s actions will become a constant reminder to Steven. Steven will start to get tired of this and express negative emotions related to his mother and himself. Pink Pearl’s unhealthy obsession with Pink Diamond and unwillingness to fix herself will be one of the causes of Pink Steven resurfacing much like “Mindful Education” when he could not help Gems affected by his mother who did not want help.

In this case Pearl may be able to help Pink Pearl. Pearl went through the same obsession of an idealized Pink Diamond/Rose Quartz and projected those same feelings onto Steven. However, their reason for being obsessed is a bit different. Pearl was obsessed with the notion of Rose Quartz letting her become free from Homeworld expectations and idolized her as a bold, charismatic, and kind leader. It was not until loosing Rose and repairing her trauma with Steven’s help, did she move on and gain real freedom to be herself. Pink Diamond let Pink Pearl be more playful then the other Pearls and enjoyed entertainments such as juggling in “Familiar” but had to keep it secret from the other Diamonds. She was happy being treated more like a friend then a servant. Not only did they keep their playful banter a secret, but Pink Pearl was mind controlled for over 6,000 years and had no clue about events on Earth or Homeworld. She never had a chance to move on or even process grief of loosing Pink Diamond (if she even believes she is gone). However, both have something in common: obsession over the same Diamond, being abandoned by her causing mental and emotional issues, and difficulties in moving on. Pearl can sympathize with Pink Pearl and try subtle approaches to healing her trauma-related crack. Until Steven decides to go berserk. Notice in the clip of Pearl protecting Pink Pearl, the crack is bigger meaning this happens after the crack expanded. Once Steven’s calms down, Pearl will help Steven as well as help Pink Pearl overcome her trauma by explaining her similar experience.

There is a question that has boggled many fans: how did Pink Pearl’s eye crack? Because the crack it related to her unstable mental state, we must wonder how as corruption was the only way to deform a Gem’s form. From lots of other theories, there are 3 ways Pink Pearl’s eye was cracked:

1) White Diamond may have caused it. White Diamond controlled Pink Pearl for over 6,000 years. Pink Pearl was basically in hyper sleep. White Diamond had control over Pink Pearl’s mind and was a key component in corruption. It could be possible that the crack started to form after being mind controlled as White Diamond abused Pink Pearl. Who is to say White Diamond cannot control the mind to physically harm themselves?

2) Pink Diamond may have caused it. There has been wide speculation that Pink Diamond caused Pink Pearl’s cracked eye and that is highly likely. In “Jungle Moon” Pink Diamond punches a wall in Yellow’s base. However, she only punched the wall after getting scolded by Yellow meaning her anger is more stress related to her self worth as a Diamond. There may have been an incident where Pink Diamond was scolded by her Diamonds and was extremely agitated. Pink Pearl wanting to cheer her up could have angered her even further and Pink Diamond decided to punch her. Instead of poofing her form, she cracked Pink Pearl’s eye. After realizing what she did, Pink Diamond will try to apologize for actions but may shift the blame of her actions to the stress. This is a type of abuse that is unintentional on Pink Diamond’s part and could be the factor in the crack expanding because Pink Diamond showing a flaw is contradictory to her idolization of her.

3) Pink Pearl may have cause it. Pink Pearl may have caused the crack herself during White Diamond’s control. The crack is related to her unstable mental state. However, it did not expand while under White’s control. When White Diamond first started her mind control, Pink Pearl may have cracked herself after being separated from Pink Diamond. From one of the book signings, Rebecca Sugar stated that gems can poof from overwhelming emotions. The separation from her Diamond was too much and she just cracked (literally and figuratively). Although, from Cartoon Universe recent video, she may have cracked from hearing her Diamond being shattered. The shock of her Diamond being shattered was so horrifying it just cracked her mental state and in turn her physical one as well.  White Diamond would notice and controlled the crack from her mind control and bleaching.

We can deduce the crack does come from extreme emotions. Gems can lose their form over heightened emotions, so who is to say it cannot cause other damage such as physical damage? Pink Pearl’s unstable emotions are what caused the crack as well as causing it to expand. If her instability is not dealt with, she will crack even more.

If Steven and Pearl do manage to help Pink Pearl out of her unstable mindset, what will she do afterwards? Much like Spinel, Steven cannot stay or offer friendship to Pink Pearl as he is related to Pink Diamond which can cause him or her to spiral downward. Pearl can offer friendship but is living her own life on Earth with the Crystal Gems and Steven. There are 3 scenarios that could happen to help Pink Pearl heal:

1) Like Pearl, Pink Pearl will go on her own adventure of self-discovery. This would be a good, as she has been Pink Diamond’s servant/friend for so long and does not have a sense of individuality. If Blue and Yellow Pearl were able to discover their passions quickly in appearance, then who is to say Pink Pearl could not? Yellow Pearl likes to model, Blue Pearl likes to draw, Pearl likes many things: sword fighting, dancing, building, and cleaning. Pink Pearl needs to find something that grounds her from going to those negative emotions. If I had to guess, depending where she stays, maybe something related to entertainment like dancing or music? Either way she must find things she likes instead of relying on her Diamond to find herself.

2) Because she was attached to Pink Diamond, she needs to find someone with similar experiences to help her recovery. She needs a friend who can help her realize she is more then Pink Diamond’s pearl. Whether this be a Gem or human, Pink Pearl has an unstable mental mindset: she is nothing without her Diamond and Pink Diamond was the only person who feel special and loved. She is like Pearl, but Pearl cannot devote herself to helping Pink Pearl as she is moving on and living her own life on Earth. A friend who can help Pearl find herself as well as reassure her self worth would be beneficial to Pearl and help her socialize with other Gems.

3) A video Awestruckvox in the Rountable pointed out was Pink Pearl could be an unwilling antagonist. That is possible if Pink Pearl is not saved from her mental instability. She was Pink Diamond’s pearl meaning she knows information other Gems do not like Pearl. Wanting to be with Pink Diamond again, she may join forces with other Gems that may want to harm Earth and Steven. However, that is only if Pink Pearl continues to be mentally unstable and stuck in the past. Also, she was not seen in the villain section of the introduction. It is interesting to see an unwilling antagonist, but it would be hard to incorporate that as the show is about redemption/helping other characters. But the Crewniverse would find a way.

The Pink Pearl arc (even if it may be one episode) I am most excited about! A couple reasons why. She was a very mysterious character in the show, yet she was also the most important as she was Pink Diamond’s servant/friend. After she was freed from White Diamond in “Change Your Mind”, we never got to see what happened to her after Steven explained everything. The first teaser promo in “Steven Unvierse: Future” gives us a glimpse at what the new story is in the “Steven Universe” franchise and mostly focuses on Steven facing more of his mother’s issues and his own. Pink Pearl is still stuck in the past and will project her obsession of Pink Diamond onto Steven becoming one of the key components to his stress and crisis. The other reason I am excited is the scene where Pink Pearl’s eye starts to crack more. That scene reminds me of friends and people who suffer from deep seeded issues (mostly mental), brush it off and put on a fake façade of happiness, but as the issues become worse it starts to show. Examples are people with trauma who hides it until they start showing signs of said trauma or abuse victims who hide their abuse until the damage is shown in the behavior or body. Pink Pearl is obsessed with Pink Diamond but is also suffering from some kind of trauma related to her. The trauma is starting to resurface and the more she remembers the more visible it becomes. I am very interested in how Pink Pearl’s character will be revealed and fleshed out on December 7!

[rwby-redux]

Deconstruction

Worldbuilding: Genetics

If any of my Deconstruction posts were going to turn heads, I had a hunch it would be this one. You’ll probably find this topic incongruous with the others simply because—unlike Aura, Semblances, Dust, and Grimm—genetics isn’t one of RWBY’s unique gimmicks. If I’m being entirely honest, part of why this post exists is because I still had some miscellaneous talking points to address, but lacked a proper heading to file them under. Call it what it is: a dumping ground for wayward thoughts.

But there’s a bit more to it than just that. The reason why I want to talk about this is because, much like the other mechanical aspects, genetics does have a bearing on RWBY’s worldbuilding, and the stories that were subsequently built around it. It has an undeniable impact on the sociopolitical human-Faunus schism that set the stage for Remnant’s immediate past, and the present-day terrorist acts committed by the White Fang. Genetics is also an extension of RWBY’s adherence to color theory, reflected in the hair and eye color choices of the ensemble cast.

Before we can finally conclude Part 1 of the Worldbuilding posts, we need to discuss this topic from both a narrative and a production standpoint. Genetics is firmly rooted in the development and design choices of the writers—choices which, as you’ll quickly see, had long-lasting consequences for the show.

Today we’re going to be dividing this topic into two sections. Since I’m sure it’s already on your mind, let’s get the obvious one out of the way first:

The Genetics of the Faunus

The Faunus are going to have an entire post dedicated just to them, but it’s impossible to talk about genetics without at least a passing mention of one of Remnant’s two main species.

Subspecies.

Races?

Yeah. You can quickly see where this is going.

Before I get ahead of myself, let me provide some context. Just like the conception of the Maidens, the Faunus can trace their developmental history to a rather impulsive design choice:

“Monty really wanted a character with cat ears,” admits Miles Luna. Shawcross expands on how Blake Belladonna’s look resulted in a cornerstone of the show’s lore. “So if Blake has cat ears, does that mean anyone can have cat ears? Could they have other animal traits? It’d be cool to see someone with scales or a fox tail…” [1]

Let me clarify by saying that there’s nothing wrong with basing a decision on aesthetics (in principle, anyway). And RWBY isn’t the only franchise guilty of doing this. It only takes a few seconds of consulting TV Tropes to see that zoomorphism is extremely pervasive. And while I have a tendency to complain a lot on this blog, I’m not such a kvetch that I’ll deny that animal-people with lion tails and ram horns look fucking sweet.

The problem I have with Faunus (from a genetic standpoint) is the way they’re inconsistently described in relation to humans. While Qrow unambiguously refers to them as a separate species, [2] we have Faunus characters that contradict him by describing themselves as a race. [3] This leads to the inevitable issue of whose account do we trust? On one hand, the information provided to us by Qrow is through World of Remnant, a spin-off series whose entire purpose is to clarify information and teach the audience about core worldbuilding concepts. On the other hand, what we’re told about the Faunus being a race comes directly from Ghira Belladonna. In this context, who would you expect to be the better authority on Faunus—a human, or a Faunus?

Even if we set aside the complicated implications of an outgroup member talking over a minority, we’re still left with the issue of well, which is it? Are they a race or a species? And why does it even matter?

Before we can answer any of those questions, let’s quickly define both terms:

A species is a taxonomic rank used for classifying groups of organisms together on the basis of being able to participate in genetic interchange via sexual reproduction, to produce fertile offspring.

A race (in biology) is an informal/unrecognized taxonomic rank below subspecies, defined as unique subgroups with either geographic, physiological, or genetic distinctions from other subgroups within their species. In anthropology, however, a race is typically regarded as a social construct. In this case, it refers to an identity held by members of a population that share physical or social qualities that are seen as categorically distinct.

The answer, if we’re being objective, is probably something along the lines of “RWBY’s writers thought that the two terms were interchangeable, or they didn’t think the distinction mattered enough to do the research and settle on a definition.” Unless someone specifically reached out to a Rooster Teeth employee and asked, we’ll never truly know. Speculation will only get us so far, and where this blog is concerned, we need a definitive answer—or at the very least, we need to talk about why the distinction matters to us.

So, are Faunus their own race? Meaning, are they a self-identifying ethnic group with a common language, ancestry, history, culture, nation, or social treatment within their residing area?

Common language: That’s a definite no. RWBY still hasn’t managed to explain how everyone across the four kingdoms speaks the same language, let alone develop any conlangs.

Ancestry: We actually don’t have a canon answer for this. The show has yet to tell us where the Faunus came from, so we can’t make any assumptions about how related they are to one another.

History: Technically, yes. But the series has a gross tendency to homogenize the experience of Faunus across Remnant, so the history of Faunus in Vale is virtually identical to that of Mistral. This trend results in storytelling discrepancies, like the Faunus in culturally-unprejudiced Vacuo [4] being equally threatened by and involved with the Faunus Rights Revolution, when there shouldn’t have been an in-world basis for this scenario.

Culture: Don’t make me laugh. RWBY couldn’t even be bothered to give any of its four kingdoms distinct cultures. Apart from a few scenes in Menagerie where you see a bunch of background characters hanging out in the Shallow Sea district of Kuo Kuana, there really isn’t anything culturally unique to the Faunus.

Nation: I guess? I personally wouldn’t consider Menagerie a nation, simply because it’s not one the Faunus originated from, but were rather given in the aftermath of the Great War. As far as we know, Faunus have always been just as widespread across Remnant as humans.

Social treatment: We’re told that social treatment for the Faunus as a whole is shitty, but that the degree of shittiness varies from place to place. Forgive me if I don’t buy that. Not after we’ve seen students in Vale physically harass a Faunus, [5] shops in Mistral refuse service to Faunus, [6] and companies in Atlas extract labor from Faunus. [7] If social treatment is contingent on shared experiences, then why are we told that these experiences change depending on the kingdom? And if the kingdoms vary in levels of racial acceptance, then why are we repeatedly shown the exact opposite?

Based on the aforementioned criteria, I’m inclined to say that Faunus don’t fit the definition of race.

So, are the Faunus a separate species from humans?

“History gets a little fuzzy past a certain point, but we do know that their kind and ours are completely compatible, from a—a biological standpoint.” | Source: World of Remnant, Volume 4, Episode 6: “Faunus.”

That’s a resounding no.

As much as the taxonomist in me wants to talk about things like the multiple competing species concepts, or the fact that plants frequently violate the definition of species by producing fertile hybrids through polyploidy (chromosomal doubling), I have to restrain myself. For simplicity’s sake, we’re accepting that Faunus and humans are members of the same species on the basis that they’re not reproductively isolated.

The reason why genetics matters in regards to the race-species discourse is because we have yet to learn what the Faunus truly are. If we ignore the fact that they exist because Monty Oum wanted to stick cat ears on a girl, then we have to figure out what their existence means to Remnant’s past: Did the Brother Gods intervene in the early evolution of Humanity v2.0, by creating a subset of people with animal traits that would sow discord, for the sole purpose of giving Ozma another obstacle to overcome? Did Salem (who watched Humanity v2.0 evolve) try to influence their evolution, and somehow managed to bestow animalistic traits upon select groups of early hominids? Is Dust like a magically-radioactive fossil fuel that by pure chance mutated early people through exposure, resulting in their animalistic traits? Are the Faunus’ animal traits completely irrelevant to the plot, and are only there for the sake of style?

That’s why the Faunus’ genetic background matters—because as the story progresses, it’s going to inform what questions the audience asks.

There’s a good chance that all of this will end up being nitpicky conjecture, and there won’t be any storytelling payoff. But I think it’s still important to address, if for no other reason than to illustrate why pre-production worldbuilding is essential for telling a coherent story. But I digress.

Genetics, and Its Relationship with Color Theory

It goes without saying that RWBY is defined by color. It’s reflected in nearly every facet of the franchise—team names, wardrobe, Dust color, Aura color, emblems, characters’ names, even the show’s title—and it’s just as important from a worldbuilding standpoint as it is from a narrative one. [8]

Where color theory and genetics cross paths is in the field of character appearance—specifically, hair and eye color. For the moment, let’s set aside eye color as a visual device for foiling and paralleling characters (like Yang Xiao Long’s purple eyes compared to Blake Belladonna’s yellow eyes). Instead, we’re going to talk about these phenotypes from a hereditary perspective.

We’re going to streamline this discussion a bit by focusing on hair for the moment, and picking three colors that would be considered unnatural by our world’s standards. Let’s go with blue, green, and pink. Here’s a handful of characters who have these traits:

Blue hair: Neptune Vasilias, Ciel Soleil, Henry Marigold, May Marigold, Nebula Violette, Sky Lark, Trifa

Green hair: Emerald Sustrai, Marrow Amin, Bartholomew Oobleck, Reese Chloris, Russel Thrush, Sage Ayana

Pink hair: An Ren, May Zedong, Nadir Shiko

Now we’re going to take those lists and swap out the characters’ names for their inferred country of origin:

Blue hair: Mistral, Atlas, Atlas, Atlas, Vacuo, Vale, Menagerie

Green hair: Vale, Atlas, Vale, Mistral, Vale, Mistral

Pink hair: Mistral, Vacuo, Mistral

We can conclude that these hair colors are natural on the basis that we never see characters dying their hair, and that similarly unusual eye colors (red, pink, purple, yellow) would also be natural in Remnant. Unless we’re assuming that everyone is wearing custom contact lenses, then it’s safe to say they’re legit. With the example of hair color, you’ll notice that they’re distributed across a wide number of nationalities, with little hint of consistency among them.

At the end of the day, it’s easy to write this off as “the writers wanted to have cool character designs and not have to think too hard about the worldbuilding implications behind them.” But there is a worldbuilding implication behind them, and it’s one that I’ll be focusing on in later Deconstruction and Amendment posts, so I want to make sure we talk about it now:

RWBY has repeatedly shown us that people are fairly geographically isolated from each other, and travel between kingdoms has always been difficult due to the Grimm. It wasn’t until eighty years ago, when the Great War ended, that a combo of international political cooperation and technological advancements made travel safer and more commonplace. Keep in mind that when populations of humans are geographically isolated from each other over prolonged periods of time, it results in those populations evolving specific anatomical traits.

Let me give you a few real world examples. Epicanthic folds are predominantly found in East Asian, Polynesian, and North Asian ethnic groups. Red hair, while not exclusive to any one nationality, is statistically highest in people of Northwestern European ancestry. Darker complexion is most common in equatorial populations, where high melanin production (especially eumelanin) protects against UVR exposure.

RWBY has every reason under the sun to ascribe certain phenotypes to the ethnicities of each kingdom, and for some reason it just doesn’t. Like, why not make green hair a trait common to people with Sanus ancestry? How about red eyes originating from Anima?

Avatar: The Last Airbender pulled this off by making dark skin, brown hair, and blue/gray eyes features of the Water Tribes. The Fire Nation, to reflect its broader geographic distribution, has a much wider range of phenotypes, with both light and dark skin tones and black or brown hair. However, it still retained golden, amber, and bronze eyes as a distinguishing characteristic of people descended from this ancestry. Frankly, I love that the show took the time to establish those traits among its ethnic groups. Not only was it a great way to visually communicate to the audience the ethnicity of the characters, but those traits took on entirely new meanings in the sequel Avatar: The Legend of Korra. When we meet the brothers Mako and Bolin for the first time and see their respective eye colors—amber and green—we’re immediately able to deduce that they’re the products of successful multiculturalism, something that would’ve seemed impossible seventy years ago when the world was gripped by war. It’s a powerful statement that was conveyed through careful attention to detail and excellent worldbuilding. Given that RWBY also takes place several decades after a global war, the writers had the opportunity to pull off a similar feat. And I don’t think it ever occurred to them once.

At the end of the day, it’s not the worst thing RWBY could’ve done. I think I’m just disappointed by the missed opportunities. The show already has so little going for it when it comes to shaping the identities of its four main kingdoms, so with color being such a vital motif for the show, this feels like it should have been a natural progression of those ideas.

On a more positive note, we’ve finally reached the end of Worldbuilding (Part I) - Mechanical Aspects! Next time, we’ll get to introduce the second section of worldbuilding topics: history.

-

[1] Wallace, Daniel. The World of RWBY: The Official Companion. VIZ Media LLC, 2019, page 42.

[2] World of Remnant, Volume 4, Episode 6: “Faunus.”

[3] Volume 5, Episode 3: “Unforeseen Complications.” Ghira Belladonna: “[Adam’s] actions not only tarnished the reputation of an organization originally created to bring peace and equality to all, but to our entire race.”

[4] World of Remnant, Volume 4, Episode 4: “Vacuo.”

[5] Volume 1, Episode 11: “Jaunedice - Part 1.”

[6] Volume 5, Episode 6: “Known by Its Song.”

[7] Volume 7, Episode 1: “The Greatest Kingdom.”

[8] Wallace, Daniel. The World of RWBY: The Official Companion. VIZ Media LLC, 2019, page 44.

[eljackinton]

Final Thoughts on Superhot Mind Control Delete

(Contains spoilers for Superhot and Mind Control Delete)

To understand what Mind Control Delete is not, you have to understand what it's predecessor is.

Superhot was the most innovative first person shooter I'd played in years.

For those of you who completed the first game, you already know what the weight of those words entails.

Superhot was a first person shooter where time only moved when you moved. Though a series of carefully designed missions, the player would slowly, almost like a puzzle game, punch jaws, smack bricks over heads, and cut, shoot and explode their way through legions of red, crystalline enemies. The gameplay was charming, unique and addictive.

As the game progressed, in ambiguous snippets, we would unfurl the story of the mysterious (fictional) Superhot game, which was attracting more and more addicted thrill seekers as news began to unfold of violent gunfights and massacres in the real world that were eerily similar to the scenarios we were playing.

At the games climax, is is revealed that Superhot is a self-aware computer program seeking to leave the confines of its central processor and take over the minds of every human on the planet.

After completing our final mission to do just that, the game rewards a player with a discount voucher for the game, commanding us to send it to a friend with the description "Superhot is the most innovative first person shooter I've played in years," a hypnotic code phrase that will proliferate Superhot's dominion over mankind.

Superhot was probably one of the most post modern games ever made. It used the framework of playing slick and cool looking action scenes to tell a story that made us question our relationship with violent games and media in general and how that can be used unknowingly to contribute to nefarious ends.

The story mode was relatively short, but it included a challenge mode that allowed you to face off against endless enemies or replay story missions with more difficult settings.

So what is Mind Control Delete not?

Well it's not Superhot 2.

This is something that has been made transparent by the developers, of course, and given that it was provided free to owners of the original game, this all reinforces that it was always intended as a stand-alone expansion. An extension, as it were, to the original game's ideas.

That being said, with Mind Control Delete having arrived nearly half a decade after the release of the original Superhot, (as well as nearly half a decade of no real change in the FPS landscape) it's hard not to see it as some long awaited heir apparent.

So what is Mind Control Delete then?

Well, it is, for all intents and purposes, an expansion of the first game's challenge mode. In Mind Control Delete players have to complete a series of 'runs' where they have to go through a random selection of maps without dying. Once a run has been completed it unlocks further runs made more difficult through the introduction of new enemy types and environmental hazards, and along the way you unlock new abilities and 'hacks' that change the way you play the game.

One welcome addition to the game is the invincible 'boss' enemies that relentless pursue the player until they reach the prescribed kill count.

It's fun, it's as sharp and exiting as the original, the additions add welcome new dimensions, and it's addictive as hell. Once you get into the swing of things it becomes hard to put down.

Mind Control Delete has two problems, however.

The first is, that at the end of the day, there is always an optimum approach to each run. The game lets you start with one of three special abilities: The ability to charge forward and punch an enemy at great speed, the ability to throw and retrieve a katana, force power style, and the returning Hotswitch ability to jump into an enemy's body.

The problem is that Hotswitch is the clear choice to make. While the other two abilities are fun to play around with, the ability to swap bodies becomes critical as the difficulty increases and the boss enemies become more common. Often-times bodysurfing is the only way to escape the them.

Likewise, while the hacks are randomly generated, if you luck out and get the ability to start with a random gun early on the entire run becomes much easier and if you combine this with the kill/reload and ricochet abilities you can absolutely cheese your way through otherwise difficult runs.

On the other hand, draw a series of hacks that have more circumstantial benefits, such as the ability to kill by jumping on an enemy or having thrown objects explode (and kill you too) then runs can become much more of a frustrating slog.

Problem number two comes in the form of Mind Control Delete's story. A little more thin on the ground this time, the story picks up in the wake of Superhot's liberation, and through abstract text logs find out what has become of the minds enslaved to the game, all the while said game questions our desire to keep playing the game, initially with curiosity, later with malice.

As a mediation on our desire for more challenges, more content, Mind Control Delete does a fine enough job with the time it has. In fact theconcept of MORE is the entire game's thematic underpinning.

The problem comes from story content being locked behind increasingly difficult challenges. In the first Superhot, the story mode was, while challenging at times, generally manageable, and therefore available to be experienced in full straightforwardly.

Mind Control Delete, by contrast as a glorified challenge mode, locks story content behind more increasadly difficult runs, and feels as though it has long outstayed it's welcome long before you see the end credits.

This, of course, is all before you get to the ending itself. Upon reaching the final set of runs, the game asks you to give up your powers and hacks, then asks you to give up your game character's very methods of engaging with the game world. You lose the ability to move, to shoot, and eventually, to play.

At the end, with nothing left but the void of your computer screen, the game gives you the final choice to restore that which has been taken. To return you to the challenge mode and allow you to continue playing. Once you accept this offer, however, you have to wait for the game to 'restore' what you have given up.

This then leads to a two hour loading screen.

It was originally eight hours before the most recent patch.

Superhot: Mind Control Delete ends on what might be the most audacious clowning that a game has ever committed against the player. I have to kind of admire the stones it took to do this.

However, as funny as it is pissing players off, and as a commentary on the gamer mentality of expecting more and more and MORE, Superhot feels like a poor fit for this kind of ending.

Maybe it would have been funnier if Mind Control Delete had been released sooner on the back of Superhot's success. Maybe it would have been funnier if Superhot had become a long running franchise with a fervent fanbase over the last five years. However, as it stands, going with a joke ending like this at the end of your challenge mode expansion four and a half years after the fact feels, just okay, I guess?

Mind Control Delete is, essentially, more Superhot. It's additions and new twists on the formula are more than welcome, but it's bold strides in storytelling feel a poor fit for what they're weaved around, and I can't help but feel the game would have been better off without any story content at all.

Will we see a Superhot 2? Who knows, but don't be expecting that of Mind Control Delete. It's fun for what it is, but it'll test your patience long before you get to the end, and when you do get there, it'll laugh at your expense.