#on a more personal note: there should be more respect towards the players stories and lore that they create idk

[donde-el-diablo-parquea-la-moto]

I completely understand if the whole QSMP team has a plotline that they want to keep.

But when your players manage to create such compelling bonds and an amazing storyline by themselves, I think it's only logical to work WITH instead of against.

Sure, maybe the eggs were all supposed to die the first week and be like a "lol" thing, they didn't, people got attached to them, the eggs shaped their little corners or gigantic caves in the island, they gave the players a tangible reason to work together and interact (in a particular case Leo was the only interaction Vegetta had sometimes)

Why would you want to throw away such an amazing thing in favor of... What.

[thlayli-ra]

Punkintyre; a twisted love story (ii)

Welcome to the next part of my Punkintyre ramblings. Last time I spoke about the players and their motives, now I'll be delving into my favourite themes of the ship.

***As always, please note that this is just my own headcanons and are for a spot of fun***

'Look me in the eye when you speak to me, please?'

Punkintyre is all about obsession; mainly Drew's obsession with Punk. Or to be more exact, Drew's obsession with getting Punk to look at him.

He notoriously said 'don't lower those eyes, Punk. Look me in the eyes when you speak to me, please' (and my lower half burst into a million pieces). There was so much to that one line. How it belittled the veteran; Drew was telling him that things had changed in the WWE since his absence, that Punk was no longer the top dog, nor was Drew the young, starry-eyed upstart. He was telling Punk that their roles were now reversed and that Drew was the one making the orders around here now so Punk better damn start listening!

But then... he said 'please'.

And all the power slipped away from his statement with that one, solitary word. Because he wasn't 'telling' Punk, he was 'asking' him. Asking him to look Drew in the eye and give him his attention, his respect. Everything that Punk had denied him their first time around in WWE. Drew is still bitter about it and now he wants that attention more than ever. When the jabs on social media and on-air didn't get the reaction he hoped for, Drew put Punk front and centre at his match at Wrestlemania as a special guest commentator. That way Punk has no option but to look at him at long last.

That should have been enough! But it wasn't, and after winning the title, Drew found himself drawn to Punk, wanting to lavish in the older man's attention up close and personal. Crawling towards him on the table, rubbing the belt in his face, getting to his feet so that Punk has to stare up at him as he insulted him. And for a while, Punk didn't bite... until he did!

Drew finally got what he wanted; Punk's attention. But it was a double-edged sword and cost him dearly. First Wrestlemania, then the no.1 contendership the following night, then Clash at the Castle, then Money in the Bank. The finger on the monkey paw had curled and Drew discovered too late that Punk's gaze is a curse. He'd opened a can of worms and couldn't just cram them all back in again.

Which leads us nicely onto...

Broken Dreams

At the Royal Rumble 2014, Punk had his last match in WWE. He didn't know it at the time - all that he knew was that he was burnt out, jaded and tired. Tired of the constant struggle, the backstage politics and above all, this sickness that had festered inside him for months. He couldn't eat, couldn't sleep, the medicine he was prescribed was wreaking havoc with his bowels until he'd shat himself on live television and an angry boil seethed beneath the waistband of his trunks.

As he sat in the trainer's room in Cleveland before Raw the following night, suffering from a concussion that he'd picked up during the Rumble, a medic thrust a cup in his hand and told the famously straight edge wrestler to piss in it. It was the final straw and Punk walked away. Some months later, the WWE fired him. On his wedding day.

At the Royal Rumble 2024, Punk had his first match back in WWE in ten years. He didn't need to return - it had taken a lot of pride-swallowing and bridge-mending - and he had already accomplished so much in his tenure with the company. Except... for one. His holy grail. His white whale. The prize catch that had slipped through his hands time and time again.

Main-eventing Wrestlemania!

And it was finally within his reach, all but guaranteed. His name was big enough, his draw undeniable. He ran into the Rumble with a purpose, a rejuvenated spirit and love for his profession.

Until he was caught on the wrong end of a Future Shock DDT...

At Wrestlemania 2020, Drew McIntyre won the WWE Championship. This was a culmination of his entire life's work and dedication, of pushing through the bleakest of times when all hope had gone, of working through addiction, of picking himself back up and igniting that spark again to light his way back through the shadows. At long last, he'd been rewarded for his efforts. Heaving himself up from his knees, tears in his eyes, he clutched his beloved prize and climbed the turnbuckle to show it off-

-to an empty room!

Drew's greatest moment would always be tainted by the presence of Covid-19. Where there should have been crowds cheering, noise and atmosphere was instead an empty silence. It hardly echoed the weight of this victory for him personally.

At Wrestlemania in 2024, Drew won the World Heavyweight Championship. It was everything that his victory in 2020 hadn't been. Dubbed the Biggest Wrestlemania in history, the noise from the capacity crowd was deafening, almost shattering his ear drums. He stumbled to his wife and brother in the crowd, presented them the title he had won, hugged them, kissed them.

Then, he spied CM Punk, sitting at commentary clapping with the rest of the crowd. He could have turned and left, ignored the call of the siren but he didn't...

At Clash at the Castle in 2022, Drew was the Hometown Hero. Well... close enough! It may have been Wales but it was the UK and he was the biggest name in the company from these parts so he was the one chosen to be the face of the PLE and to main-event it. And what a main event! It was Drew's chance to stare down the barrel of the Tribal Chief, Roman Reigns, and hope was high for a de-throning. Drew had pushed Roman to his limits in the build-up and reduced the Head of the Table down to his knees.

But it was not to be. Despite a valiant effort from the contender, the champion retained, though, not without an unfair advantage from the Usos and their baby brother, Solo Sikoa, making his main roster debut. But Drew was given no time to wallow; there was still minutes on the clock and he was forced to pick himself up, put on a fake smile and entertain the crowd until they went off the air, unable to show the world how his heart was breaking.

At Clash at the Castle in 2024, Drew was the Hometown Hero. For real this time! They were in Glasgow, Scotland, his home country, a mere thirty miles from where he had grown up, in the city where he had studied at university, where he had trained to wrestle, where he had cut his teeth and, above all, the city that had welcome him back with open arms when he had failed. It was here that he had reinvented himself, became something bigger and better, rejuvenated his gimmick and, in turn, his career. He returned a conquering hero, at the top of the mountain and ready to give back to the city that he loved so much.

The stars were aligned so perfectly, like a beautiful constellation that could only be witnessed every thousand years. He could finally feel the darkness of the past few months lift, he had a chance for redemption, to become the hero he was destined to be as he pinned Damian Priest to win the championship that had eluded him all Summer in front of his people, his town, his country.

The referee slid into the ring and counted the one, two...

It's highly appropriate that Drew was the one to kick-start this feud by shattering Punk's Wrestlemania hopes considering that his previous entrance music was called 'Broken Dreams'. Since then, it's his own dreams that have been ripped from him time and again by a vengeful Punk who has vowed that Drew will never hold another championship as long as he's breathing.

As the feud has progressed, there has been less focus on this theme, yet it remains the main crux of it and what it boils down to; having something precious stolen away.

Speaking of which...

The Scarf and the Bracelet

There has been a lot of talk of the similarities between Punk's feud with Drew and his incredible feud in AEW with MJF. The psycho-sexual obsession, the wily veteran taking on the younger talent who's now more established, the match where they are literally attached to one another, the ambiguity between who's right and who's wrong, um...whipping... the list goes on.

But one similarity that I like yet I've never seen brought up is that both feuds involved something getting stolen. In AEW, Punk stole MJF's scarf and walked in the following week wearing it around his neck. He said he was hoping it would evoke a reaction from Max, but then he discovered that it was a cheap replica, one of thousands that cost a few bucks on Amazon. It meant nothing. It was a callous way for Punk to call Max hollow, a poser acting like he was somebody important when in actuality everything he did and possessed was empty and meaningless.

In WWE, Drew stole Punk's bracelet.

And it's acknowledged from the start that it's a cheap piece of plastic, worth only a few cents. But unlike Max's scarf, its sentimental value is priceless. It was lovingly crafted by a fan, a gift for her hero and on it, a sequence of little white cubes spell out the names 'AJ' and 'Larry'. The two people who make up the entirety of Punk's world. He's found himself at the bottom, he's cut ties with his biological family, he's walked away from a lucrative career, leaving behind friends and colleagues who have lived in each other's pockets for years, he's been beaten bloody and humiliated on live TV, he's had his name and reputation dragged through the dirt, he's suffered through injury and surgery and injury and surgery.

And through it all, every time he was knocked down, the two people he loves most have been there to help him back up. After his brutal defeat in his first UFC bout, an emotional Punk was asked what his wife said to him after the match. He put down the mic, leaned back, closed his eyes and took several deep breaths to compose himself. When he picked the mic back up, his voice croaked as he said 'she said she was proud of me'.

Larry was abandoned, left alone and unloved in a pound. Considered too ugly to adopt. Perhaps Punk saw a little of himself in Larry; a rough, scraggly little mutt with a lot of fight in him and a lot of heart.

It's all these sentiments and more that are contained within the colourful beads of a simple trinket. Drew could have stolen anything from Punk but he went right for the one that mattered most besides his wedding ring. Right for Punk's heart.

His family.

And looking at the way Drew handles it, it's obvious that it means the world to him too. But we'll talk about that next time. Sorry! 😈)

[the-muppets-present]

The Muppets Present: Chess the Musical

Chess the Musical is an underrated gem, and we absolutely love it. The concert version, considered by most to be the definitive version, can be found on youtube in this playlist, which has nearly the entire complete concert (part 12 has been removed, but the only song missing is "The Deal (No Deal)") and I highly recommend you give it a listen, because the music is honestly top tier. The concert version is what we will be referencing here, since all the various stage versions are so different from each other (this show really suffered from over workshopping). If you're new here, take a moment to review our rules for casting. NOW, onto the show.

The Show

Chess the Musical is the story of the chess world championship tournament in 1979. The cold war is raging, and the two world champions are from the US and Soviet Union respectively. The story focuses on these two players and their personal lives and dramas set against the backdrop of the political strife between the east and west, as they are unwillingly used as pawns in the conflict.

The show has a core cast of seven characters and an ensemble with a few interesting standouts who can be filled out by muppets and humans alike. These are the key players:

Anatoly Sergievsky - "The Russian": The champion from Soviet Russia—a troubled husband and father who despises the propaganda and politics of the tournament.

Freddie Trumper -"The American": The champion from the United States—a self-absorbed, fame-and-fortune-seeking, short-tempered bad boy.

Florence Vassy - Freddie's strong-willed second and possible paramour, who is strained by Freddie's brashness and begins to feel a pull towards Anatoly as the tournament progresses.

Alexander Molokov - Anatoly's conniving second who is also a manipulative KGB agent and a major force in the political games being played behind the scenes.

Walter - A financial administrator in Freddie's delegation and in some versions a secret CIA agent who serves as a political counterpart to Molokov.

The Arbiter - The coldly objective, no-nonsense referee of the championship tournament and also the president of the International Chess Federation. He is essentially the narrator, the Voice of the chorus.

Svetlana Sergievskaya - Anatoly's estranged wife who, under Molokov's machinations, must persuade Anatoly to return to his homeland and family in the second act.

The Cast

Anatoly = Kermit. Kermit usually isn't the protagonist in Muppet adaptations, because the type of character he is just doesn't fit that role as neatly, but he's the perfect fit for Anatoly. Anatoly is competent in his own work, but is really out of his depth in the situation at large, and struggles to be true to himself amidst what he feels to be his duty. An arc that Kermit himself has played out in many a muppet film. Really, the only muppet who could adequately pull Anatoly off is Kermit himself.

Freddie = Gonzo. Freddie is bombastic, abrasive, quick to speak and slow to apologize, and overall extremely selfish. He walks into a room and his personality demands the spotlight immediately. I don't think I really need to give any other reasons why Gonzo should play this character, but I'll give one anyway: imagine Gonzo banging out "One Night in Bangkok" with Camilla and the Hens as the backup singers bawking out the chorus.

Florence = Miss Piggy. Yes, she's the only female muppet of note (who can speak english, sorry Henrietta), but also she'd genuinely be a good Florence. Florence is driven, a strong independent woman who don't need no man, but that doesn't mean she don't want one, and the fact that Anatoly is played by Kermit....well, you see where I'm going with this. Also, she and Freddie have an increasingly antagonistic relationship through the show that would be great to watch with Miss Piggy and Gonzo. Again, imagine her singing "The Model of Decorum and Tranquility" and getting more and more frustrated and gravelly in her delivery. And don't forget to picture Kermit in place of Josh Groben in that scene too...again, the dynamics are top tier here.

Svetlana = Miss Piggy. I'm invoking rule 5, not only because again, the lack of other english speaking female muppets, but because I love the idea of two Miss Piggies both singing for Kermit's attention and lamenting that he'll never see her the way she sees him, that his attention will always go to his work first. "I Know Him So Well" is a duet between the two women about Anatoly, and imagine two Miss Piggies singing this in duet with each other, each knowing that the other has something to offer that she doesn't have, but also knowing that even that isn't enough, that Anatoly (Kermit) will never be able to commit to her the way she wants to to him.

Molokov = Uncle Deadly. Honestly I don't have a lot to say about this choice, it's just Perfect. Molokov already borders on cartoonishly evil, he is an immediately untrustworthy character and everyone knows it, he's the world's worst spy. Uncle Deadly is a shoe in for the role and I'll hear nothing else about it. (Also, while generally irrelevant in casting muppets in a musical, since you can re-key as needed, Uncle Deadly already fits Molokov's voice type)

Walter = Sam the Eagle. While Walter is not as overtly patriotic as Sam, in adaptation, there should be a muppet who is equally as enthusiastic for his country as Molokov is for the Soviet Union. Walter is in some ways the least emotionally complex character aside from the Arbiter, he exists to serve the plot and the ways the plot creates character conflict for Anatoly, Freddie, and Florence, so Sam (who is generally a one note patriot character) fits the role nicely. Also, just like Uncle Deadly, he fits the voice type perfectly.

The Arbiter = Daniel Craig. I call upon the power of the One Human Celebrity. Daniel Craig would be perfect for a muppet adaptation of The Arbiter, he is the type of human actor who could be surrounded by muppets and you'd 100% believe it. The Arbiter's songs require some gusto, but Craig can carry a tune and if you give him a vocal coach and 6 weeks (and re-key his solo), I think he'd be great. However, this casting ONLY works if there are NO OTHER HUMANS in the chess federation. Daniel Craig must be surrounded by muppets at all time. Just look at his solo, and tell me that it wouldn't be the best thing ever to watch Daniel Craig do this while flanked by dancing muppets.

Additional Bit Parts:

Statler and Waldorf as The Consulate. When Kermit's Anatoly is speaking to them about defecting to the UK, imagine them having this exchange. You could either rewrite the song to be a duet OR have two Statlers and two Waldorfs to fill out the quartet.

Non-Celebrity Human as The Soviet Machine. This must be a big, nondescript burly man who can sing one glorious falsetto note. He must stand stoically as evil muppets dance around and sing the Soviet Machine. Moopets can fill out the Soviet chorus line.

The Ensemble: Merano and Bangkok both have human backup dancers and chorus members as well as muppet, because these are location setting songs, and you want to establish that humans are here in this world. Mike Tyson can have a celebrity cameo in Bangkok for old time's sake.

Chess Dancers: the Hens and the Penguins supplement the human chess dancers that take stage during the two chess matches.

Reporters: a mix of humans and muppets, but no cameos during this scene, it's Gonzo's first big solo and the spotlight needs to be on him.

Fozzie Bear as the governer of Merano and as an authority figure in Bangkok: his presence in Bangkok is commented on and he loudly says "Oh no, you must be thinking of my brother!"

And that's The Muppets Present: Chess the Musical!

What other celebrity cameos would you add to the show? We'd love to read your thoughts! Also let us know if you have another musical or movie you'd like to see a muppet fancast of, we love doing these!

[utilitycaster]

…so I decided to check out Polygon’s D20 coverage, and frankly I think you were entirely too kind to them. Good. GOD, some of that stuff read like they’ve never watched AP that *wasn’t* CR, D20 or the first season of TAZ. And have somehow made it thru the 2010s without encountering urban fantasy…

Anyway, to further nudge you towards your destiny of AP journalism (and with the understanding that you have a Real Job and a life outside TTRPGs and the internet); can you please expand on what you think D20 brings to the table?(pun unintended, but I stand by it) Because speaking as someone who has watched a handful of eps and enjoys the concepts, the praise PG were offering was damningly faint.

Hi! Thank you, and for what it's worth I don't think most of them have listened to the first season of TAZ either, given the way they talk about WBN as inventing the actual play longform podcast. I do want to note: I like writing longform stuff about actual play but I am adamantly not a journalist. I am not investigating or interviewing or reporting; I'm doing analysis and editorial. Amateur critic is the most I can claim to and that's a stretch (and even there I have a particular privilege in that I'm writing all this for free, anonymously, by choice, and don't need be be nice or maintain relationships with actual play performers within the space because I could burn every bridge and still make rent.)

Anyway. I think a major flaw of Polygon is that it's so focused on novelty and subversion that it forgets a well-worn concept, executed with skill, is actually great and for many people, preferable. Brennan, from everything I have heard him say and from how he actually runs games, has a deep respect for fantasy as a genre, and the stories he tells in D20 are ones he is clearly familiar with and loves. I also think to subvert things you must be a fan, and when D20 does successfully subvert or twist a genre, it's coming from a place of respect and understanding.

Anyway, just covering a few Intrepid Heroes seasons: I think Fantasy High (and I haven't gotten to the latest episode of Junior Year) is actually increasingly a brilliant deconstruction of D&D as a game by making the world aware that it's in a D&D game. What does it mean to be in a D&D party and be an adventurer and have that be a significant part of who you are? What does it mean to be a commoner in this world? What do you do when you're sort of a broke teen in generic suburbia but also you need the loot that an adventurer would theoretically get from dragon hoards? Why do you have to know what your life's calling will be when you're 14? One of my personal favorite things, as a lover of mechanics and TTRPGs as a system of storytelling and more generally as someone who believes that your medium of choice should be informing the story you tell, is when people engage with character roles and classes instead of treating them as just a set of cool things you can do, and Fantasy High very much pushes the players to do this. I also mentioned elsewhere that the downtime stress mechanics are a brilliant addition to one of the genuine gaps in D&D, namely, while downtime is a time for open RP, there's not a good way to handle things like stress or crafting or prioritizing well.

The Unsleeping City is one I like, honestly, just because I lived in New York for a few years and Brennan lived there far longer (as did much of the cast, though not all) and his love for it is apparent. I don't think it's groundbreaking; I just think it's really good. The characters are excellent and the story is fun. It's true that, for example, it allows you the satisfaction of making Amazon's and its attempted move into Long Island City the BBEG and smiting its ass instead of having to harangue your senators and councilpeople (as I did, and I wasn't even living in Queens) but really it's just a good story. It doesn't need to be more than that. It did not invent urban fantasy or the idea of a secret magical version of a real city or "most myths are real"; it's just a good story!

I think A Crown of Candy is also just a fun setting and, by making everyone food, emphasizes how petty and arbitrary the alliances in a Game of Thrones-esque milieu can be. It casts a scathing eye on religious interpretation as a tool for conquest without clumsily proclaiming the mere concept of religion is the problem. It has one of the best explorations of character death I've seen and Brennan's acting as Caramelinda remains a tour de force for him. Bringing the entire story of succession and war down to a final choice between two half-sisters remains a brilliant decision, the setting is supported by the mechanical limits Brennan imposed upon character creation, and it's overall beautifully done.

Even Neverafter, which I think have openly said didn't live up to its initial promise, had that promise with the fantastic handling of the TPK; I have a love for metanarrative and honestly my issue is that it was the wrong place to do metanarrative, but it was a bold choice to do in the unpredictable medium of actual play.

That's really only covering a fraction - I think some other standouts are Mentopolis, A Court of Fey and Flowers, Coffin Run, and Escape from the Bloodkeep, and while Shriek Week is just not a genre I'm personally super drawn to, I think the Mythic system is a great system for the story being told and Hicks does a great job running it.

Really what it comes down to is that D20 falls in between what a lot of shows are. It doesn't have the freedom but also the burden of a very long-running campaign (indeed, WBN exists because its performers, all of whom have featured in D20, wanted to be able to do longform actual play), nor is it quite as rushed as an all-miniseries or one-shot show. It has space to explore one or two things really well without having to carry a thousand different threads (and believe me, Brennan tries to put in as many as he can in that space - I actually wonder if the reason Fantasy High Junior Year feels a little more streamlined to me is that WBN was by that time in full swing). But it's not the first edited actual play, it mostly uses very widespread systems, the production values are high but not unheard of elsewhere (and I think that production values in AP beyond the basic 'can you hear and, if relevant, see things clearly and does the set look nice' are overrated though that's a personal preference), the cast is strong but not the first group of professionals or even comedians, and they didn't invent the concept of filming remotely or scrims or having an anticapitalist message.

My issue with the journalists, to reiterate that, is that they're not really doing much journalism, actually; and that their bias is horribly apparent. There's little analysis - just shallow reviews that show little understanding of actual play as a medium, fantasy as a genre, or TTRPGs as a system. And while being entirely free of bias is unavoidable - we are people, and we will bring our own interpretations and experiences in, and there are people who will love D20 and dislike Critical Role without doing so in bad faith - the fact that several of the journalists have openly crowed and preened about their special access to the D20 cast really makes it apparent that they like D20 because Dropout gives them early access and says nice things about them. And it's a feedback loop; Critical Role is going to keep saying "well, you constantly shit on us, so no, you don't get early access" and they'll keep writing bad reviews because they don't get early access.

But to return to the point, D20 is legitimately great and yeah the bias in my mind is only hurting them because, speaking only for myself, if there's two things I like and people heap fawning and inaccurate praise on one and nitpick the other? I'm going to start looking into that praise and find more flaws, and I'm going to start defending the nitpicked one. I really love Fantasy High Junior Year but the Polygon article is so bad I have to remind myself that it's just because the person who wrote it is an idiot. I probably would have gone into Kollok much more neutrally if people didn't act like it was the fucking invention of television. Do give D20 a try if you can! Don't read the articles.

[taekooktimeline]

April 25, 2023

On April 25, 2022 - Hours after the movie premier, Jk goes live! In my opinion, he came online to read our thoughts and assurances after such a loud, momentous occasion with Tae, especially considering he was silent and primarily seemed to be reading comments for the first seven minutes of his live. He also mentions later in the live he comes on live when he has a lot on his mind. It makes it all the more disappointing how some reacted and what they possibly could’ve commented for Jk to say he wouldn’t read comments. Please remember boundaries as a fan. Use empathy, respect, understanding, kindness and consideration - all of which isn’t hard to do. Be a fan that supports, rather than a “fan” that acts entitled and tries to dictate their lives (like telling him to cut his hair - how shameful of whoever said that) which is no fan. I like to hope and think that Tae and Jk saw more love and support than anything else, factoring in things like Taekook trending worldwide. They’re very much aware of the unfortunate hate from past occasions, yet they continue to prioritize each other, and they always will, so I wish some would take note of this and stop projecting their anger and fear onto them. Nothing will change. Understand that and respect it or be quiet, if you don’t have anything nice to say.

Anyway, getting into his live: 

A little over fifteen minutes in, Jk comments he hasn’t said much but there still is a lot of comments coming through. He gently suggests fans take a break from commenting. He then says to not leave messages, that he came because he missed us and then notes that the temperature of the questions differs. At 22:22 he says with a smile he won’t read comments and he wants to just turn the comments off, as the color of the comments is so different. He then says no matter his mood, happy or uncertain, he’ll seek us out. 

timestamp 23:52

Summary - 

He played the song “I really want to stay at your house” by Rosa Walton and Hallie Coggins on repeat for well over the first 24 minutes of his live. There surely is a reason he played the song on repeat, at least, in my opinion. One person noted it’s an OST for an open world RPG with main character “V.” I also read it’s a very gender neutral game. I won’t even try to deduce the meaning behind Jk playing the song on repeat so please decide as you like, though I’ll leave the RPG info below since it was circulating on SM.

Jk was surprised when, after 24 minutes of the song playing on loop, his player moved to another song.

Timestamp 24:38

Jk mentions now and in the future to not be sick. He then says he’ll also seek out his own personal journey of happiness, as he has until now and will continue to do so. He then reminds us we should too (find our own pursuit of happiness, which will differ for everyone).

Timestamp 25:38

This reminds me of his final live of the four lives he did on March 14, 2023, when he repeatedly and emotionally stressed to be happy, even without BTS (and then asked ARMY to type APOBANGPO).

Back to this live - he mentions again to not be sick. He wishes for our good health, physically and mentally. He says even without reading comments he feels peace because we’re connected right now (through his live). He also turns off the star projector.

Summary -

He then talks about the movie “Dream,” which goes without saying is the momentous event he and Tae attended hours ago. He says he enjoyed it.

He encourages us to focus on the plot of “Dream” as it’s about everyone having individual stories. This ties back into his comment about everyone finding their own definition of happiness - which we all should very much do since it differs for each individual - and working towards our individualized path towards that happiness.  

He says the movie was therapeutic, emotional and fun, and that he enjoyed it, despite not sleeping well the past couple of days (he also mentioned not sleeping well in his March 23, 2023 live). He ends his thoughts on the movie by asking us to give it a lot of love when it releases. He also says it was filmed a while ago, overlapping with Covid, but it’s still meaningful.

Timestamp of start of “Dream” -31:15 - 32:01

Summary -

He says he’s been working hard on music (can’t wait for JJK1!!!! 🙏🏽) and mentions ordering takeout lately. Jk comments he likes the perilla oil in makguksu.

A cute summary of the recipe of what Jk makes in his live - (by Taekook_Rainbow (IG) )

timestamp 35:45 

And this the comment is interesting in itself since we know Tae really loves makguksu. He mentioned eating it for lunch on Weverse, February 7, 2022. 

Tae mentioned makguksu to Wooga during filming of ITS Friendcation. 

https://twitter.com/thv2023/status/1550471881861767168?s=46&t=StSwHjW0_Domk_lHUFMaCg https://www.instagram.com/p/Crc7K1rNdxz/?igshid=YmMyMTA2M2Y=

Tae and Wooga ate at a makguksu restaurant during filming of ITS Friendcation.  

Seo-Joon mentioned in “Jinny’s Kitchen” Tae is eating a lot of makguksu -

and Jk mentioned it in his March 23, 2023 live.  

Timestamp 11:40 https://twitter.com/cookiesandtea26/status/1650666730593693700?s=46&t=StSwHjW0_Domk_lHUFMaCg https://twitter.com/heaven_borahae/status/1650816921703694336?s=46&t=StSwHjW0_Domk_lHUFMaCg

Jk posted the recipe on Weverse. A lot noted he mentions doubling the recipe. Since Seo-Joon recently said Tae likes makguksu, it seems awfully coincidental Jk posted this 2 portion recipe, but someone could also argue Jk has a hearty appetite, so I’ll just leave the information and you decide as you like 😀

[thenationaltreasuregazette]

Should Abigail Leave Ben? Part 2: Mutual Weirdos

As we established in Part 1, Ben and Abigail demonstrate mutual curiosity for each other and mutual respect as soon as they meet.

But that first scene in her office isn’t the only indication of how they feel about each other before Abigail gets dragged* into the treasure hunt.

*literally, she would like to remind you.

What makes a subplot?

To have a subplot, you need to touch on it multiple times throughout a story. And it’s not really a subplot unless there are at least three of these “hits”—it’s just a random thing you brought up once or twice. A subplot gets returned to. That’s the only way there can be character movement, and that’s what subplots are for.

There are hits on the “Ben x Abigail budding romance” subplot throughout National Treasure, but, as I established previously, I think the first three are crucial in setting Ben and Abigail up as a believable future couple because they demonstrate interest before the treasure hunting really kicks in.

No one’s saved anyone’s life yet. No one’s had (I assume) the most exciting, thrilling, dangerous, world-changing weekend of their lives, with this other person as a key player. No one’s hung from a disintegrating platform over a pit with only this other person’s strength keeping them from certain doom.

That’ll definitely influence the way you feel about someone.

My thesis is that Ben and Abigail were already on their way to becoming a romantic item long before the treasure hunt, and the movie does a really good job of establishing this.

Scene 2 - The Gift

The second “hit” on this subplot is when Abigail receives the the George Washington campaign button from Ben.

More below ↓

His actual gift of the button is obviously part of the heist plan, but Abigail’s reaction is not. She starts off annoyed saying:

ABIGAIL I hope it's not from Stan.

Readers of the 2003 script will know that earlier drafts of the script had a significantly subplot about Abigail’s boss, Dr. Stanley Herbert, having a must more pronounced, much more uncomfortable one-sided crush on her.

(In that draft she’s also 26 while he’s in his 40s.)

Personally, I think the subtly really works in the final film. Dr. Herbert’s interest in Abigail is definitely there, as is Abigail’s clear disinterest in him, but none of it’s really spelled out.

Sometimes you need to get something on the page before you can dial it back and weave it into the subtext.

In any case, for our purposes here, Abigail goes from “Ugh this better not be from Stan” to exchanging excited glances with her assistance as she reads the note, and then to genuine flattery and admiration, and perhaps a bit of awe when she sees the button and looks toward the empty space in her collection.

Oh course, Abigail does not know this gift is a ploy to steal her password in order to steal the Declaration of Independence. Therefore the seemingly very generous gift is actually…not.

What interests me here, though, is her reaction.

She could conceivably have the same reaction to Ben’s gift as she did when she thought it was from Stan: “Another weird historian trying to get in my pants. Hooray.” But it isn’t. She seems excited and flattered to be receiving a gift from him both before and after she sees what it is.

Despite that fact that she thinks his claim is ridiculous, she doesn’t think Ben/Paul Brown is ridiculous. She’s actually still intrigued by him, even after she asked if Bigfoot stole his treasure map.

There was something about him that interested her in spite of, not because of, his treasure hunting antics, and she was excited to receive a note from him even before she knew it was something she wanted or cared about.

The interest is clearly there, and it doesn’t seem to be influenced by treasure—either by what Ben is searching for or what he already has.

She’s not into him for his George Washington campaign buttons, is what I’m saying. She’s into him because he cares about George Washington campaign buttons.

Scene 3 - The Toast

The final hit on their subplot before Abigail joins the treasure hunt proper is their meeting at the gala just before Ben attempts the heist.

Again, the action here is strategic—Ben needs to obtain her finger prints to start the heist—but their reactions are not.

Before Ben arrives, Abigail is wandering around the gala looking bored. She even has her jacket over her arms, suggesting that she’s trying to leave soon. (A function this nice 300% has a coat check.)

When Ben arrives, she lights up.

She’s clearly happy to see him, and starts flirting with him immediately. The ways she asks

ABIGAIL What are you doing here?

is with a flirtatious, almost sultry tone, rather than a demanding one. Abigail thanks him for the gift, yes, but after that she’s the one who continues the conversation. She could let it end there, but instead, she brings up the “pipe that Bigfoot took.”

ABIGAIL I have been wondering, though, what the engraving indicated on the pipe that Bigfoot took.

Based on our timeline, it’s several days after their first meeting, and Abigail is still thinking not only about Ben but also about his claim. She’s excited to see Ben again, and curious enough about his theory that she’s asking more about it.

She does not have to ask him more about it. She does not have to talk to Ben Gates about the Templar Treasure ever again.

But she wants to.

Ben doesn’t get to say more because Dr. Herbert interrupts them. Abigail not only does not light up, she basically has no reaction.

To recap:

Ben: Hi Abigail: ☺️ Dr. Herbert: Hi Abigail: 😑

The inclusion of the Stan subplot, as subtle as it is, provides an important contrast. We can infer from Abigail’s differing treatment of the two men that’s she’s not just being polite to Ben in the hope that he’ll go away, because that is what she’s doing to Dr. Herbert and it looks very different.

Abigail has to work with Dr. Herbert every day. In the final movie it’s unclear if he’s her boss or a colleague of the same rank, but in either case it’s important to her job and to her comfort in the workplace that she keep Dr. Herbert at a distance but not upset.

While you could argue that she wants the same from Ben here, the film doesn’t read that way to be because she treats Ben in pretty must the opposite way she treats Dr. Herbert in the same situations, per her reactions to gifts and drinks from both of them.

Btw, I would argue the whole Stan thing is a true subplot because we hit on it three times:

In any case, that’s Abigail’s perspective, but what about Ben’s? Let’s talk about the toast.

Ben's Toast

Ben’s plot objective in this scene is to get Abigail’s fingerprints. He plans to do this by handing her a champagne glass and then taking it back from her.

Offering the glass is easy, but taking it back without arising suspicion will be harder. Maybe he initially planed to offer a toast as part of this plan. Then he could get her to drink some and offer to refill it, or otherwise find a reason to take the glass.

But he doesn’t need to do that because Dr. Herbert shows up with a second glass for Abigail, giving Ben the perfect excuse to take her glass.

BEN Here, why don't you let me take that, so you can take that off his hands.

He could leave now.

Ben could leave with the minimum pleasantry needed to make an exit, as we’ve already seen him do in her office. With a single, “Oh excuse me,” or “Don’t let me interrupt,” he could be on his way with the glass, the last item he needs to initiate the heist.

But he doesn’t.

Instead, he stays and offers an iconically unhinged toast.

BEN A toast, yeah? To high treason. That's what these men were committing when they signed the Declaration. Had we lost the war, they would have been hanged, beheaded, drawn and quartered, and - Oh! Oh, my personal favorite - and had their entrails cut out and burned! So, here's to the men who did what was considered wrong in order to do what they knew was right. What they knew was right.

As he’s listing the various punishments the founding fathers would have faced, Ben is not really looking at either of the people he’s speaking too. He’s looking up and off to the side as he gets a little lost his spiral of thoughts. He's probably thinking about the punishments he’ll face if this goes badly.

But when he readjusts with, “So, here’s to the men…” he looks directly at Abigail. Like, intensely stares into her eyes because he’s trying to impart a message to her. He’s doing what he knows is right, and he wants her to see that.

There’s not much of a strategic reason for this. Sure, perhaps if Ben is caught before he can test the Declaration, Abigail will at some point get curious enough run the tests herself, but that’s a long shot. If Ben though it was possible to convince her to run the tests herself, that would be a much safer, less felony-ridden path to the treasure. And a much less interesting movie.

Instead, Ben just needs her to believe the he isn’t doing this to hurt her, or because he’s a bad person.

If Ben gets caught, Abigail has no power to absolve him, even if she wanted to. But he cares what she thinks because he cares about her.

It would be a much better strategic move to not make this toast, and to not come so close to admitting what he’s about to do.

If he had flat-out gotten away with it, Abigail could have turned the FBI onto him based on the toast, which in the moment is just weird, but after the theft of the Declaration would be a pretty clear admission of guilt.

As it stands, the toast is probably what makes her check the guest list and follow him out of the building. The rest of their interaction was pretty benign, but the weird-ass toast and I’m-staring-into-your-eyes-because-I-need-you-to-believe-me bit is a red flag for her. It’s her first real indication that something out of the ordinary is happening.

And then Ben chugs the champagne because he’s nervous, which is another what-the-fuck moment for Abigail.

Ben all but tips his hand on the heist because he needs to soften the blow for Abigail. What this woman he just met thinks of him matters enough to Ben that he risks getting himself caught. In fact, he does get himself caught. After all it’s Abigail, not security, who first recognizes that Ben’s acting suspiciously and investigates.

My impression is that Ben doesn’t even realize why he’s behaving like this. He’s obviously incredibly keyed up and nervous as it is, but during the toast his priority isn’t on the heist. It’s on the overwhelming feeling that he needs this woman to believe him. Not Dr. Herbert, not anybody else, only Abigail.

Conclusion

So. Abigail and Ben’s reactions to each other—both through the gift and their meeting at the gala—display clear and significant interest in the other party. Abigail does not have to be excited about Ben’s gift even before she sees what it is. She does not have to engage with him at the gala any more than a cordial “hello and thank you.” And Ben does not have to stay and risk giving away the heist before it even starts in order to try to salvage Abigail’s opinion of him.

And yet they do. Because they like each other.

Abigail’s romantic interest in Ben is pretty clear, based on the way she immediately starts flirting with him at the gala.

For Ben’s part, I honestly don’t think he’s even there yet. I don’t think he’s realized his interest in Abigail is romantic, or stopped long enough to think about it. I think at this point he’s just compelled by her in a way he hasn’t fully processed yet.

These scenes complete the foundation on which their relationship is built. Not the treasure, not the heist. This.

On to part 3!

[queen-of-scissors]

@bk-4-trash-fire gave me an idea, i was thinking about writing the cult of the lamb au but...

What about Undertale?

İf you dont know or didnt pay attention to it, the player is known as the "anomaly". So naturally they won't realise you as their creator (unless its a character who knows that their world is a game COUGHCOUGHgasterCOUGHCOUGH)

Now lets all take a second to realise that... Genocide route is a thing.

How would characters react if they saw the worse of you? And your powers?

----------------------------

Story under the cut!

GOD OF CREATİON AND DESTRUCTİON

Featuring: Venti (other characters coming soon)

----------------------

A celebration was happening on all across tevat.

For you.

You created them. Gave them life, loved them and even made them stronger than they could ever imagine, and all it took was to pray to you.

You could just leave it at there, you could just see Tevat as a game and nothing more, they would be happy with just being your puppet, yet you gave them more than that.

You visited them, just to meet them and love them personally. You could do that to any other world but you choose to stay with them.

They could do any celebration to you everyday, but this wasnt the reason for their happiness today.

You chose some of your acolytes for them to visit some of the other worlds you created.

The others were jealous. What did THEY do to deserve it that they didn't do?

But they were happy nontheless, they get to be closer to you by knowing your worlds. No one in other worlds didnt get a chance like THAT before!!

Not knowing that they simply asked. And you were like "sure why not?"

__________________

VENTİ THE BARD

He stared at you dreamily as you (attempted) to play an ensturment that you never played before.

Angel's share was loud as usual. That's spesificly because you were wearing a disguise, so no one would think they are disturbing their god and try to keep it down. Only Diluc, who is working today to keep an extra eye on you as the bard and you sat and drink the night away knew who you realy were.

The insturment was given to you by another bard, you seemed like a friendly face so they knew they could trust you with an insturment while they use the restroom. Even said "feel free to try playing it! Who knows maybe you will like it?"

Your brows were furrowed and your head was tilted to the side as you are trying to find the correct note for the song. Everytime you find one your eyes go wide, shining, then you try the next note.

His toughts were cut short as you raise your head, "i think i did it! İt took a while but i finaly did it!"

"Congratulations! İ knew you could! What is the song about?"

"There was this one... World... İ visited it as a relaxation. And the moment i heard of this soundtra- uhh song, i fell in love with it!"

"Ah, İ know the feeling of falling in love with a song! Didn't know you were romantic like that~" he teased.

"Haha, well there is alot that you don't know about me yet"

"İ want to know! Can you tell me more about it?'

"Hmm... How about... We go there together?"

"!!!" He almost fell from his chair, Diluc looked at you in disbelief "your highness, are you sure that you want to go with... Him?"

"H-hey now what does that supposed to mean!"

"İ simply think they might rather go with someone who is more respectful towards them and their world."

"Well jokes on you!" He got up from his chair and hold your hand "they choose me! That means im respectful enough!"

He turned back to Diluc, grinning "and maybe they preffer someone thats not emotionless all the time?"

And before Diluc or you can say anything, he drags you away from the Angel's share.

"Lets go now!"

"Where???"

"The world you were talking about silly! Where else?"

"Now? İ mean we could but, maybe we should let others know since-"

"But you are free today, and who knows when we will be able to spend time like this again?"

You tought about it for a second. He is right, you don't know when you will be free from your duties again, especially with him? This might be a fun opportunity to have fun!

But the world he was talking about was...

He slowly let go of your hand "uhh, but if you don't want to, thats fine! We can do something else!"

"İ was just thinking, its been a while since i visited that world, i never personally visited it either."

You crossed your arms "im not sure what i did in that world last time. So it might not be what you think."

"Thats fine! İ always wanted to travel anyway" he beamed. "Hehehe, imagine Morax's face when he asks where we were!" You also laugh. Maybe this will turn out fun!

---------------

Short, yellow flowers that grew on the bottom of the pit is the first think both of you saw as your visions slowly get used to the dark.

İt was quiet, the air was suprisingly clear for a cave under the ground. You saw Venti, who is trying to commit everything to his memory, he leans down to touch the flowers, they were soft, and smells like sweetflowers in Tevat.

"Shall we?" You said, pointing at the dark corridor.

He gets up and was on your side in an instant.

"Lets go!"

After both of you go through the gate you realise two things.

One, flowey was nowhere to be seen. And two,

"İts *cough* realy hard to breath in here!" Venti said "is it because we are underground?"

You stoped breathing for a moment as the realisation sinks in.

"Lets head back" you said, half panicking.

"What? Why? We just came here?"

You never tought about it. İf genshin was a real world, then so is undertale. And in this world you...

"İts empty, l-lets come back another time!

You imprisoned them in this hell and tortured them, over and over again. Just for your entertainment.

"Theres nothing to see here, would you like to go to anywhere else? Theres a world about music?"

"Woah, whats gotten into you? You seem upset, Are you ok?"

You started to panic, you killed those monsters. They didn't do anything but be nice to you and you killed them.

You learned that the games you downloaded were real when you got isekaid into genshin. You never tought about the other worlds and what you might caused to others.

What if he learned that? The god of freedom seeing what you had done to the monsters here, would he think of you as the monster?

Would he hate you?

"Hey, don't be upset! We can leave! We don't have to stay!"

"Y-yeah lets leave-"

Theres a sudden noise coming from across the Hall.

"Hey! What are you! Are you humans?!" You saw froggit with an armour, from asgore's castle.

"A talking frog?" He looked down.

"You are under arrest! As a member of the Royal guards, i won't let the underground go through another horrible dissaster!"

"Hey now, Don't you realise who are you talking with-"

But before he could say it, the fight menu is opened. Everything went black. And your souls have

You peaked at your LV, 90. Just as you feared it would be.

Venti brings his weapon out, waiting for your order. You mentioned him to put it away, and clicked on the MERCY menu. You intent to run away. You dont want to remember it, you don't want to kill anyone again.

Of course, being LV 90, you dont have the option to run away anymore. You desperatly pressed ACT instead, and chose the friendliest option that might get both of you out of here.

---------------------------------------------------------

You told FROGGİT "We don't want to fight. We are just kids that need help"

---------------------------------------------------------

---------------------------------------------------------

FROGGİT didn't understand what you said but pitied you anyway.

---------------------------------------------------------

"Are those white bugs-"

"Get down!!"

You try to drag him away from the attacks, having memorised all of them, but it was harder in Real life and with an unexperianced person with you.

When you failed to dodge on of the attacks and it hit Venti in the arm. His pained voice makes you panic even more.

İt was even harder to concentrate this time, what will happen if you get caught? Will they bring you to...

Suddenly your toughts were stoped byba sudden pain on your side.

"Y/N!!!"

Once the attacks came to an end, he checked you for injuries, ignoring his, only to realise you aren't phisicaly hurt.

You check back to the game window.

---------------------------------------------------------

FROGGİT seems like it doesn't want to fight you anymore.

---------------------------------------------------------

You never clicked MERCY that fast in your entire gaming life in undertale.

Froggit looked at you, "you are right, even though a human did that to us, not all humans could be as bad as them!" He turned back and walked towards the ruins. "Come, i will guide you to a safe area."

...not all humans could be as bad as them...

"What was that about?! Are you ok??"

"İm fine Venti. Here, eat this."

"What is this?"

"Just candy"

"Dear, as much as i love candies and want to experiance the world, are you sure its the time..?"

"We don't need Medical attention in this world. Eating is enough."

"Are you sure?"

"İm sorry who created this world here?"

"Oh, hehe, right!"

You both eat in silence. Slowly getting used to the dust in the air made your skin crawl, as if you accept everything you have done. You want to leave, and delete this game for good. But that would mean killing them once again.

"İm sorry" he broke the silence "you didn't want to be here but i forced you to."

"İt's not your fault."

He smiled sadly "You don't have to lie to make me feel better, your highness."

"No, realy, its not your fault. İ...."

The silence grew once again. What could you even say? You know he also killed people but yours was diffrent, more horrifying. Even if he didn't hate you, his wiews of you would change forever.

"Also why didn't you let me kill it?" He asked.

"What?! Why would you?'

"İt attacked us! İt attacked YOU!"

"İ know but its just a frog"

"İt was a monster, not a normal frog!"

You looked at him "so thats how you can easily harm a hilichurl, because they are monsters?'

"...This is not our topic."

"... You are right." Why are you saying this? This is exactly what you did in this world "im sorry.."

"Are you realy ok?"

Well, there was no point in denying. "...no im not"

"Do you want to talk about it?"

"....."

You hear froggit hop through again "whats taking you so long? Lets go it isn't safe!"

"We will stay here." Venti said, still on his guard.

"Look, i know you guys are humans and never saw monsters and all, but we will be the least of your worries if you meet them."

"Who is that human anyway?"

You shiver.

"There has been another human that fell down here, not so long ago. İ didnt get to meet them but i Heard that they have a scary aura around them. Some monsters say that they smell like... Dust..."

"Dust?"

"Humans and monsters are diffrent, humans stay the same when they die but for monsters, we turn to dust."

"...is this why its... Hard to breath?"

"Yeah but thats not the scariest of them all! Wanna hear a story?"

"No we don't." You said harshly, but it didn't come out as intimidating as you hoped it would.

"Of course you do :D" froggit sais

"Everyone who fought them died exept for one person!"

Oh no you didn't beat sans yet...

"And they even said that human has SOOO much determination, that they get reborn when they die!"

"Gets reborn... After they die?"

İt was one of your powers.

İt won't take long untill he puts two and two together. You need to shut it up NOW.

your words didn't frighten froggit before, but your stare certainly has.

"Uhhhh anyway, you guys come with me when you are ready!" And with that froggit flees.

......

"...your Grace?"

"....."

"Was that human... Your vessel?"

".....They are."

"Oh. Thats why you..."

"Can we go now please?"

He can tell that you don't want to talk about it, especially now. So he just followed you, without a word.

______________

You are greeted by the sound of busy Mondstadt streets. İt was a beautifull day today. Perfect weather for a nice walk, but after THAT encounter, you couldn't bring yourself to even move from where you arrived.

"..such a nice weather! Would you like to join me for a walk?" Venti asked hesitantly. "İf... You want to talk about it, ill listen."

"....you know you don't owe me anything, just because i created this..."

"..game?" He added, smiling. "İ know. İm not doing it because i owe you."

"But after what you heard, why would you.."

"Lets go! We can talk about it when no one hears us."

"Where are we going?"

"İ too have my regrets you know. İts impossible to live a life without having those. So of all people, i know that this doesn't make you a bad person.

İ am reminded of my past mistakes everytime i go to windrise, so.. why not talk about it there?"

____________________________________________

HHHHHHH THE ENDİNG WAS ADORABLE HELP

yeah im deffinetly doing other characters. But ima start with my favorites

Also i have other stories that im working on and they're on the way!

Hope you like it

[raven-at-the-writing-desk]

do you often get asks along the line of "how would characters react to fem!yuu"? just a thought because most if the time when 'yuu' is brought up there's an implication that they might be asking about fem!yuu. why is that in your own opinion? and what do you personally think would chance is yuu is a female?

[Referencing this post!]

Not that often (though it comes up every now and again in writing requests)? I believe the anon in the last post only asked because it was recently brought up again in fandom discussions. Additionally, the “would Leona treat fem!Yuu differently” question has been around for a while, since Leona is one of the few characters who has explicit lore that states that he acts differently towards women.

I feel like when the fandom speaks about Yuu, people have a tendency to default to fem!Yuu because… well, most of the TWST fanbase is women. Thus, many of the Yuusonas for TWST are also women to reflect the demographics of the fandom. It makes sense that people want to superimpose and to see “themselves” in the character they play as (Yuu).

Canonically, the game usually avoids lines and details that hint at Yuu being one specific gender. This allows the players to better immerse themselves in the world of TWST, regardless of their own traits or how they identify. (However, there are still a few voice lines that vaguely allude to Yuu’s traits, ie I believe some people remark that Yuu looks small relative to them.) Additionally, the player’s gender does not seem to be a particularly significant component to the story or to the character interactions, so it’s not as important to emphasize that in the narrative.

Whatever Yuu is is left up to every individual player. (Personally, I speak about Yuu in gender neutral pronouns as much as I can since not everyone in my audience identifies one specific way! The only exception is when a prompt or a question specifically requires discussion of gender, like this ask that I’m responding to right now.)

However, I do want to point out that there is a line early in the main story (episode 1, part 8) that causes some contention among the fanbase:

Which is strange, right? At this point in time, Yuu is already enrolled as a student, but here, Ace’s wording implies that the player cannot be a girl, as “girls [aren’t] officially enrolled [at Night Raven College].” This is the one line that I think is very weird (even “out of place”) since TWST is usually so good about not hinting at Yuu being one gender over another.

Another thing that I think is interesting to note is that in both the manga and the light novel adaptations of Twisted Wonderland, the Yuus (Yuuken Enma and Yuuya Kuroki, respectively) are considered male protagonists. I’m not sure what the plans are for the anime (or if Yuu will be in the anime at all), but judging by the track record so far, it’s likely that there will be another male lead. (EDIT: The Episode of Savanaclaw features a female Yuu, Yuuka Hirasaka!)

I think that there’s an important distinction to be made when discussing “Yuu”: everyone has their own version of them, and this should be recognized rather than treating every single Yuu as “one and the same”. There’s generic game Yuu, Yuuken, Yuuya, and so many different Yuusonas (which, yes, are different from generic game Yuu, who can be their own character outside of Yuusonas). Just because official materials have one interpretation of the character doesn’t invalidate other interpretations. They can all exist concurrently. It doesn’t mean that one is “better than” or “worse than” the others, but it does mean that not everyone will agree with or enjoy one particular interpretation of Yuu. This is something we should be more mindful and more respectful of 💦 rather than interpret them as personal attacks or as invalidations of one’s work.

[calder]

{Confused but threatening. Raiders are hostile toward the player.} Gail knows you not welcome here. You better leave while still in one piece. Meg really mad at you, so everyone is mad. You not last long if you stay here Gail not sure what's happening, but you should go before Meg has Gail rip off puny arms.

when you arrive in the raider city, everyone is jeering you because you're from a vault. but gail communicates, as plainly as she possibly can, "i pretty much do what the people around me are doing, and they're screaming death threats at you. therefor you should leave so i am not ordered to kill you."

maybe you'd have to be there but she has this.... careful, frustrated way of speaking that absolutely melts me. you can immediately feel her struggling to assemble sentences that accomplish her intent, and you can feel that she is self-conscious about socializing at all. throughout the story, she continues to express thoughtful and healing sentiments through insults and threats.

Gail hopes human helps Meg, so human can stay. But Gail will snap human in half if human betrays Meg. Traitors are bad influence on Ra-Ra. Gail likes human. Human good influence for Ra-Ra Human make Gail blush. Gail do anything and crush anyone to protect Ra-Ra. Gail don't make threats, only promises. Now you leave. Tired of dealing with stupid human. Now human leave Gail alone. Gail don't want human to say something stupid and ruin moment.

she performs the role of 'mean super mutant' as a social niche because she's an anxious, empathetic person who's easily frustrated and highly self-conscious about her limited powers of language and deduction

it's hard to express how heartening it was to see a metamorphic woman being addressed with respect and tact by the characters and devs at all times. the narrative actively says, no, we're going to consider the experiences and inner life of this monstrous, bald woman, and we will not prompt you to reduce her life to a joke. she's sensibly voiced by a woman processed to sound nigh-indistinguishable from her similarly-processed male counterpart. she's a disabled person who leads a fulfilling, dignified life and endeavors to do good in the world. and all of these choices come through every time she's on-screen. i can scarcely imagine how they could have approached her more respectfully. she represents a creative breakthrough and might be the best-written super mutant. no notes

RARA: Boys are dumb sometimes. I want to grow up and be big and strong like Meg and Gail.

[fruitcoops]

can we get a part 2 to caps panic attack? like an outside perspective (not caps) maybe loops or like a cub or something ?

Y'all thought I was lying when I said I'd have Alarm Bells 2: Electric Boogaloo out soon, didn't you? Please ignore the fact that it's been juuuust under four months since the original fic, and enjoy draft #4! This is the longest I've spent on one fic! SW credit goes, of course, to @lumosinlove <3

TW for mentioned panic attacks

The door closed with a dull thud. Choking silence fell over the entire room before a cold, brittle, furious voice asked, “what the hell was that?”

Arthur swallowed around the dryness of his mouth and shook his head.

“What the hell was that?” Remus repeated. His temper was rare—Arthur had never seen him truly angry, but the tic at the edge of his jaw told a different story.

“I’m sorry,” he managed as he picked his clipboard up off the floor. “To—to all of you, I’m sorry.”

“I respect you a lot, Coach,” Dumo said, cutting Remus off before he could continue. “But that was out of line. Tonight’s game was bad. We all know that, especially Cap. That doesn’t excuse putting the blame on one person or throwing things.”

“You’re right.” He swallowed again and looked around the rest of the locker room; every other player stared at the ground, avoiding his gaze. Bitterness tinged his teeth—he was acting like the coach he had always promised he wouldn’t be. “I’m disappointed in myself for tonight’s game, and I took it out on all of you. Pascal is right, that wasn’t fair. I hope you can accept my apology and forgive me for losing my temper like that.”

“We’re not the ones you need to ask, though, are we?” James said from his stall without sparing him a glance.

Arthur suppressed a wince. He had been so preoccupied with his frustration at himself that he didn’t even notice the growing tension in Sirius’ body, nor the way he began leaning away as Arthur ranted. The same mask of fear, false control, and misery had painted Sirius’ face as when his mother—god, he looked at Arthur like he looked at that horrible woman—came to forcibly trade him to the Snakes. “You all deserve an apology,” he corrected. “But you’re right.”

“Excuse me for a minute,” Remus muttered as he stood and headed toward the door. They watched him go without a word.

“How can I make this up to you?” Arthur asked.

Finn’s shoulders sagged. “Don’t do it again.”

“I won’t.” A door down the hall creaked, and he prayed Sirius wasn’t suffering alone anymore.

“Apologize to Cap,” Dumo said.

“Absolutely.”

“Don’t—” Leo faltered, then pressed his lips together. “Don’t tell us we all share blame as a collective, then make Cap take the weight. That’s a shitty thing to do.”

Arthur’s throat tightened. “It is. I never should have done that to any of you.”

A few beats of quiet passed before Kuny raised his hand; Arthur nodded to him. “Don’t yell when angry, please. Very loud. We already know when you are upset.”

“I’m sorry, Evgeni. I’ll keep that in mind.”

“Same as Kuny.”

“Can you give us specifics about what we did, next time?”

“Please don’t throw your clipboard.”

“I’ll stay another hour to go through tape, if that’s what it takes.”

“Try not to interrupt us, please.”

For the next five minutes, Arthur noted down every single suggestion he heard; several were followed by murmurs of agreement. “Anyone else?” he finally asked. The boys shook their heads. “Thank you for telling me. I promise I’ll do better in the future, and—”

The knock on the door was soft, but it echoed throughout the room and sent a bolt of nervousness through Arthur’s heart. Remus poked his head in a second later. “Coach, can we borrow you for a second?”

Arthur set his clipboard down and headed into the hall without hesitation.

Sirius…if he was being honest, Sirius was a wreck. His eyes were red-rimmed and his cheeks were pink; a tissue was crumpled into little more than atoms in his fist. Still, he kept his chin up. Arthur hated the idea that Sirius thought he needed to brace himself with faux confidence.

“I’m sorry.”

Sirius’ lower lip wobbled once. “Thank you.”

“You kept them going out there even when they were ready to give up. We didn’t win, but we kept playing because of your leadership. Thank you.” He received a curt nod in response and pointedly ignored the tremor in both of Sirius’ hands. “I took my frustration out on you, which was wrong for many reasons, the least of which being that you don’t deserve to be talked to like that. Sirius, I truly am sorry for everything that just happened in there.”

“Apology accepted,” Sirius said. His voice was rough, but steady. “The guys didn’t deserve that, either.”

“I know. I apologized to them as well.”

“Good.” He sniffled once, then held his hand out for Arthur to shake. “In that case, I forgive you.”

“Thank you.”

Remus waited by the locker room door with an entirely neutral expression that would have unsettled Arthur if it didn’t melt into something soft and tired when he wrapped an arm around Sirius’ waist. “Ready?” he asked quietly.

The gentle buzz of conversation vanished as they entered again; Arthur sent them on their way with wishes for a good night’s sleep and a promise to talk more in the morning, and they trooped out in a tight group. As soon as the last of them disappeared down the hallway, he sat down in the nearest stall with a heavy sigh.

“That was impressive,” a voice remarked from the door. The bench creaked as Moody sat down next to him with a huff. “How’re you feeling?”

“Like shit.”

“Figured. Cap forgave you?”

“Thankfully.” Arthur rubbed his eyes until he saw spots. “Christ, Alastor, I sent him into a panic attack.”

“Asking what you can do to be better was a good move for all of them. That’ll serve you well in the long run.”

“I’m just grateful Loops didn’t break my kneecaps,” he laughed humorlessly. He stared down at the clipboard and the notes crammed into the margins for a long moment. “How did I fuck up that badly?”

Moody shrugged. “You’re human. You got upset. Don’t do it again. While you were in the hall, they were all saying how you didn’t seem like yourself, so I’d take that as a sign you’re doing something right. Just pay attention next time, and take some deep breaths.”

“You sound like Molly.”

A heavy hand landed on the back of his shoulder and gave him a light shake. “She’s a smart woman. Now, if you’ll excuse me, I need to make sure my candy jar isn’t empty again. You have a team of locusts, Weasley.”

Arthur smiled at his retreating back. “Yeah, but they’re our locusts. You know you love ‘em.”

Moody’s glare was nothing but fond.

[sage-nebula]

Thinking about all the clues in canon that Susie is an orphan who, before the game started, never had any friends or anyone who really cared about her (with their care for her being known to her), such as:

— At the beginning of Chapter 2, Ralsei reveals that he has set up rooms for Susie and Kris in his castle, so that the Dark World can be like “a second home” to them. When Susie sees her room, she spends a moment marveling about how she has her own room and awkwardly asks Ralsei how long he spent setting it up for her. After that, she’s overjoyed about how cool it is, bragging about it to both Kris and Lancer. While it could be that she just likes the room, the emphasis she puts on it being her own room makes it seem like this might be the first time she’s ever had a room to herself. Which, to be fair, Kris shared their room with Asriel as well, but the room Kris shared with Asriel was still their room, at least on one side of it. If Susie is from a group home, it could be that she never even had that much to herself.

— Susie seems to care greatly for Toriel, but in Chapter 1 also seems a bit jealous of Kris for being Toriel’s child. In Chapter 1, after Susie threatens Kris about biting their face off, she stops and says, “Nah. Kris, you have a good mother. It’d be a shame to make her bury her child.” If you try to skip school instead of going to the closet after that, Susie stops Kris by saying, “If you skip school, your mother will have a heart attack.” In both cases, Susie is expressing care for Toriel’s emotional well-being; however much Susie might not care for others, she does care about Toriel enough to not want to stress her out. Keeping in mind that all of this happens before the first Dark World trip, it can’t be explained away by Susie’s character development like Susie’s eagerness to bake a pie with Toriel (and otherwise adherence and respect that she shows for Toriel) in Chapter 2 can.

But going along with that, when you follow Susie to the closet in Chapter 1, Susie mocks Kris by saying, “Not used to walking without someone holding your hand? Come on, freak.” Given the respect and care Susie has already shown for Toriel, it’s clear that her mocking of Kris here is not because Kris should be ashamed for holding Toriel’s hand; rather, it could be jealousy that Susie doesn’t have someone to do that for her, and perhaps never did. It’s easier to call Kris a freak for having a loving mother who holds their hand than it is to admit that she wishes she had the same.

As a final note on the Chapter 2 interactions, Susie is surprised that Toriel knows her name and remembers her. This, in addition to her eagerness to help out with the pie, her laughing at Toriel’s jokes, etc, shows that Susie has a fondness for Toriel, who is the most motherly character in the series. Considering that Toriel acts kind and motherly toward Susie, the idea that Susie might not have never had a mother (+ people to care about her) suggests that her fondness for Toriel (+ jealousy of Kris) contributes to how quickly she latches onto / how much she cares about Toriel.

— Susie eats chalk, and while this could be a “haha monster snack” joke, not only do we not see other monsters eating chalk (in fact, Noelle thinks Kris is lying to her if you choose to tell Noelle this about Susie at the end of Chapter 1), but eating chalk can be a sign of a nutrient deficiency. Specifically, craving chalk can be a result of an iron deficiency. If Susie is an orphan who hasn’t had parents to take care of her, then she could have an unbalanced / nutritionally deficient diet, and thus she does things like eat chalk in an effort to make up for it. (Her jeans are also ripped up, and while distressed jeans are cool, it’s also possible those are the only pants she has.)

— While the other kids in Alphys’ class openly detest Susie (e.g. laughing at Kris for being paired with her, warning Kris about possible death at Susie’s hands, refusing to hang out with Kris if Kris is hanging out with Susie, etc), Monster Kid tells a story to Kris in Chapter 1 that suggests that, at one time, Susie might have wanted to be friends with them. Specifically, if you talk to Monster Kid at the end of Chapter 1, Monster Kid tells Kris about a time when the kids from Alphys’ class (sans Kris) were playing kickball in the street. MK says that Susie was “standing in a corner” staring at them, but that when the ball did get kicked over to her, she froze before kicking it so hard that it hit Undyne’s car. Monster Kid doesn’t say what Susie did after that (only that Alphys came out and kicked all their asses at the game), but does go on to insult Susie some more, and notes that Kris looks increasingly annoyed at the insults. Regardless, the thing to take away from this story here is that Susie was watching all the other kids play, and froze when the ball came to her. She kicked it . . . and it hit Undyne’s car. Monster Kid’s retelling of the story suggests that they and the other kids thought that Susie did that on purpose, but my interpretation (knowing Susie as I do now, and also knowing what it’s like to watch other kids play while not feeling invited to play yourself) suggests that it was probably an accident. Susie wanted to play and be included, but accidentally kicked the ball into the car, and was thought of as a freak and bully after despite her actual intentions.

— To that end, at the start of Chapter 1 Susie is pretty blatantly of the opinion that everyone hates her and wants her to get kicked out of school. She flat out says as much to Kris in front of the lockers at the start of the chapter. (“Everyone wants it. Everyone’s waiting for it.”) It’s not only the other students, either; Alphys is afraid of Susie and uses any opportunity she can to get Susie out of class, which would explain why Susie doesn’t hold nearly the same care or respect for her that she does for Toriel, someone who actually did care about and treat Susie with kindness.

— Susie expresses shock when Lancer wants to be like her / wants to be her friend, and in turn, latches onto him with fierce loyalty that is only momentarily shaken when she thinks he’s betrayed her (and she even reasons that with, “why would anyone want to be my friend?”). That line, suggesting that she feels stupid for thinking Lancer would want to be her friend, points to a friendless background. But her fierce loyalty to anyone who shows her even a bit of kindness also shows just how incredibly lonely she is. In fact, if we think about it, the people who Susie latches onto are those who have shown her some big act of kindness before:

Noelle: Lent Susie the candy cane pencil and smiled at her. Considering how the other kids in Alphys’ class treat Susie, the simple act of lending a pencil with a smile probably seemed like a huge act of kindness to her.

Toriel: Acts motherly toward Susie, as she does with all her students. Might not be special treatment in the grand scheme, but it’s special to Susie who typically doesn’t get that treatment from others.

Lancer: Said that he wanted to be like Susie, that he found Susie cool, wanted monogrammed track jackets with her, etc. Actually wanted to be Susie’s friend and appreciated her.

Kris: Defended Susie from the King’s attack. Note that although Susie was working with Kris before this, she wasn’t to the level of calling Kris her friend before Kris defended Susie. Also note that this is not an action that we, the player, make Kris do; Kris does it on their own regardless of the choices the player makes.

Ralsei: Healed Susie’s injured leg after Susie fell from the trash heap in Chapter 2. Granted, Susie was being nice to Ralsei before that and seemed to consider him a friend (enough), but it was only after Ralsei went out of his way to heal Susie’s injury and offered to teach her healing magic that she yoinked him off to spend time alone with him in the city and wanted to bust out of prison to find him when she thought he was being tortured in Queen’s Castle. Ralsei showed Susie some dedicated kindness, Susie latched on for life.

The fact that it takes on gesture of care on someone else’s part for Susie to be willing to kill for a person suggests that not only has Susie not had friends before, but perhaps that her feelings of loneliness were mixed with rejection to the point where she latches on fiercely to these people who care for her and doesn’t let them go.

— In addition to all this, although Susie latches on strongly, she also seems to be worried about losing those connections, too. When Lancer seemingly betrayed her, she said “why would anyone want to be friends with me?” When they returned from the Dark World, Susie hesitantly asks Kris if they’ll still be friends even if it turns out the Dark World was just a dream (well, she doesn’t finish the thought, but it’s clear that’s what she was about to ask before she fled). In the Snowgrave Route, when Noelle flees Kris at the hospital, Susie assumes Noelle is fleeing because of her and expresses dismay that Noelle is “scared of [her] again.” Susie’s default is that people fear or hate her and will run at the first opportunity despite how she tries to keep them close, which again speaks to a history of loneliness and rejection.

— Susie got banned from Free Ham Sandwich Day. This is a throwaway joke line, but if you consider that Susie might be an orphan with food insecurity, it could be less that she was just stuffing her face to be a pig and more that she was eating as much as she could because she didn’t know when she’d be able to eat again. Considering that she also eats things like chalk, candy cane pencils, apple-scented shampoo, and moss . . . well, the idea that Susie is food insecure doesn’t seem too far-fetched. (Kris also eats moss if the player makes them, yes, but the player has to choose that. Susie just does it on her own.)

Anyway, none of this is Conclusive Evidence, of course, but I think there’s a lot to suggest that Susie could very well be an orphan possibly living in a group home, and that she’s never really had the love of family or friends before the game started. Her aggression is defensive aggression more than anything else and it’s pretty clear that she just wants to be loved and give love in return. Susie’s fantastic and I can’t wait to see what more we learn about her as the game goes on.

[wordsnstuff]

Guide to Writing Fantasy

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How Much World Building?

World building is highly subjective, and at the end of the day, to each is his/her own. However, as with anything, there should be balance. Even the most dense, infamously complicated fantasy worlds are accompanied with characters and conflicts that are just as rich and thoughtful. The amount of world building should be proportional to the amount of development you provide to your characters and plot. Otherwise, you’ve just made up an imaginary kingdom and inserted some of your friends with misspelled names riding horses. 

Basing In Reality/History

Almost all fantasy has some basis or inspiration drawn from real historical periods or culture. It’s a good jumping off point, and there’s a lot of room to work with historical periods that we have few or no firsthand record of. If you’re going to take this route, it’s important that you distinguish between taking creative liberties and giving history the middle finger. If you’re basing your fantasy novel in 1300′s Scotland, there’s something to be said for taking the culture, politics, and technological advancements of that time into account. If you’re going to turn around and decide that’s not the era for your story, just base it in Scotland. Basically, the limitations on the elements of your story that is “based in” historical periods lay in your hands. However, if you market your story as “set in 12th century Scotland”, you’d better be writing 12th century Scotland. 

Approaching Constructed Language

Conlangs are a popular facet to a lot of popular Fantasy/Science Fiction media, specifically those that are adapted to film and television. Although Science Fiction work is typically more invested in constructed languages, Fantasy has a lot of conlangs in the fashion of semi-developed conlangs that are created solely for the purpose of creating diversity within worlds. Game of Thrones and Lord of The Rings are both prime examples of this, although they have, over time, developed their constructed languages into fully learnable/functional dialects in fan service. If you wish to approach this topic, it’s easy to begin by researching basic linguistics, the anatomy of a language, and drawing inspiration from the commonalities between languages of the cultures that inspire your fictional groups.  

Basic World Building Must-Haves

It’s important that when you’re building a world, either from scratch or on the foundation of an existent inspiration, you consider the following elements that make your world three-dimensional and rich:

Politics

Geography

Language

Culture

Expression

Belief Systems

Class

Resources

Values

Power

Creating Magic Systems

This is complicated and nuanced as it gets. When inserting magic into any world, it’s worthy to note how it affects individuals, groups, and large-scale structure. I’ve got more on this in several other posts, so I’ve put my more comprehensive resources here:

Tips on Creating Magic Systems

Putting Limitations On Your Fictional World

Common Struggles

~ Where do I start researching for a story inspired by another culture?... Learn about the culture in depth before taking inspiration. Unfortunately, when most artists “take inspiration” from other cultures, it results in the lazy regurgitation of stereotypes. If you’re going to take inspiration from a culture, especially one that is heavily marginalized by the culture you identify with, come at it from an educated standpoint and work from there. Do not start with a stereotypical version of that culture and then find facts to back up whatever you’ve imagined as you go. Approach it as you would any other topic, with respect and a genuine desire to provide an accurate portrayal in your story. 

~ How do I outline a story that spans multiple books?... Simple. Make the conflict more nuanced and difficult to resolve. Game of Thrones, for example, is a relatively simple concept (several families and powerful figures fighting to rule over the seven kingdoms) made complicated and high-stakes by the addition of several critical aspects, such as the relationships between said families/figures, the commentary on several societal issues such as class, the nature of power, and the human cost of the battle for power, and finally, complicating the politics and geography of the world to foster more obstacles for the key players. 

~ How do I use world building to develop characters?... All characters are a product of their environment, which includes the geographical consequences, the political climate, and the human trends that result from cultural developments over time. All of these aspects come together to form a vibrant, three-dimensional world in which they explore their conflict. Establishing these factors through revealing the consequences they’ve had for the characters is effective (i.e. Game of Thrones), as is developing the characters through exposing them to the specific experience of living in the world you’ve created (i.e. Harry Potter). 

~ How can I avoid harmful cultural appropriation?... Research thoroughly and seek the help of sensitivity readers. People who are specifically qualified to read your work in the search of harmful aspects you may miss are crucial in writing fiction and non-fiction works alike. Start with a good basis of knowledge and background on the subject(s) addressed in your writing, and then get a few outside opinions from people who well and truly know what they’re talking about. 

~ How to make fight scenes between magic users exciting and dynamic... Choreograph stage business effectively and make sure that the flashiness of your description has a purpose. People’s movements in fast-paced, high-stakes action are very telling of their personalities, motivations, and a culmination of their idiosyncrasies. Learn this language of non-verbal communication, the language of the body, and use that to send a subtextual message to your readers. These scenes should be character driven, or they’re just filler for the sake of calling your fantasy novel an action/adventure. 

Other Resources

Guide To Writing Historical Fiction | Part II

Guide To Political World Building

Resources For Worldbuilding

Where To Start With World Building

Tackling Subplots

Tips on Planning A Series

Creating Diverse Otherworld Characters

Tips on Introducing Political Backstory

World Building In Historical Fiction

Resources For Writing (Global) Period Pieces : High Middle Ages & Renaissance

Resources For Writing (Global) Period Pieces : 1600s

Resources For Writing (Global) Period Pieces : 1700s

Resources For Writing (Global) Period Pieces : 1800s

Resources For Fantasy/Mythology Writers

20 Mistakes To Avoid in Fantasy

How To Make The Journey Interesting

General Tips on Chase Scenes

Tips on Writing Fight Scenes

Tips on Writing Chase Scenes

Guide To Writing Forbidden Love

Finding And Fixing Plot Holes

Ultimate Guide To Symbolism

Tips on Balancing Development

Writing Intense Scenes

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[ghostlywritten]

If Only I Had Stayed in The Shadows - Prologue

James Potter x OC

Words: 3,7k

Cecily Grant. At your service. Ordinary Sixth Year Gryffindor, Chaser of the Quidditch team and mediocre witch. Dreams of becoming the number one Healer anyone has ever seen (at least my parents think that's my dream) and having my first kiss before I bloody graduate. Don't I sound absolutely charming? Special? Note-worthy?

No. And apparently the rest of the school agrees since I hardly get acknowledged by anyone outside of class...or year. We're a big school, of course no one knows everyone. But at least within one year...

"OI, are you daydreaming again?" Marlene flicked my forehead. Oh well, I guess some did notice me.

"It's not called daydreaming when I'm just trying to ignore your traditional boy rant in the morning," I teased, picking the sweet back up to munch on it.

Marlene scoffed, "At least, I have boys to rant about." She flipped me off when I pressed my hand against my heart with an inaudible 'ouch', causing her to giggle.

Yeah, I shouldn't be complaining about my life. I have an established friendship group, my grades are good enough to satisfy my parents and Hogwarts was an amazing school in general. Plus, I even had a hobby. Quidditch. Hah, take that.

Nonetheless, the routine that my life had become was pretty boring, depressing even if I were to look at my boy's department. Or rather, lack of. I know I shouldn't identify myself through the boyfriends I had or had not, because I'm more than that (female empowerment, y'all!) but as a sixteen year old you are simply not able to resist the urge to want a male in your life and experience all that romantic ish. Especially when you see all your friends developing crushes. Not that I had never not developed a crush. I currently had more than one crush to be honest. But their crushes were actually two-sided and resulted in dates and relationships…well, Marlene's did at least. If Lily would only get as far as a second date until the bloke suddenly disappeared from Hogwarts (just kidding, they would just run away at first sight). Three guesses, whose fault that was.

Anyways, back to me because at least in my story I want to be the protagonist. My crushes were never reciprocated even if I thought so at the beginning (Marlene's fault mostly), so I was left as probably the only Sixth Year in Gryffindor's history to have never been in a romantic relationship. And mind you, I don't have big expectations. I can't really in my position. I'm no Lily Evans with her shiny red hair and bright, emerald green eyes and neither a Marlene McKinnon with her tanned skin, hazelnut brown hair- I'm getting off topic again, which is me.

I sighed. Not even in my thoughts I could keep the attention to myself, why would anyone else?

…

"She's not listening again," Marlene huffed, flicking my forehead.

After that inner-monologue at breakfast, I headed off to the first class this morning; History of Magic. I had a distinct feeling I would continue with that monologue in class. No wonder, I failed that class in my O.W.L's. Meh, whatever.

Since Lily and Marlene were closer friends than any of them with me, it was natural for them to sit together in every class, which caused me to slip into any free seat next to someone I usually never talk to. Joy.

To my surprise, I saw a vacant seat next to Remus Lupin, who was still standing and taking his stuff out whilst his two friends Sirius Black and James Potter took over the seats behind them. Ah, now the infamous Marauders. Minus one that is mysteriously missing right now. But nonetheless, no one would dare split the four apart, knowing they are always together and always partnering in each class-

"Hey Remus," I greeted the sandy-haired boy cheerfully, plopping on the seat next to him. I wasn't a Gryffindor for nothing. Remus gave me a surprised smile, seemingly not minding and I was sure as hell not going to ask. At least, he wasn't a total stranger. I was proud to say that every Sixth Year knew every Sixth Year within their house at least. And since I was on the Gryffindor team, I was known to him solely because of James Potter and Sirius Black, who were both players as well, the former even having been named Captain this year.

"Hey Cecily, how you doing?" Remus asked politely, settling himself down. His skin looked paler than usual upon closer inspection and he looked positively exhausted. I took out a bar of chocolate I always kept in the pockets of my robes (for emergencies only, of course!) and offered him some. "Good, and you?" I asked as he gratefully accepted without question. He was used to me randomly offering him some. "Fine, had a bit of a restless night, but should be better tomorrow," he said quietly, which went mostly unheard when one rowdy Sirius hollered from back, "Oi, aren't you gonna offer some to us as well?"

I glanced backwards at the two notorious troublemakers. "Um, no?" Sirius pouted and any ordinary girl would start to swoon at the sight. I'm ordinary, so I did. But years of practice taught me to only do it internally. And the amount of times I caught him with his tongue down another girl's throat was enough disgust to keep myself sane whilst resting my eyes on his unnatural beauty. I ain't kidding, really. He was handsome in ways that sometimes made me question whether he was a male-Veela. Those surely existed. Perfectly groomed, thick black hair, striking grey eyes, an annoyingly perfect nose and a jaw line that could cut someone in half. I am ashamed to admit there was a time where I would have gladly let him stomp on me if that would have made him acknowledge me.

I mean, come on, who hadn't had a crush on him, male and female? I was convinced, James did and was just trying to cover it with his constant profession of love towards one Lily Evans. I shall explain in a minute but let's first get through my most important description of the next Marauder, who was unfortunately now my Captain.

Unfortunate, because he already had been a nightmare in the last two years I had been on the team, constantly taking over the leader spot from the actual Captain to order us around, demanding more laps, longer practice hours until we were all bruised and frustrated enough to attempt a mutiny even though he wasn't even on charge. Imagine, how he was going to be now with the actual permission to order us around? I still have nightmares.

Besides that, he was probably also the leader of the little Marauder gang, a dumb name for their tight-knit group of friends. I couldn't deny though I was a bit envious of their friendship and I could imagine many others were, too.

Didn't change the fact that their gang name sounded stupid. Now, why I think James Potter is secretly crushing on his best mate (like every sane person would); I could hardly take his 'undying' love for Lily seriously, mainly because he had such ridiculous ways of professing his love for her that I doubted he was serious about it…or sirius. Heh. Anyways, he would probably be more believable if he weren't always so damn public about his declarations. That was also probably the reason why Lily was able to reject him all this time and call him an arrogant toe-rag in all her hateful rants. It didn't seem like she believed him.

Otherwise it would be hard to resist him for years. I mean, he was handsome, smart if he wanted to be and a pretty good Quidditch player. The whole package, really.

Merlin, I sounded like I had a crush on him, too. BUT. To be honest, everyone would have a crush on him as well as Sirius if he wasn't so 'devoted'.

I mentally slapped myself. At this rate, I would crush on Frank Longbottom's toad. "I seriously need a boyfriend," I muttered to myself.

"Hm, what was that?" Remus asked amused, chuckling quietly. Just then did I hear the complaints of the boys behind me.

"Are we air?"

"You siriusly going to ignore your Captain? That's ten extra laps this Thursday, Grant!"

I just remembered why I could keep my crushes under control. At least when it came to these two.

"Nothing," I muttered to Remus before turning over, raising an eyebrow at them, "What do you want?"

"Respect."

"Chocolate."

"Sorry, I have neither for you two," I said with a shrug, turning back over whilst they spluttered. It was easy handling them after years of practice together. Besides these interactions at class and on the Quidditch field, we had no other kind of connection, which was good for my heart.

But well, that would change quickly.

"Why is Remus always getting chocolate and we don't?" Sirius complained after class as I packed up the rest of the bar along with other stuff (such as the piece of parchment and quill I didn't use at all for this lesson). Rolling my eyes, I offered him some. "No, I don't want it anymore."

"Jeez, like a kid," I said loudly, "And for the record, I do it because Remus gives me his notes. Doesn't he?" I directed the question towards my seat partner with the most innocent smile. Remus Lupin with the gentle chuckle. He would probably be a heartthrob as well if it weren't for his quiet and introverted nature. In fact, all of the Marauders could be heartthrobs. Except Peter Pettigrew. Who was part of the gang for some reason. 'But even he is in a relationship right now,' I thought miserably, 'Probably off snogging his girlfriend and skipping class..'

"Of course I do," Remus answered, charming his notes to double and handing me the copy.

"Thanks, Remus!" I said cheerily, stuffing the notes into my bag before swinging it over and trudging past the protesting boys, "Hey, why don't we ever get your notes?!"

I ran to catch up with Marlene and Lily, who were already on their way to Herbology. "Hey girls, wait up!" They startled into a stop, "Oh, right. Sorry Cecily, we should have waited for you," Lily said sweetly and I grimaced. I was probably the Peter Pettigrew in our little friendship group.

Not that I could blame them. Lily and Marlene were both popular, extraordinary beauties and smart on top. I was the boring, ordinary looking and mediocre Peter that had nothing special to her name.

But that would change.

The days passed in a blur of classes, gossip and studying. The usual boring tirade, really. The only thing I looked forward to was food. And Quidditch.

So, imagine my elation when Thursday came up…and the sour mood I got in when James actually demanded those extra ten laps, apparently being good at holding a grudge. "Keep it up, Chaser No. 2!"

"Honestly, Potter," I huffed, coming to a stand in front of him, the only one still on the ground besides him as everyone was already up on their brooms.

"It's Captain, Chaser No. 2."

"Seriously? Chaser No. 2?"

"Well, there are three Chasers. I have to tell them apart."

"You have to tell them apart?" I snorted, "Potter, you know every player's name, family background, favourite team and player."

"True, and the Montrose Magpies still suck."

"They don't!"

"They do!"

"Still better than the Chudley Cannons!"

"Take that back!"

"Nope."

"Ten more laps."

I snorted again, mounting my broom. "As if."

"Grant, you get back down here this instant!"

"Who the hell is Grant? I'm Chaser No. 2," I yelled back, causing Sirius to bark a laugh as he heard. We started simulating a game with Team A against Team B for a while before mixing the players together. I rolled my eyes as Archie Stan knocked his shoulder against mine more roughly than necessary in an attempt to loosen my grip on the Quaffle. I wasn't born yesterday though, my grip tighter on the ball than a package of almond biscuits.

"Good, Chaser No. 2!" James shouted as I threw the Quaffle through the loop, whooping exaggerately, "Wooo -oof!" I clutched my broomstick to regain my balance as Stan knocked against me from behind this time, the air leaving my lungs for a second at the unexpected hit. "Watch it, Sideline-Chaser No. 3!"

"Not cool, bro!" Sirius and Frank booed, causing the Seventh Year boy to roll his eyes.

"Alright, everyone. Good game today," James called out, wrapping up the practice. We all cheered in relief, flying towards the ground to stretch and loosen up. "Don't act like you didn't enjoy it!" Our captain stated cheekily, grinning broadly now that he left the Captain mode behind. The others grumbled under their breaths as we all made our way to the locker rooms. I rubbed my sore shoulder, the rough handling having left a bit of a mark. "You alright there, Grant?" James asked as I passed him by.

"Yeah, just sore."

"Stan is an idiot," James commented, looking after the boy in question, "He is still bitter about how you took over his spot on the A team."

"His fault that he sucks," I muttered, causing the messy-haired boy to chuckle. "He doesn't suck. You are just better than him."

"Wow, can't believe I'm hearing a compliment from the Captain that only knows how to motivate us with insults."

He winked, catching me off guard, "Don't get used to it." I stared for a second at his smirk, wondering how he could pull that off without seeming arrogant like Sirius. Maybe it had to do with his unruly hair that gave him somewhat of a boyish, innocent look or maybe the warmth in his almond eyes that would turn into pure amber if the sun hit him in the face…

'I'm thinking way too much about this,' I thought, shaking myself out of it with a mental slap.

"Evans!" he suddenly called out, causing me to flinch in surprise. His entire expression brightened tenfold as he spotted the red-head over my shoulder. I turned to see her trudging over along with Marlene and Alice Prewett, who was probably the sole reason why they were here in the first place as she always wanted to cheer for her boyfriend. "Glad to see you are here to support the Gryffindor team! Or did you just come to watch me in my natural element?"

"Neither, Potter. Quidditch is useless," Lily commented harshly, and I winced slightly at the sharp tone she had solely reserved for him, watching how James' ego deflated along with his puffed-out chest.

"Touché," he chuckled, almost choking on the word and I could practically see his inner battle between agreeing with the love of his life and defending his love for the game.

"Excuse me, Quidditch isn't useless!" I protested indignantly. Lily just rolled her eyes good-naturedly as she walked past us with the other girls, who simply gave me small smiles in passing. I huffed. I really needed friends that supported this game.

"One day…," James sighed blissfully, staring after them, "One day she will admit her love for me and we will be together forever."

I shifted slightly, "Yeaaahhhh."

He frowned, straightening up to his full height, "You don't think so?"

Lie. Lie. Say everything else but what you really think, "I think you are in love with Sirius and trying to cover it up."

I TOLD YOU TO-

"W-what?" James spluttered and I snapped my head over my shoulder, "Yep, I'm coming!" I called back to the owl that flew past us in that moment, swiftly turning to walk away, "Bye Potter!"

"Wait, hold up!" the dark-haired boy caught me by the hood of my uniform, successfully pulling me back and I grimaced, "What the bloody hell do you mean I'm in love with Padfoot?!"

"Who isn't?" the boy in question asked, coming up towards after the quickest shower ever. I facepalmed in embarrassment as he walked over, ruffling his still wet hair.

"I'm certainly not!" James exclaimed, shaking me slightly with his grip on my hood, "She thinks so!"

"Oh?" Sirius raised an eyebrow at me, smirking in amusement, "I thought you were talking about her being in love with me."

"You know you gonna catch a cold if you walk around with your hair wet in this weather," I pointed out, trying to change the subject. Not that I was actually in love with him but since I had a tiny crush and I was really bad at lying, I would probably blurt something out that would make them think I was.

"Don't change the subject. Why the hell do you think I'm in love with Padfoot?"

"Well, for one. You have a pet name for him," I pointed out.

"For Moony and Wormtail, too! And they call him that, too!"

"Maybe it's a group thing then," I said dismissively, trying to find a way out and finally hit the showers, crawl into my bed and die. The longest conversation with the two heartthrobs yet and it had to be about my thoughts on their relationships.

"It's not!" Both James and Sirius denied.

"Two negatives make one positive," I said with a grin.

"Well, I wouldn't hold it against any of the blokes if they were in love with me," Sirius stated, flipping his hair and placing a hand on James' shoulder, "You can tell me, I won't judge."

James shrugged him off, "Of course, I don't! I never did, I don't now and I'm never going to!" Then he paused, "You don't think anyone else thinks that?"

Sirius shrugged and shook his head simultaneously, "Why would they?"

"Yeah, why would they?" I agreed hastily, side-stepping discreetly in hopes of- "YOU think so? You tell me!" James demanded, blocking my way.

I sighed, "I was just kidding."

"You were not."

I frowned, "How do you know?"

James pinched his nose. "You don't think Evans thinks I'm in love with Padfoot, do you?"

Shrugging, I leaned against my broomstick with a sigh, realising that this would take longer than I would like to, "How would I know?"

"Because you are friends?"

"Yeah, but I don't always listen when they talk about boy stuff." Mainly because I didn't always want to feel the green eyed monster crawling up whenever they talked about their dates or relationships or even drama. I wish I had some drama to talk about.

"And why do you think I do?" James pressed.

I blinked. "Do what?"

"Love Padfoot!" James said loudly in exasperation, causing heads to turn as the other players slowly got out of the locker room, freshened up.

"Is that your way of matchmaking, James?" Frank called out teasingly, "Shouting at the victim to love your best mate?"

"Oi, what do you mean 'victim'?" Sirius shouted back as the others laughed around us. I went beet red.

"This conversation is over, Potter," I decided, side-stepping him swiftly to walk towards the locker rooms. The girls looked at me questioningly, but I just shook my head as I walked into the warm room, James hot on my heels.

"I'm serious, Grant. Why do you think I'm in love with Padfoot and not Evans? Does she think that? Is she doubting my love for her?" he fired one question after another as he followed me.

"Well, maybe," I replied to his last question as I placed broomstick against the wall next to the girls' changing rooms door, stopping with a hand on the handle, "I mean, it would explain why she hasn't agreed to go out with you after your countless times of asking her."

"How is asking someone out causing someone to doubt their love for them?" James asked incredulously as he proceeded to try and follow me inside the room.

"Off limits, Potter!" I said sternly with half a foot inside the room as he stood right in front of me.

"Captain here, Grant!" James retaliated, pushing me inside before half-closing the door to give me some privacy. I sighed, figuring that would be all I would get as I opened my locker. "Now, answer the question!"

"Well, maybe it's just the way you are handling your 'love' for her," I mused as I changed, knowing he wouldn't stop pestering me unless I satisfied his curiousity.

"What do you mean?"

"You are being overbearing about it. Obnoxious," I explained, grinning at his childish scoff, "I mean, I would have believed you at some point after all these years, but your affections seem kind of…superficial, given the fact that you never tried to actually get to know her."

"…How do you know all that? Did she tell you that?"

I blushed. "Y-yeah, probably." I was glad he couldn't see my red face from lying. It was still better than telling him that I was mindlessly obsessing over my friend's relationships and boy dramas since I had none myself. Sighing, I stuffed my Quidditch robes into my sack before throwing it over my shoulder and heading towards the door.

Unsurprisingly, James stood there still, an unusual thoughtful expression on his face. "So, you think I should get to know her more?"

"I think you should leave her alone."

"What? I can't-"

"I mean, everything you try at this point will be fruitless because Lily won't believe you like she hasn't all the years before," I explained patiently, "It would be smarter to just lean back and be civil for a while, give her space to breathe instead of giving her yet another reason to complain how much of an arrogant toe-rag you are."

James went quiet for a second and I wondered if I had imagined the slight flicker of hurt in his eyes at my words. "She really said that?" he asked softly and I mentally berated myself for throwing that in his face thoughtlessly.

"Maybe not with those words…," I tried to deny but he saw right through it, sighing heavily as he ran a hand through his air.

"…Be civil, eh?"

I nodded whilst simultaneously wondering how I had suddenly become a relationship counsellor for my Quidditch Captain. "Be civil."

Little did I know how this little conversation got the ball rolling towards the most unexpected direction.

Chapter One

[mybg3notebook]

Hypothesis: Gale proposes you to “cheat"

Another one in the long list of the strangest statements I've read in this fandom. 

Disclaimer Game Version: All these analyses were written up to the game version v4.1.104.3536 (Early access). As long as new content is added, and as long as I have free time for that, I will try to keep updating this information. Written in June 2021.

Let's proceed with the basics, because clearly, anyone saying that Gale proposes Tav to cheat has some faltering concept of the meaning of the word:

The definition of cheating depends on the terms that a couple or more members in a relationship mutually decide. In general, cheating is an act involving a third party that violates the standards or boundaries of a relationship between romantic partners. More specifically, it is a unilateral decision by one romantic partner to become involved (physically and/or emotionally) with an external party that is motivated by a perceived or real limitation in the romantic partnership. 

Now that this is clear, let's see the facts. 

To romance Gale, Tav needs to share the Weave, and this is a must. If Tav did not share it, there is no way to start a romance with Gale in EA. During the Weave there are 3 options that may lead to romance:

Imagine kissing him: We don't need to state that this is obviously romantic. 

Imagine holding hands: At first, we can't say if this is a romantic gesture, but immediately after the Weave, Gale will describe this option as: "Amid the madness that has befallen us, it seems almost out of place to think of a romantic walk". So, clearly, it is romantic. 

Imagine nothing: This is a friendship option, which in the Loss Scene unlocks a dialogue option for romancing Gale. 

During the Loss Scene, if Tav chose kissing or holding hands, an option appears in which Tav can bring the moment of the Weave into the conversation: "Come, you know I care about you. I showed you when we shared that spell/The Weave". This is a reassurance from Tav. After the end of the scene, Gale will bring this concept again in his line: "I often think of that moment we shared together – one under the Weave. I'm glad to know you think about it too. " This means that ever since the moment of the Weave, Gale has been frequently thinking about it, knowing its romantic potential/intention.

If Tav uses any of the other options which don't acknowledge the event of the Weave, by the end of the scene Gale will state: "I often think of that moment we shared together – one under the Weave. I hope you think about it too." This time it is Gale who implicitly reassures that the connection had happened and had an effect on him: “it promises things to come”. 

So, if Tav shared the Weave in romantic terms, the Loss scene will reinforce it. Gale and Tav are making a point that both are interested in what has transpired during the Weave. 

If Tav opted the friendship option during the Weave, a unique dialogue option appears in the Loss scene: *You sense a moment of unspoken affection. You want to know where it may lead.* 

Gale will subtly test the ground, carefully, to see if both of them are on the same page with the same intention. He will show somehow an “unspoken affection” that Tav can decide to pick up upon or not:

Gale: I consider myself very lucky to have found you. 

Among the options Tav has, we find:

"I think perhaps we could be more than friends". Again, we can see that this is the obvious romantic option.

"I consider myself lucky too." A complete friendship-based option, in which Gale recognizes Tav as a good friend.

"Don’t get carried away imagining feelings that aren’t there." And this option allows any player to completely remove the romantic option here. It is not clear if this option can prevent friendship as well in EA. 

As if this were not enough, after the Loss scene there is another confirmation of their romantic interest: the serendipity comment. 

Then, the Party Scene follows. If Tav talks with Gale after arranging a one-night stand with another character, Gale will accept the situation without any reaction beyond some jealous comments. These comments are always available, even with an unromanced Gale, so I'm not sure if this is the way this scene is meant to be or it's simply there because its in EA stage. One can speculate that these comments should appear only in the particular case when Gale was romanced and Tav picks another character to spend the night with. Despite this display of jealousy after being led on, Gale still encourages Tav to follow their whims and enjoy the night with the one they picked

If anything, this seems to show that Gale would accept (even though he doesn’t like it) Tav's one-night stand, assuming that this scene, being in EA, is not meant to be in another way and we are watching an unfinished work in progress. 

Once Tav sleeps with their new LI and talks with Gale about the bedtime story, Gale will propose to retake what had been left up in the air during the party. The player should remember that Gale has been explicitly informed that Tav had romantic interest in him. And if this happened in the Weave, that confirmation has been done several times. The player could have been clear with Gale and stop the romance during the party by choosing the option "Let me stop you right there. That's not something I'm interested in." But this option is sometimes not available depending if you speak with Gale first or later (again, the Party scene is very unpolished). 

So far, what Gale has understood of that situation is that Tav had a one-night stand, but the commitment connection mind-to-mind and the relationship—will be established with him. 

This is the reason why in the next day Gale says:

Gale: You spent the other night with someone else, and I hope it was all you wanted it to be, but…  [romantic weave+ romantic loss scene] we shared a romantic moment of the mind while clocked in the Weave, didn’t we? And I seem to recall a fond allusion to that moment afterwards.  [more than friends path] we had a moment, you and I, a moment in which we expressed the possibility of becoming more than friends.

Gale is accustomed to being only another name in a list of lovers.. He says it during the revelation when he explains that Mystra had many other lovers, and this fact did not intimidate him because, in his youth, "he thought himself favoured among others": he was the “special one”. So, from Gale's perspective, Tav has shown interest in a deep connection with him, so he clearly understands that the night with another companion is a simple, casual thing. There is enough context for Gale to think that he is “the special one” for Tav. 

As a person who respects privacy, Gale will not use the tadpole on Tav to know exactly the degree of commitment they have with that person. He is merely assuming. As he explicitly says afterward if Tav says they will remain with the other LI:

Tav: I’m sorry, but I won’t betray *companion* Gale: I… I see. She/He ‘s a lucky woman/man. Loyalty is such a… such a very rare commodity. Dev's notes: Hurt by the player’s refusal. The reference to loyalty foreshadows Mystra leaving him. Gale: Apologies, I really did think you and I… Dev's notes: Hurt by the player’s refusal. Gale: But no. Perhaps it’s for the better. In fact, I’ll let you be the judge of that. After all, I still have a story to tell. Dev's notes: Composes himself.

From his perspective, he and Tav had been actively pursuing "a romantic connection of the mind". This rejection immediately makes him remember Mystra, so he alludes to her in the line of loyalty: he has been led on once more, similar to what Mystra did. For more details about Mystra’s style check "Mystra and her Chosen ones". If we see the datamining information gathered by pjenn, it's explained in the dev's notes that his comment of loyalty is directed to his experience with Mystra. 

I don't understand people that claim that Gale wants Tav to cheat. Tav has been leading him on in many scenes and then, during the party scene, they changed their mind. Gale—like Wyll—needs a connection to engage into romance (and sex "intimacy); this means that if Tav never expressed their romantic interest towards him, Gale will not look for a romantic relationship. Considering his surprise during the Weave, we can speculate that this aspect of his life had been forgotten or at least, rejected, since he is stuck in the bad experience of Mystra and his folly with the “orb”.

For some unknown reason to me, these people love to spread the misinformation that Gale invites Tav to cheat for this situation. A plain lie. 

What they think the game shows: Gale is asking Tav to cheat on their significant one.

What the game is showing: Tav led Gale on to believe they were interested in a romantic relationship. There is an option available during the party to make Gale stop the romance, but it depends on the interaction order chosen by Tav. After Tav slept with another LI, Gale will inform them that he is fine with that casual night and will propose to spend the next night together. Some people state this is Gale inviting to cheat. With the exception of Gale and Wyll, the rest of the companions state that such night is a mere casual encounter for pleasure. Shadowheart may be more obscure on that matter, though. In any case, there was never any commitment with the other companions either, so all that speech of “cheating on your significant other” is very ill-intended. The closest to a negotiation/promise we have ingame with any companions are the constant reassurances that Gale and Tav have several times along the EA and the subtle meaning for commitment during the explanation of the book of Arm.

Gale: A stolen glance- that sudden heartbeat... Sometimes the little things are worth more than kingdoms. They promise things to come. 

Gale: I often think of that moment we shared together – one under the Weave. I hope you think about it too. /I'm glad to know you think about it too.

Gale: I'm not a big believer in fate, but I do believe in serendipity. Life is a tempest of events that sometimes we brace against and sometimes embrace. You're one such event that one day soon perhaps I'd like to embrace. 

Gale: There is a book that circulates in Amn, detailing the first thousand nights of a newly-wed king and queen. They turned everything they did into an art. The art of conversation. The art of taste, time honoured and newly acquired. The art of the body. The exploration and acceptance of the self and the other. The art of the night itself. I say we take a page from their book.

So, if anything (if we truly want to force this concept even when nobody is in a relationship still), Tav is the one "cheating" on Gale, violating the implicit mutual interest in a potential relationship. 

In conclusion, Gale seems to be very obvious in wanting a commitment that could prevent Tav from abandoning him like Mystra did. He has an immature idea that sleeping with Tav would increase his chances for acceptance (not by chance Gale talks about the book of Amn in the way he does. It's not mere poetry or euphemism in my opinion. He is indirectly saying he wants those many aspects that a married couple turned into art, he won't mind making this relationship a "prequel" of that book: one can interpret this line as a suggestion that Gale wants to end up in a deep commitment.)

When we analyse this aspect of Gale, we can see that words like promise, loyalty and abandon are a bit frequent in his speech, and it may be displaying the constant abandonment issues echoing in his mind. A final example of this can be seen during a non-romanced Gale who receives Tav’s proposition to spend the night together after arranging the same with another LI:

Gale: You are all too quick to abandon the one you promised yourself to. It’s not a quality I admire

Again, Gale’s character is strongly attached to the concepts of loyalty and abandonment. For more details, read the post about "Gale Hypotheses- Part 1", section: "Abandonment Issues"

This post was written in June 2021. → For more Gale: Analysis Series Index

[becomewings]

The Most Beautiful Moment in Life <I’M FINE>

   BTS Universe Story Highlights, pt. 3 / 4

« pt. 2  |  » pt. 4

Introduction

The following sections for JiMin’s and HoSeok’s arcs are 4.5k and 4k, respectively. As with pt.2 of the series, I have included “tl;dr commentary” at the bottom of the post after a section of additional thoughts. This commentary summarizes the parenthetical asides I made throughout the summaries and may be of interest as standalone reading to those who have already played the game yet would like to review its connections to the BU texts and MVs.

Content warning: contains references to death, suicide, suicidal ideation, child abuse, domestic violence, blood, homicide, depression, trauma, PTSD

This guide contains major spoilers and includes references to other BU media

Do not repost, copy, or quote without permission

Stopped Time

SeokJin’s primary goal in JiMin’s story is to free him from the hospital psychiatric ward to which his parents have him committed before he gives up on life. Much like his sudden, unexplained absence in The Notes 1, JiMin is not even present in the first two episodes except for an introductory cutscene. In a hospital hallway on an unspecified date, he plays on the colored tiles and stops when he reaches “the line” by the exit door. (This line marks the end of the psychiatric ward and is first described in his 11 May Year 22 entry in The Notes 1.) Everything goes black except for JiMin and the door. A nurse taps him on the shoulder, bringing him back to reality, and hands him pills.

The playable story begins on 22 April Year 22 with SeokJin attending a meeting organized by the patrons of the Songho Foundation. Seo HyunJung, the city’s Deputy Mayor, suggested it to SeokJin’s father, Kim ChangJun, at the inauguration ceremony. (SeokJin attends the inauguration ceremony on 11 April in many loops; it plays out in episode 2 of JungKook’s arc.) SeokJin scans over the crowd, reflecting that while the pretext of the meeting is to discuss community development, in reality it is a social gathering to advance individual careers. These sessions make him uncomfortable, but this time he is attending of his own accord with the intention of meeting someone.

This someone is a woman who actually approaches him first, introducing herself as Sim SeonMi. SeokJin knows that she is JiMin’s mother. He has met her in previous loops but needs to pretend that this is their first time meeting. His goal is to bring up JiMin naturally and persuade her to discharge him from the hospital. Before he can broach the subject, the high school principal, Jo JinMyung, joins them. SeokJin uses his arrival as an opportunity to bring up school and guide the conversation toward JiMin by first asking if they know each other. “We’ve met a few times at gatherings. I was told her child used to be a student at our school,” answers Jo JinMyung. “Ah, really? I attended Jeil High too,” says SeokJin. Sim SeonMi looks taken aback, and he asks for her child’s name. She tries to avoid the question by saying that they probably won’t know each other due to their age gap, but when pressed again she relents. “His name is Park JiMin.” “I know JiMin! We were close. Is JiMin doing okay?” SeokJin responds brightly, wondering if she will provide an empty lie. Instead, she excuses herself with the claim that she needs to greet someone else.

SeokJin quickly wraps up with the principal and begins to casually approach her again. He stops when he overhears two women mention her name. “There’s no gathering she doesn’t attend these days. Looks like her husband’s star is on the rise, thanks to her efforts…” The player has the choice to listen quietly or butt in. If SeokJin stands by, they speculate that she was invited because her husband’s company is one of the patrons. If he interrupts, they caution him to stay away from her. In both routes, SeokJin learns that Sim SeonMi doesn’t have the best reputation and that rumors of her hospitalized son are spreading. Their blame on her helps explain what underlay her hysteric responses in previous loops.

Though it’s uncomfortable, SeokJin reapproaches her when she is alone. She greets him a little coldly. “You don’t have to be so formal to me. I’m JiMin’s friend,” he assures. “Is that so? How friendly you are.” Sim SeonMi smiles awkwardly and keeps looking elsewhere as though for an escape. “It would’ve been nice if JiMin’s father was here… He’ll join me another time, so you can say hello to him then.” “Yes. I’ll make sure to bring my father along then,” SeokJin replies, hoping to snag her attention. Her eyes change at the mention of his father. “Shall we do that, then? It’ll be even better with the Assemblyman.” SeokJin brings up JiMin again by either asking if he still attends Jeil High or how he’s doing. Her uneasy answers are “These days? Yes… Of course” or “...He’s fine,” respectively. SeokJin requests JiMin’s phone number, rendering her silent for a long moment. “That’s a bit difficult. I’m not sure I can give out JiMin’s contact information without his approval.” SeokJin attempts to convince her by stating that they were close friends in school yet lost contact when he studied abroad. But all he gets from her is, “Then I’ll ask JiMin, and make sure to contact you if he says it’s okay.” Sim SeonMi taps him on the shoulder and quickly walks away.

By 25 April, SeokJin still hasn’t heard from JiMin’s mother, so he decides to visit her and reveal that he knows JiMin was admitted to an inpatient psychiatric ward. Uncle JunHo, his father’s secretary, intercepts him before he leaves the house and asks where he’s going. SeokJin either answers that he is heading to school or meeting a friend to work on assignments. He declines a ride from JunHo in the first path but can’t conjure an excuse to not accept in the second. In both, JunHo comments that it’s not easy being the family of a public official and that he noticed SeokJin engaged in a long conversation with Sim SeonMi at the meeting. SeokJin explains that she is his friend’s mother, and JunHo advises him not to get too friendly with her because she doesn’t have a great reputation. In the second path, he also adds information about JiMin’s father that catches SeokJin’s attention because he has not heard anything about the man. Apparently Park JinWook is one of the foundation’s board members. ‘He’s pretty remarkable. He entered as a researcher and became a board member… The one thing that people like him want most is connections,” JunHo muses. He cautions SeokJin to “be wary of any advances [he] can see the intent of.”

The scene cuts to the exterior of an apartment building after SeokJin has either driven himself or been dropped off nearby by JunHo. He considers the public assessment of JiMin’s mother: she works hard to elevate her husband’s status but ignores her own son in favor of the family’s reputation. Sim SeonMi happens to step outside before SeokJin enters the building. She looks wary when he says, “I haven’t heard from you, so I decided to come see you myself.” In an effort to persuade her, SeokJin begins with either “I want to see JiMin” or “I came to see you because I know everything.” In the first path, she lies about not getting in touch with JiMin yet because he is studying abroad in the U.S. SeokJin is stunned by this egregious falsehood. “From what I’ve heard… JiMin’s locked up in a hospital. He’s at the Gyeong Il Hospital, isn’t he?” A similar reaction occurs in the second path from the point of SeokJin mentioning the hospital. Sim SeonMi hardens and objects to the phrase “locked up,” stating that JiMin is an inpatient because he is sick. “SeokJin, I appreciate that you’re worried about JiMin… But I’m his mother, and that means I know what’s best for him.” The paths converge as she tries to leave, claiming they have nothing left to discuss. Persuading her to release JiMin from the hospital seems impossible. “I’ll look into it on my own. I’m going to see JiMin, no matter how hard you try to stop me,” SeokJin warns. Sim SeonMi glares at him, voice low and cold. “‘SeokJin. If I can give you a word of advice… Adults have reasons for everything they do. You should forget about this.”

The beginning of episode 3 visits JiMin’s perspective on 27 April. He has relocated temporarily to the surgical ward due to an injured wrist. After treatment, he returns to his hospital room to find his mother arranging some items she brought. JiMin approaches nervously, wondering if she thinks he has caused a problem again. “It doesn’t look too bad, thankfully,” she remarks, glancing at his wrist. Her concern is unfamiliar yet welcome. “Do you know a Kim SeokJin? He said he attended Jeil High.” The mention of SeokJin surprises JiMin, but he tries to answer passively because of her angry tone. “Yes, but why are you suddenly ask—” “Did you contact him?” Sim SeonMi interrupts, halting her organizing to stare at him. “Why are you so immature? Do you ever think of anyone outside of here?” Injury throbbing, JiMin doesn’t know how to respond. “If you want to leave, tell me why you’re doing this. Tell me instead of embarrassing me by contacting some random person! Is that why you hurt your wrist? To rebel?” she demands. JiMin tries to explain this isn’t true, but she doesn’t listen. “I’m really tired, too. How many years has it been? How long do I have to suffer because of you?” Sim SeonMi leaves, the rant having done little to expend her anger. JiMin knows that her worries are pointed at herself, not at him; he is someone who makes life harder for her. He decides not to talk about anything else because he doesn’t want to make things even more difficult for her.

The story cuts to SeokJin loitering outside Gyeong Il Hospital, mulling over what action to take since JiMin is moving out of the surgical ward that day. (The date is unspecified in the game, but in The Notes 1, he is scheduled to return to the psychiatric ward on 16 May.) SeokJin knows that he will be the first suspect if JiMin disappears now and that he must act carefully since he was unable to persuade JiMin’s mother. As the day grows dark, he spots Sim SeonMi rushing into the hospital on her second visit. SeokJin hurries after her, worried that something happened to JiMin. The panicked voices of a medical team emerge from JiMin’s room. Doctors crowd around someone laying on the bed. “No, JiMin!” SeokJin hears Sim SeonMi scream followed by the sound of shattering glass.

The loop resets, and the game rejoins SeokJin on 10 May standing at a road and reflecting on the last failure. “If JiMin isn’t saved while he’s in the surgical ward, he makes his choice days after he returns to the closed ward. But it happened too quickly this time. What pushed him?” he wonders. He recalls Sim SeonMi’s final words before the loop ended. “No, JiMin! I’m sorry. I was wrong! You can see your friends; you can do anything you want… So please, open your eyes!” SeokJin realizes that he may have caused Sim SeonMi to act out of the ordinary, which in turn affected JiMin’s choice. It’s his fault, and he made JiMin suffer more. He thinks, “Even though I’ve experienced losing my friends before… No matter how many times it repeats… It never gets any easier.” SeokJin decides to abandon persuading JiMin’s mother to avoid provoking her and reverts his plan to sneaking JiMin out like in earlier loops. But first, he must focus on a more pressing issue—rescuing HoSeok after he collapses on the bridge that day.

After a cut, HoSeok awakens in SeokJin’s car and is shocked to see him. “Wow, is it really you? How long has it been?” “Lean on me for a bit longer. You didn’t hurt yourself when you fell?” SeokJin checks. HoSeok assures him that he’s all right and asks how SeokJin saw him. When SeokJin says he was just passing by, HoSeok remarks, “Wow! That’s so weird. Thanks for saving me.” It’s the first time SeokJin has heard something like this. He remembers JiMin in a previous loop telling him, “This is where I should be.” Does JiMin really want to leave the hospital? SeokJin believed that he did, but now he’s less confident. “HoSeok. If you had someone in front of you who wanted to die because living was too difficult… What would you do?” he asks. HoSeok answers without hesitation, “Well, I would help them.” “Even if that person doesn’t want my help?” says SeokJin. “ Isn’t helping them the right thing to do? Even if you don’t know why they want to die… They need to keep living for something to change,” HoSeok muses.

SeokJin drops HoSeok off at Two Star Burger before returning to the hospital alone, his friend’s words sticking with him. Even though JiMin isn’t guaranteed to be happy when he leaves the hospital, he needs to stay alive to have even the opportunity for happiness. Still uncertain how to proceed, SeokJin heads to the hospital lounge to organize his thoughts before visiting JiMin. Through an open door, he spots JiMin trudging down a hallway. SeokJin either calls out to him or watches him, but the latter is the result regardless because JiMin doesn’t hear him in the first path. JiMin stares at the door as people come and go and eventually returns to his room.

On 7 May, JiMin roams the hallways of the 5th floor surgical ward. He was moved there about ten days earlier after he ran into someone and fell. The surgical ward is not too different from the psychiatric one: the hallway is a little longer, and it has a lounge in the middle. But the freedom to move around in this space brings him joy that he doesn’t have in the psychiatric ward. He even wanders around at night when no one is around and dances in the lounge. Despite this newfound freedom, his body stops at the same point in the hallway—where the psychiatric ward ends four floors above him. After reaching his line again, JiMin returns to his room. He assumes a student occupied the bed before him because he finds a forgotten workbook in the nearby drawers. Remembering that he used this workbook in school, he flips through and reads the notes scribbled in the margins. “I want to go to a PC cafe, too…” he murmurs, spotting the note “wanna go to the PC cafe later?” JiMin finds a haphazardly folded paper tucked into the pages and unfolds it curiously. “Career… plan?”

The story cuts to 10 May with SeokJin, from a hidden vantage point, watching JiMin sit in the hospital lounge and read a book. It reminds him of their days in the classroom hideout. “He seems okay right now.” SeokJin receives a call from Uncle JunHo about the scheduling of a Songho Foundation seminar. During their conversation, a loudspeaker announcement summons JiMin to the 2nd floor physical therapy room. He drops the book and runs out of the lounge. Once finished with the call, SeokJin tries to find the book JiMin was reading. He doesn’t see it among those scattered around the lounge and thinks that JiMin must’ve had a reason to hide it. Hoping it will provide him a clue to understanding his friend, SeokJin hunts around either the window or trash can with no luck before turning to the vending machine. After scooting a bookcase out of the way, he is finally able to rescue the item. SeokJin deduces that the workbook doesn’t belong to JiMin because it’s Year 2 material and JiMin was admitted to the hospital in his first year. He finds the detached sheet with two different types of handwriting and determines which belongs to JiMin. The game provides a quick flashback shot of JiMin filling out the paper. “Aspiring Career Path: Will I be able to go to university too? Scholastic Activities: What should I learn in Year 2… Extracurricular Activities: Join the dance club HoSeok started.” SeokJin wonders what JiMin felt as he wrote in the answers. He considers how JiMin people-watched from the hallway and looked happy reading the workbook. “You want to leave, don’t you?” SeokJin thinks. “Let’s get out of here. So you can be the one to decide what kind of life you want to live.” He resolves to break JiMin free.

On 11 May, JiMin stops at the invisible line in the hallway again. He stares at the door before turning around and bumping into someone. He is shocked speechless when he realizes that it’s SeokJin. The next episode continues from this moment but switches to SeokJin’s perspective. He calms JiMin down before bringing him to the lounge, giving the excuse that he was in the hospital to visit someone else. JiMin’s cheeks are hollowed, his hands skinnier than normal. SeokJin wonders if he can inspire JiMin to act if he tells him that he’ll be able to do all of the things he wrote on the career plan once he leaves the hospital. He either asks, “JiMin, are you injured?” or “How long have you been in the hospital?” In both paths, JiMin refers to his wrist injury and the time he’s been in the surgical ward rather than the psychiatric one. He looks grim when he can’t give a proper answer to either “When do you get discharged?” or “Are you sick?” “I think I have to go now. It’s almost time for treatment, too…” JiMin stands to leave, avoiding his gaze. SeokJin rushes after him and blocks his path, knowing this might be their last chance to speak if they say goodbye already. “JiMin, I’m here because I know everything. You want to leave this place, don’t you? You’ve been here for two years.” JiMin steps back but doesn’t run away. “I just happened to hear… how your mother locked you in the psychiatric ward,” SeokJin explains. JiMin shakes his head with a frightened expression. “No. I’m here because I’m sick.” His eyes falter when SeokJin presses, “JiMin, I can help you. Let’s get out of here together.”

Short flashbacks play from JiMin’s perspective alongside his thoughts: “At first, I wanted to leave. I called my mom and cried until my voice went hoarse, asking her to take me home. That I didn’t want to stay here. But she didn’t listen. Because this is where I should be…” Aloud, JiMin speaks in a voice that sounds like he has given up on everything. “Even if I leave, I’ll eventually come back.” SeokJin shakes his head. “What’s important is how you feel. JiMin, you really want to stay here? That’s okay with you?” Depending on the players’ choice, he either continues, “Do you really not have anything you want to do?” or “‘You really want to stay here in the hospital?” In the first path, SeokJin tries to remind him of something he must want to do like studying or dancing. “I don’t… have anything like that,” JiMin lies. In the second path, JiMin says it’s better for him in the hospital because outside people treat him like a freak. SeokJin remembers the women whispering about Sim SeonMi and her hospitalized son at the Songho Foundation meeting. In both paths, JiMin is pale and shaky. SeokJin decides to ask one more time. “You don’t want to go outside and see your friends?” JiMin seems to perk up at the mention of “friends,” but he does not respond or lift his gaze. SeokJin’s parting words are, “Think about it, JiMin… I’ll come back to visit again.”

The next day (12 May), SeokJin reflects on his failure to persuade both JiMin and his mother. “What can I do to help JiMin get over his fear and gain courage?” he wonders. The career plan comes to mind again with JiMin’s notes of college, studying, and dancing—the things he wants to do outside of the hospital. This prompts SeokJin to remember a day in the classroom hideout when he filmed HoSeok dancing. On the sidelines, TaeHyung complimented HoSeok’s moves and asked if JiMin could dance like that. Gaze full of envy and longing, JiMin answered, “No. How could I do that?” “HoSeok! JiMin says he wants to try!” TaeHyung called. Flustered, JiMin tried to stop him, but HoSeok looked over. “Do you want to try?” JiMin insisted that he couldn’t, but TaeHyung pushed him forward and HoSeok gladly demonstrated the routine. JiMin hesitated at first to attempt it alone but began to move at their encouragement. In the present, SeokJin believes that he has found an answer in this memory. “TaeHyung, who pushed him forward… and HoSeok, who believed that he could do it. Maybe one of those two will help JiMin muster up the courage.”

SeokJin picks TaeHyung to help him persuade JiMin, considering that he was the first person to notice how JiMin was feeling when they watched HoSeok dance and helped JiMin take action when he hesitated. (We know from The Notes 1 that SeokJin’s later, successful choice ends up being HoSeok instead.) On 13 May, SeokJin visits TaeHyung’s convenience store to explain JiMin’s situation, and TaeHyung immediately agrees to help. Late that night and with little planned, they sneak into JiMin’s hospital room. Sensing their presence, JiMin turns on the light and is especially surprised to see TaeHyung. “We’re here to get you out of here, JiMin,” he says. “Did you think about it?” SeokJin asks. When JiMin hesitates, TaeHyung presses him to answer honestly. “Park JiMin, do you like being here? Staying here is awful! Let’s leave. You can think when we’re outside.” TaeHyung forces JiMin to his feet even as he hesitates and protests about the impending night rounds, although he does not push TaeHyung’s hand away. SeokJin knows this is hasty but decides to trust TaeHyung. Out in the hallway, he reflects that if even he spoke the same words, JiMin would not agree. SeokJin has encountered moments like this before where his friends solve problems that he cannot fix alone. “TaeHyung seems to be JiMin’s answer, just like YoonGi needed JungKook,” SeokJin thinks. (JungKook saving YoonGi is not a solution that played out in YoonGi’s story, but this is a familiar theme from Notes 1 and forward.)

The elevator arrives as they turn the corner, its doors opening to reveal Sim SeonMi. SeokJin warns, “Hide. It’s JiMin’s mom.” She walks past without noticing them. SeokJin quickly presses the elevator button, but it has already left. “JiMin, quick!” TaeHyung calls. “TaeHyung, I just…” “You can’t look back,” TaeHyung says firmly. He and SeokJin pull JiMin towards the stairwell, but JiMin stops walking. “What’s wrong?” asks TaeHyung. JiMin’s expression is on the verge of crying yet also angry. “I can’t,” he whispers. “Park JiMin, we don’t have time for this—” TaeHyung is interrupted by Sim SeonMi’s distant voice. “Where’d he go? The bathroom?” SeokJin tugs JiMin’s arm, but he looks afraid again. “SeokJin, I… I can’t do this. I don’t think I can.” SeokJin either soothes JiMin himself or has TaeHyung talk to him. In the first path, he takes JiMin’s trembling hand. “It’s safe for me here.” JiMin shakes his head. “No, JiMin. Something bad will happen if you stay here,” SeokJin cautions. “No, I have to stay here. That’s what’s right. I want to stay here,” JiMin insists. In the second path, SeokJin shoots TaeHyung a look, and TaeHyung in turn scans over JiMin. The tapping sound of shoes rings through the silent hallway. TaeHyung begins, “JiMin, if you stop here…” The paths rejoin when Sim SeonMi spots them and calls to JiMin, face livid as she approaches. “Oh… Mom.” The color drains from JiMin’s face. “Please… Please! Can’t you just stay put?” she demands sharply.

TaeHyung attempts to intervene, introducing himself as JiMin’s friend. Sim SeonMi does not look at him even when he explains that JiMin didn’t expect their visit and they were just taking him outside so as not to disturb the sleeping patients. SeokJin chimes in too, hoping their flimsy excuse will work, but Sim SeonMi orders JiMin back to his room. Looking defeated, JiMin trudges out of sight. Sim SeonMi finally turns her gaze on SeokJin, regarding him with the same expression as she utters the same words from the last loop. “I didn't know you were JiMin’s friend.” She warns them not to visit him again like this because he is very sick and it will interfere with his treatment. Before coldly turning to leave, she touches TaeHyung’s shoulder for a moment. (This same gesture was given to HoSeok in the hospital after JiMin’s seizure at the bus stop on 15 September Year 20 in Notes 1.) Her presence is like a wall separating them from JiMin. (SeokJin’s observation echoes HoSeok’s feeling that she was drawing an uncrossable line between them that September.) TaeHyung yells after her, “What’s wrong with him?! You can’t even spare the time to talk to us?!” SeokJin cautions him to stop. “Let me go! JiMin! Park JiMin!” TaeHyung’s voice rings loudly in the hallway, but no one answers. As they leave the hospital, he asks, “Do you think JiMin will be okay?” SeokJin cannot respond because he knows the truth: when JiMin returns to the psychiatric ward, he always makes the same awful choice.

The story cuts to JiMin sitting on his hospital bed and staring at his feet, unable to face his mother. He regrets following SeokJin and TaeHyung. “It was a lie, wasn’t it?” Sim SeonMi asks. “What those kids said earlier. Did you think I wouldn’t notice?” JiMin apologizes, throat catching. “What were you going to do? What could you possibly do outside of this place?” she demands. JiMin remembers all the things he thought about alone in the lounge: going to school, making friends, and learning dance from HoSeok again. “I want to live a regular life. It’s nothing that special. Why is it that I’m not allowed to dream?” he thinks. “JiMin, let’s focus on getting better first. When you’re all better… I’ll let you do whatever you want once you’re discharged. But you know that now isn’t the time. Let’s do it when you’re back to normal,” Sim SeonMi advises with a power in her voice that he can’t fight. Questions pile up in his head: what is getting better, and what is normal? But he holds it in and nods, not wanting to make things any more difficult for her. “Okay, Mom. I will…” As he speaks, it dawns on him that he’ll never get to leave the hospital.

JiMin moves back to the psychiatric ward after SeokJin and TaeHyung’s visit. The place is still the same: a man mutters that he’s not crazy; a child stays glued to the window, waiting for their mom. “And then there’s me, unable to progress because I’m locked in the past. If nothing changes even as time flows, how is it any different than time standing still?” On 19 May, JiMin stands in the bathroom with the water running. He sees and hears the falling drops as rain and smells a sharp stickiness. Reflected in the water in the sink, he sees a vision of himself on “that day.” (This is referring to 6 April Year 11 and the events of the arboretum, first introduced in that dated entry in The Notes 1 and revealed in full on 12 August Year 22 of The Notes 2.) “...I hate it.” JiMin covers his eyes. “I want to forget everything. I want to rest.” The glass shatters, concluding his arc.

Someone Left Behind

HoSeok’s story opens on 11 May Year 22 with SeokJin providing some chronological context. So far, he has not made it to June once in the loops because HoSeok collapses from his narcolepsy and JiMin is still trapped in the hospital. SeokJin can encounter JiMin naturally if he admits HoSeok to the hospital after his collapse on 10 May, but HoSeok has an accident in the hospital stairwell and falls into despair over his leg injury. (10 May is the date HoSeok collapses and wakes up in the hospital in The Notes 1, and this is likely the moment referenced by his bridge scene in the I Need U MV.) Even if SeokJin prevents that accident or helps HoSeok avoid admittance to the hospital entirely, his narcolepsy grows worse over time after 10 May. SeokJin determines that he needs to control HoSeok’s narcolepsy in order to save him, and he heads to Two Star Burger where HoSeok works to begin earnestly investigating.

A cutscene plays out at the restaurant: HoSeok, wearing a manager’s tag, watches two friends eating at a table while someone places their order with him. His expression is distant and briefly sad until he catches himself and smiles brightly at the customer. When the door chimes, he greets the new visitor and realizes it’s SeokJin. This is apparently their first time meeting in this loop because HoSeok heard from the other guys that Seokjin returned. SeokJin asks how he’s doing, and HoSeok replies, “Me? Same as usual.” SeokJin knows that “same as usual” means HoSeok’s life has a set, monotonous routine: working his part-time job, going to dance practice, and occasionally visiting the children’s home. Sometimes, he also comes to the bridge over the river and watches the scenery. The scene transitions to this location later at night as SeokJin narrates this. He stands at a distance so HoSeok doesn’t see him. HoSeok’s out-of-character, melancholy expression worries SeokJin. He hasn’t observed any changes to his friend’s daily routine, and HoSeok hasn’t collapsed recently—so why does he keep collapsing on 10 May?

The narrative cuts to 3 May. (I double-checked the dates and can only assume that this is a new loop, although a reset is not specifically mentioned—or else the opening date was a typo.) SeokJin mulls the situation over alone for a while but ends up going to NamJoon out of frustration. NamJoon and HoSeok share similarities, and they’re both responsible for other people. Believing that NamJoon knows HoSeok best, SeokJin visits his container. NamJoon greets him warmly. JungKook is already there, killing time after school. SeokJin mentions that he saw HoSeok a few days earlier at Two Star Burger but couldn’t really talk to him because he was busy. NamJoon suggests inviting him to join them after work and bring some hamburgers too since JungKook is hungry. SeokJin either calls HoSeok himself or lets JungKook call. In the first path, HoSeok says he’ll come as soon as SeokJin mentions that a few of them are together. In the second path, while JungKook is on the phone, SeokJin asks NamJoon how HoSeok is and learns that he practices dance at the cultural center every day. SeokJin wonders if HoSeok is pushing himself too hard. The paths rejoin: before HoSeok arrives, SeokJin inquires about his narcolepsy too. NamJoon doesn’t know much except that he’s still taking medication for it and seems to be doing okay. It seems that no one dares to bring it up since HoSeok doesn’t speak about it openly. The conversation trails off while they wait, although it’s not awkward—it reminds SeokJin of old times together.

HoSeok arrives with a cheerful greeting, wafting in the smell of fresh hamburgers. “These hamburgers were hand-made by the employee of the month!” He rustles through the bags and produces a kid’s meal boxed toy, giving it to JungKook. “Here’s your Children’s Day gift!” JungKook pouts that he’s not a kid but seems pleased to receive a gift even though it’s a couple days early. HoSeok explains that he has to be at the children’s home on 5 May. NamJoon asks if they’re hosting an event that day. “It’s not really an event… I’m going to see the families,” says HoSeok. He plans to bring hamburgers and play with the kids rather than bring gifts. SeokJin is surprised to hear that almost twenty children, ranging from young kids to high schoolers, live at the home. “‘That’s more than I expected. It must be fun when everyone plays together.” HoSeok invites him to come along to take photos of everyone, and SeokJin agrees with a high-five. NamJoon declines because he’s too busy, and JungKook hesitates. HoSeok assures him not to feel pressured, causing SeokJin to reflect on how he has always been the “mood-maker” whose cheerful personality eases awkward situations and defuses disagreements. While lost in thought, he notices HoSeok taking out his medication. “How are you these days? Do you feel better?” NamJoon checks. “Hmm. I don’t have any symptoms, but I shouldn’t be skipping these.” A grim expression flashes across HoSeok’s face. SeokJin thinks, “It doesn’t mean he’s alright just because he smiles in front of people.” He guesses that HoSeok must feel scared of his condition, not knowing when he’ll collapse next. It’s not enough for SeokJin to prevent the accidents he can see or to stop HoSeok from getting injured—he must save him from the fear that isn’t visible. SeokJin resolves to find out what makes him collapse. Even if the condition isn’t curable, discovering the cause might help HoSeok get better.

On 5 May, SeokJin meets up with HoSeok at the children’s home, which is located near Yangji Stream. HoSeo looks happy and explains that visiting there is like coming home. They bring their respective gifts of hamburgers and snacks inside, and all the kids rush to HoSeok in excitement. One of the home’s staff greets them. HoSeok introduces her as Kim JungHee. He calls her “auntie” and regards her as someone who has been like a mother to him. As SeokJin helps her set the table with food, he thinks that the children’s home feels like an ordinary family home and HoSeok looks like the dependable older brother among all the kids. After taking all the requested pictures later, SeokJin joins HoSeok to watch the children play outside. “You’re on good terms with the kids,” he observes. “I’ve only been out of the children’s home about three months now, so I know them all,” HoSeok explains. (He moved into his rooftop room on 25 Feb Year 22 according to that date’s Note accompanying the Persona album.) SeokJin either comments, “Auntie seems like a great person. She treated me well and we’ve only just met,” or asks, “How old were you when you first came here?” In both paths, HoSeok speaks with visible adoration for Kim JungHee. In the first path, he mentions that although she’s scary when mad, she never gets angry without a reason. “Auntie JungHee is just… like a mom. She’s mom.” In the second path, HoSeok answers that he was seven when he moved into the children’s home. He describes how Auntie would sing him songs that his mother listened to instead of a lullaby when he had trouble falling asleep, and that was the first time he cried after coming to the home. SeokJin begins, “Then, HoSeok, when you were little…” But a boy’s cries interrupt him before he can ask if HoSeok experienced narcolepsy when he was younger. “What’s wrong, JiHun?” HoSeok asks in concern. The sobbing boy shows him a broken toy rocket. “My mom… gave this to me.” HoSeok is at a loss because it looks impossible to fix. “I’ll bring you a new one next time. Don’t cry, JiHun. Okay?” The boy keeps crying despite HoSeok’s attempts at consolation. Before SeokJin can think of another tactic, HoSeok speaks up, drying JiHun’s tears. “JiHun, do you want to go with me to see a real rocket?”

At HoSeok’s request, SeokJin drives them both to Yeongsan Bridge, one of the bridges that crosses Yangji Stream and that HoSeok frequents. SeokJin is perplexed about what could count as a “real rocket” as they head to HoSeok’s usual spot on the bridge, and JiHun appears suspicious but excited. “Look over there!” HoSeok points to the train departing Songju Station in the distance, picking up speed on the tracks. “Wow!” JiHun exclaims. “What do you think? That rocket looks cool, huh?” asks HoSeok. “Rocket? That’s a train,” says the boy. “Look closely! It’s a rocket.” HoSeok beams. JiHun asks HoSeok why he calls it a rocket. HoSeok explains that the front end of the train is pointy like a rocket and that it takes people somewhere far away. (He also refers to the trains as rockets in his 4 July Year 22 entry from The Notes 2.) SeokJin realizes that from his vantage point on the bridge, HoSeko has been watching the train that leaves Songju. “JiHun, you can wish on the rocket, too!” HoSeok describes how the rocket can carry dreams because the people who ride on it have dreams. JiHun wishes to become famous so his mom can find him. HoSeok falls silent for a moment before resuming his chatty demeanor. Together they wish on the rocket for JiHun to see his mom again. JiHun asks HoSeok what he wishes for so they can wish it on the next rocket. HoSeok whispers in his ear. “Wow, you too?!” JiHun exclaims. HoSeok shushes him, so SeokJin does not learn HoSeok’s answer.

After dropping JiHun off at the children’s home, SeokJin and HoSeok relax at a bar. HoSeok thanks him for his help that day. SeokJin asks if HoSeok visits Yeongsan Bridge frequently to look at the trains. HoSeok smiles bashfully over his drink and explains that he liked visiting it when he lived in the children’s home. “Is that when you came up with the rocket story?” SeokJin asks. HoSeok replies, ‘Yeah. The people getting on the train look so cheerful and happy. It almost makes me want to get on there with them, too.” He stops abruptly and calls out to a customer on his way out. The young man is introduced as DongJin, a friend who also grew up in the children’s home. SeokJin invites him to sit with them, hoping that he knows more about HoSeok, but DongJin declines since he’s with other company. Before departing, he mentions that he will stop by Two Star Burger to see HoSeok soon. After his friend leaves, HoSeok tells SeokJin more about his childhood. SeokJin understands why he considers the people at the children’s home his family.

A little tipsy now, HoSeok brings up another memory. The whole family at the children’s home goes to Yangji Stream on August 30th for the yearly fireworks, but when he was about nine, he had to be admitted to the hospital for a check-up. SeokJin either asks, “Did you miss the fireworks that year?” or “Were you sick?” In the first path, HoSeok describes how he snuck out of his hospital room and up to the rooftop to watch the fireworks. Along the way, he found a little kid crying in the stairwell who was looking for his mom and wanted to leave, and he brought the boy to the roof so they could view the fireworks together. He doesn’t know who the kid was or remember his face. (See the Additional Thoughts section at the end for who I hope this kid really was!) In the second path, HoSeok answers that he was falling asleep without explanation but the doctor said there was nothing particularly abnormal. SeokJin tries to ask a leading question to get him to reveal more, but HoSeok’s expression is grim. The paths rejoin with HoSeok asking SeokJin if he has attended the fireworks festival too. He looks wistful when SeokJin replies that he went with his family when he was younger. HoSeok brings up DongJin again. “He’s a really lucky guy. Even though it was pretty late, he got in touch with his parents and moved out to go live with them.” His eyes reflect bitterness. “DongJin and I… both dreamed of going to the fireworks festival with our parents. I guess he’ll achieve his dream for the first time this year.” SeokJin recalls HoSeok’s rocket story and asks if that’s the dream he told JiHun about earlier. HoSeok dismisses this: his dream now is to become famous for dancing. SeokJin remembers him mentioning this in high school. “Right, you said you wanted to become famous as a dancer so it would help you find your mom… Are you still dancing because of that?” HoSeok says that was why he first started but he grew to really love dance. “You don’t have any plans to go find your mom, then?” SeokJin asks. “Why would I go anywhere? My home, work, and friends are all here.” HoSeok laughs, but it seems like he is just holding on rather than truly feeling happy. “I just… like where I am.”

Episode four begins on 8 May, Parents’ Day, in HoSeok’s perspective. As promised, DongJin visits him at Two Star Burger and asks if he can get a job there because he needs money. HoSeok is taken aback since DongJin supposedly has moved out of Songju to live with his father after reconnecting with his family. “What happened to your self-reliance support fund?” DongJin confesses that he gave it all to his father, who said that he needed it to buy them a house but hasn’t contacted him since receiving the money. “I think my expectations were too high. They abandoned me once. Why wouldn’t they abandon me a second time? I wish I hadn’t met them…” DongJin’s voice wavers. HoSeok assures him that his father must be busy looking for houses. “Don’t worry, I’m sure he’ll contact you soon. I’ll look into a job for you.” DongJin thanks him multiple times before leaving. After work, HoSeok returns to the bridge and leans on the railing. He often does this even when there are no passing trains—watching the flow of the river empties his mind and puts him at ease. But the calm water cannot still his thoughts today. He thinks about the many children at the home who want to be reunited with their parents, including JiHun, DongJin, and himself. HoSeok is honest about his feelings, acknowledging that he envies DongJin for being able to contact a parent, even one who let him down. He closes his eyes and remembers the day his mom abandoned him at the carousel. In the memory, she hands him a chocolate bar and instructs him to count to ten before opening his eyes. The screen goes black after “three,” and at “nine,” the player hears the sound of someone falling. (The carousel memory is also depicted in the Highlight Reel.)

The story cuts to the next day, 9 May, outside Two Star Burger. SeokJin is uneasy knowing that HoSeok collapsed yesterday, two days earlier than he normally does in the loops, and hovers nearby to keep an eye on him. HoSeok announces that he’s heading out for a delivery and heads outside to the delivery scooter. A passing woman reminds her daughter to count before crossing the street. “One, two, three…” HoSeok watches them cross the street and collapses again. “HoSeok!” SeokJin cries. He gets permission from the restaurant manager to take a still-unconscious HoSeok home to his room that overlooks all of Songju City. SeokJin helps HoSeok onto his bed before looking around his room. The player has a choice to look at the items on the desk or a familiar planter on the dresser. In the first path, SeokJin clicks past the screensaver on HoSeok’s laptop and sees that the web browser is open to an audition information video for a famous international dance team. (This may be the same dance team that one of his friends from the children’s home successfully auditions for, referenced in HoSeok’s 4 July Year 22 entry accompanying the Tear album and 7 July Year 22 entry in The Notes 1.) He remembers HoSeok mentioning that he’s happiest when dancing and knows that he still runs Just Dance, the dance club he started in high school. “I’m sure he’d do well if he applies,” SeokJin muses. In the second path, SeokJin recognizes the plant as the one HoSeok tended every day in their classroom hideout. He wonders what HoSeok was thinking when he brought the plant home and how he feels caring for it. The paths rejoin with HoSeok stirring on the bed, mumbling “Mmm… Mom… Don’t go…” SeokJin recalls that HoSeok called for his mother when he fell asleep in high school. “Is the memory of losing his mom related to his narcolepsy?” he thinks. “Are you okay, HoSeok?” SeokJin asks when HoSeok opens his eyes. HoSeok is confused to find himself at home. SeokJin explains that he happened to see him collapse as he was passing by and assures him that he spoke to his manager. “HoSeok, you know how you keep collapsing… The hospital doesn’t know why yet? You don’t have any idea what makes you collapse, either?” he presses. But HoSeok shakes his head. “I don’t know.”

On 10 May, HoSeok receives a call from one of the younger kids from the children’s home while getting ready for work in his apartment. The kid informs him that Auntie JungHee isn’t working at the home anymore because she has been diagnosed with late-stage colon cancer. She is scheduled to have surgery, but the chances of success are low. HoSeok’s mind goes blank, and he hangs up. When he rushes outside, he runs into SeokJin. “I stopped by because I was worried. Are you headed out?” asks SeokJin. Consumed with the thought of getting to Auntie, HoSeok says he needs to visit JungHee and doesn’t have time to ask why SeokJin is there. SeokJin follows, offering him a ride. The player chooses to have HoSeok either get in the car or refuse the ride. In the first path, HoSeok pretends to be calm when explaining the situation to SeokJin, but his voice noticeably trembles. In the second path, he declines because he’s afraid that speaking about it will make it come true, and then he runs to the bus stop.

The story cuts to HoSeok standing on the bridge, unable to remember how he made it to Auntie’s house after saying goodbye to SeokJin. He can only recall the face he saw through one of the open windows of Auntie’s house: JungHee laughing as she chatted with someone. The news of her illness and the low success rate of the surgery seems like a lie. She was the first person he could rely on after HoSeok lost his mom. He can’t shake off the vision of himself standing in front of the carousel “like an idiot.” Head spinning, he thinks, “I just wanted them to stay by my side. Is that too much to ask? What kind of terrible thing have I ever done?” The perspective switches to SeokJin as he watches HoSeok walk precariously across the bridge, looking both shocked and deeply sad. He reflects on his failed attempts to prevent HoSeok from collapsing here. Even if he stays with HoSeok like he did with JungKook or intervenes like he did with YoonGi, HoSeok always runs to JungHee’s home and then collapses on this bridge on his way back. SeokJin is aware that JungHee has cancer (so the first path of the branching choices has happened at least once, or he found out in earlier loops). The extra collapses of this loop weigh on SeokJin’s mind too. Something changed after HoSeok met DongJin, and SeokJin regrets taking him to the bar on 5 May. He looks on as HoSeok inevitably staggers and falls in the same spot.

SeokJin calls 119 and has HoSeok admitted to the hospital. As before, HoSeok is placed in the same hospital room of the surgery ward as JiMin. SeokJin decides not to visit him because he is afraid of running into JiMin and unsure of what will play out if he does. Now that HoSeok is in the hospital, there is no way to avoid the future accident in the stairwell. A few days later, SeokJin scopes out the scene. He mulls over the repeating scenario of HoSeok chasing down the stairs after a woman he mistakes for his mother. SeokJin connects the dots between HoSeok calling for his mother in his sleep and the way he cried in front of his Auntie’s house. “Everything has to do with ‘mom.’ If HoSeok’s narcolepsy is because of ‘mom,’ does that mean this accident is connected to the idea of mom, too?” In other loops in which SeokJin successfully prevented the stairwell accident, HoSeok continued to collapse more frequently until he eventually did so in the street. SeokJin contemplates how his condition apparently worsens after he sees a woman that reminds him of his mother.

The day after HoSeok is admitted to the hospital, 11 May, SeokJin invites NamJoon to meet him at a cart bar after his work shift. NamJoon brings up HoSeok first. Unable to say that he was the one to call for help, SeokJin pretends to be surprised that HoSeok is in the hospital. NamJoon reports that HoSeok had a minor concussion and is staying there for a couple days so the doctors can run additional tests. SeokJin wonders if HoSeok dreamt of his mother again and feels a pang at the image of him haunted by nightmares. He proceeds to tell NamJoon about their visit to the children’s home, meeting DongJin, and learning about the auntie’s illness. Cautiously, SeokJin proposes that HoSeok’s collapsing may be related to his mother. NamJoon mulls it over before agreeing. “I guess it could. Thinking about his auntie might have led him to think about his mom.” “I’m sure he feels like he’s losing his mother a second time,” SeokJin adds. NamJoon asks if he knows HoSeok’s wish to become a famous dancer in order to find his mom, although his dancing grew into a genuine source of joy. “So I thought… Dance had become Jung HoSeok’s cure. Something that helps him hold on. The thing that helps him bear something he can’t otherwise. That’s what dance is to HoSeok. Don’t you have something like that, SeokJin?” NamJoon regards him silently after this, leaving SeokJin much to contemplate. They promise to visit HoSeok together at the hospital. SeokJin hopes that if NamJoon knows just how much dancing means to HoSeok, he may figure out something from HoSeok’s reaction in the stairwell that SeokJin has missed. He just needs to figure out a natural way to get NamJoon into the stairwell at the right time.

On 12 May, SeokJin and NamJoon meet at the hospital. SeokJin suggests that they take the stairs since the elevators are crowded and lies about HoSeok being on the 3rd floor to strengthen his excuse. When they arrive on the 2nd floor landing, they hear footsteps and voices from above. The woman descending the stairs with a child is the one whom HoSeok keeps mistaking for his mother. SeokJin needs to stall until HoSeok comes down too, so he either suggests that they buy some snacks to bring or mentions that he may have got the wrong floor number and checks his phone. Moments later, they hear pounding footsteps and HoSeok shouting, “Mom!” NamJoon locks eyes with HoSeok and, unaware of what is about to happen, turns to follow the woman. “Ma’am! Excuse me!” Caught off guard, SeokJin is too late to grab HoSeok, who falls and screams. As he rolls on the floor clutching his leg, sealing the injury that will prevent him from dancing, the glass shatters.

SeokJin involves NamJoon in several more loops after that, but his attempts to save HoSeok end in failure. He wonders again if he should admit HoSeok to the hospital at all, but decides that if the incident is connected to HoSeok’s trauma, it needs to be solved rather than avoided. On a new 12 May, SeokJin stands near the hospital stairwell, prepared to intervene himself and ask HoSeok about his mother afterward. He spots JiMin emerging from the 2nd floor physical therapy room and pressing the elevator button. Hiding out of sight in the stairwell, SeokJin mulls over his options. If he prevents HoSeok’s accident, he still needs to get JiMin out of the hospital too—an effort that has been unsuccessful so far due to JiMin stopping at the exit or later having a seizure when they pass the arboretum. “Maybe the answer to HoSeok is… JiMin? What if… this incident is the variable between HoSeok and JiMin?” Heart pounding, SeokJin begins to hope that they can save each other. He doesn’t have enough time before HoSeok comes down the stairs to figure out what to say to JiMin and decides that he will just have to make the reason for his presence in the hospital believable. “JiMin!” he calls. “SeokJin? How are you here—” Looking shocked, JiMin steps back like he’s about to run away. SeokJin realizes that they haven’t met in this loop yet, and JiMin strongly dislikes people knowing that he’s in the hospital. With no time to explain, SeokJin leaves him behind and rushes into the stairwell. But he’s too late to catch HoSeok’s fall, and the story concludes with the glass shattering once again. (Based on The Notes 1, we know that the “successful” decision SeokJin makes in later loops is to stay out of sight when he calls JiMin. JiMin is puzzled by the silhouette he sees in the doorway and enters the stairwell just in time to catch HoSeok.)

Additional Thoughts

JiMin’s mother, Sim SeonMi, becomes one of the most fleshed-out adult characters in the BU narrative so far thanks to his story. We already knew the most about SeokJin’s father, Kim ChangJun, due to his role in The Notes 2. I’ve had an inkling of a suspicion that JiMin’s parents were connected in some way to SeokJin’s father, so I was satisfied to see this confirmed in the game. I’m curious about JiMin’s father and the lack of details surrounding him. He has only been depicted once in The Notes 1, when JiMin returned home days after sneaking out of the hospital with his friends.

Though it’s never explicitly stated in the texts, the Wings Short Film #6 MAMA depicts that HoSeok is diagnosed with Munchausen’s syndrome, a psychological disorder in which the individual pretends to be ill or deliberately produces symptoms of the illness. His prescription pills are actually placebos. On 16 May Year 22 in The Notes 1, HoSeok confesses to JiMin that his narcolepsy is fake, although he doesn’t feign symptoms on purpose.

I was personally a little disappointed with the lack of new information in HoSeok’s story. While his relationships with the auntie and other children from the home are explored in greater detail, the most significant plot points if his arc have already been covered as of The Notes 2.

I have no proof for this, but I want the unidentified crying boy who young HoSeok met in the hospital stairwell and brought to the rooftop to see the fireworks to be JiMin. If HoSeok was 9 at the time, then JiMin was 7. He has been in and out of the hospital since the arboretum incident (earlier that same year), so it is plausible that he had an overlapping stay with HoSeok in the summer of Year 11.

As mentioned above, the following “tl;dr” commentary summarizes the parenthetical notes I provided in the summaries in case you want to review them on their own.

Stopped Time — tl;dr commentary

In the opening cutscene, JiMin plays on the colored tiles in a hospital hallway and stops when he reaches “the line” by the exit door. This line marks the end of the psychiatric ward and is first described in his 11 May Year 22 entry in The Notes 1.

The Songho Foundation patron meeting that SeokJin attends on 22 April Year 22 was suggested by the city’s Deputy Mayor at the inauguration ceremony on 11 April. That earlier ceremony played out in JungKook’s arc.

Before the loop reset, SeokJin waits outside the Gyeong Il Hospital as he plans his next move since JiMin is moving out of the surgical ward that day. The date is unspecified in the game, but in The Notes 1, he is scheduled to return to the psychiatric ward on 16 May.

In this story, SeokJin picks TaeHyung to help him free JiMin from the hospital. He hopes that TaeHyung will be JiMin’s “answer,” just like YoonGi needed JungKook. JungKook saving YoonGi is not a solution that played out in YoonGi’s story, but this is a familiar theme from Notes 1 and forward. However, SeokJin and TaeHyung are caught by JiMin’s mother while trying to leave the hospital with him. We know from The Notes 1 that SeokJin’s later, successful choice ends up being HoSeok instead.

Before coldly leaving SeokJin and TaeHyung to rejoin her son, Sim SeonMi touches TaeHyung’s shoulder for a moment. This same gesture was given to HoSeok in the hospital after JiMin’s seizure at the bus stop on 15 September Year 20 in Notes 1. To SeokJin, her presence is like a wall separating them from JiMin. This echoes HoSeok’s feeling that she was drawing an uncrossable line between them that September.

At the end of the story, the vision JiMin sees reflected in the sink water of “that day” is referring to 6 April Year 11 and the events of the arboretum, first introduced in that dated entry in The Notes 1 and revealed in full on 12 August Year 22 of The Notes 2.

Someone Left Behind — tl;dr commentary

In the story’s opening, SeokJin refers to HoSeok’s collapse on 10 May. This is the date that HoSeok collapses and wakes up in the hospital in The Notes 1, and it is likely the moment referenced by his bridge scene in the I Need U MV.

When SeokJin observes that HoSeok is on good terms with the kids from the children’s home, HoSeok explains that he’s only been out of the home for about three months. He moved into his rooftop room on 25 Feb Year 22 according to that date’s Note accompanying the Persona album.

As he does in the game, HoSeok refers to the trains as “rockets” in his 4 July Year 22 entry from The Notes 2.

HoSeok’s memory of being abandoned at the carousel is also depicted in the Highlight Reel.

When searching HoSeok’s apartment, SeokJin notices the laptop’s web browser is open to an audition information video for a famous international dance team. This may be the same dance team that one of his friends from the children’s home successfully auditions for, referenced in HoSeok’s 4 July Year 22 entry accompanying the Tear album and 7 July Year 22 entry in The Notes 1.

At the end of the story, SeokJin hopes to gain JiMin’s help to save HoSeok but ends up spooking him because they haven’t met in that loop yet. Based on The Notes 1, we know that the “successful” decision SeokJin makes in later loops is to stay out of sight when he calls JiMin. JiMin is puzzled by the silhouette he sees in the doorway and enters the stairwell just in time to catch HoSeok.

Did you learn anything new from these stories that I did not specifically mention? Let me know in the replies or tags! Please stay tuned for part 4, featuring TaeHyung and the Epilogue.

[kanohivolitakk]

Since its 3Hs anniversary some really cool things I like about the game that aren’t talked about enough because the fandom is too busy arguing who is right and who is wrong

The worldbuilding just. 3H has honestly one of my favorite fictional settings. Its just both expansive but also genuinely interesting. I have spent HOURS thinking about the world and made so many ocs its not even funny. I love thinking about the setting of the game so much.

I LOVE the puzzle like way the game explains its world and story. Like I know some people don’t like it because it makes the game a bit too convoluted but personally? I LOVE 3Hs way of not telling everything but rather giving hints and clues the player has to piece themselves. It makes the games world feel more interactive and feels so satisfying. Then again I enjoy that kind of approach to worldbuilding

In general I love 3hs fragmented story and the way how the story is placed in many different fragments. It is geniunely rewarding to replay the game from another storypath and notice the foreshadowing Would’ve the story been probably better had it been just one storypath? Honestly yes. But 3h is ambitious and one of the ways it is is with its fragmented story structure.

The structure of White Clouds is criminally underrated honestly and gets way more hate than it deserves. I love how the first few chapters set up the world of Fodlan and show injustices/conflicts of the world with chapters like the chapter where you face off Lonato for instance. Then the next few chapters are spend in deepening the mysteries such as the conspiracy against the church and the mystery regarding TWSITD. Then Jeralt dies and the last few chapters are spent as “beginning of the End” so to speak, as things clears to the intense climax.

On related note I LOVE how the game handles perspective and how the lords are the respective ways we view the story. I know so many people say “WHite Clouds is same on all paths” but I do feel that’s kinda the point. The story is the same but there are differences that come from the way each of the lords is strongly characterized and has different values, worldviews. The subtle changes on what are focused on in each route also foreshadow what will be focused on each route, which I think is super cool.

Even beyond the lords and routes the game does explore the idea of perspective well. I do think 3h has this very “everyone is the hero of their own story” type of approach to perspective and it shows it well. Each character believes they’re in the right and you can get this view that they view themselves as right. Even Agarthans who are the designated villains have this sense they think they’re in right and that the Nabateans were evil.

The way how games routes being divided into having a different focus is very cool. I love how AM is a smaller scale personal tragedy, how CF is a battle of ideals and how VW explores the world and reveals deeper mysteries. I also love how all of these are related to the lords ideals and worldviews: Dimitri is the most conflicted of the lords so he gets the most characterfocused story focused on . Edelgard is the most ideologically driven so her path focuses on her ideals and battle of wills against Rhea. Claude is the one who is the most freespirited and wants to know the truth so his route focuses on revealing the mysteries.

Also the way the houses characters reflect their respective routes storyline and central themes: Black Eagles are nobles that have conflicting relationships with nobility reflecting Edelgards goal, Blue Lions are all united with the trauma of Tragedy of Duscur, and Golden Deer are a house of misfits who give this “ragtag group who will save the universe with POWER OF FRIENDSHIP and this cool gun I found” vibes which fit the route PERFECTLY

I LOVE how the game plays with and subverts a lot of Fire Emblem tropes. While it does play some tropes straight (dad death and evil cult manipulating behind the scenes) it does do a lot to break from series conventions and playing with ideas to make a more ambitious story. The way it either subverts expectations (The evil emperor being female well intended extremist, Rhea being the Gharnef/Medeus instead of the Nyna archetype she’s presented as), twists familiar tropes to their natural extreme (Dimitris arc is basically the natural extreme end of stereotypical FE lord) and other similar things make the game feeling so planned out, like the writers understood FE stories and wanted to make something that challenges FE while still feeling like it.

The way how every major player acts as foil/pararell to another player is so GOOD. Every faction leader can be compared to the other somehow and that just makes the game SOOOO fun to analyze, trying to find all the similarities and differences and pararells is so rewarding.

A more specific example on this is how i love how the game plays with the idea of holy/sacred weapons. While normally these weapons are artifacts from goddess that defeat dragons, here the holy weapons are bones made from dragons and just???? HOW METAL IS THAT????????? It’s just such a neat way to subvert the idea of sacred weapons. Rather than being blessed creations of the goddess, they are weapons of destruction made by the villains.

I ADORE THE GAMES science fiction elements. I know people say they feel out of place but personally, they make the game memorable for me. I still remember the first time I saw that scene with nukes. I especially love the heavy implication that Sothis isn’t a goddess but rather a powerful alien. It makes her character much more interesting

I know a lot of people don’t like Agarthans but can I just say their backstory being “forced to hide after their land got conquered and desiring it back” making them a dark mirror not just 3h lords/Rhea but FE lords as whole is SO FUCKING METAL. This is what I mean with 3H writers knowing their tropes like back of their hand.

I love how in Part 1 sometimes you’d talk to two characters in Monastery at once instead of just one. It’s something I miss in part 2 honestly.

I love the small sidequests such as the fishing tourney and White Heron cup and wish Part 1 had more of them, it would’ve made the school part feel more alive.

I LOVE how some missions (esp paralogues) have subgoals that you can clear to get better rewards. I wish the game had been more clear with them or even made them main goals of maps sometimes.

I LOVE THE WAY Paralogues act as small gaiden stories that show more of the games world and characters. Its a neat way to let the sidecharacters shine and reveal some neat secrets of the games world and story.

The gameplay loop is honetly fun and satisfying. It is rewarding and while it gets tiring towards the end overall its a good gameplay loop.

I ADORE the aesthetic of Shambhala. Its just so sleek and sinister. The cyrillic letters spelling different words is so cool. Shambhala is my favorite map in the game and the aesthetic is a big reason why.

The games soundtrack is so good!!!!!!!!!!  But not only that I LOVE the way its electro elements subtly hint of Agarthans being in control behind the scenes. This is especially cool in Road to Dominion where the electro parts are barely noticeable yet present. but other tracks have subtle electro vibes as well.  The other way the games music tells the story (such as use of leitmotifs or how the monastery music changes once Jeralt dies) is great as well.

I love how 3h can be read as an allegory for reformation era and reneissance. Its such an interesting way to read the games events and compare it to a real historical periods there’s quite a bit of f

In general I ADORE the cultural references of the game. There’s surprisingly lot of way the games world is based on real life and the details are just *chefs kiss*

THE GAME IS DENSE WITH THEMATIC IDEAS. Besides the perspective the game tackles ideas of how trauma can affect a persons psyche and worldview  (as well how a persons trauma affects the way they interact with the world which in turn can affect the world as well), grief, societal values, historical revisiniosm and so much more. The game tackles SO MANY topics in an interesting manner, it is thematically just as dense as it is storywise as well.

I also love how the games thematic parts work in harmony with the story rather than one overshadowing with the other. Its super refreshing honestly where a games themes and story are both rich and I don’t have to pick one over the other.

Lastly I ADORE the games central message (or at least what I see as the central message anyway): The world’s fucked up and most people want to fix it, but what they deem fixing differs and because of that they go into conflict or outright war rather than trying to find a common ground. Everyone wants a better world but no one can agree what a better world truly means  so they fight over it. It was a theme that not only resonates with my personal values but also hit me REALLY hard when I first played it as it’s a theme that I found incredibly relevant and reflective of our own world during the time I played the game for the first time.

So yeah. I made this post since there’s SO MUCH neat things about the game, its gameplay and story that sadly get swept under the rug in favor of either arguing  which lord was right/wrong or complaining how the game is an unfinished, rushed and overambitious mess. Is 3h perfect? Hell no. But it’s a game that I hold near and dear to my heart and does genuinely SO MANY THINGS RIGHT, I’m sad no one talks about the genuine strengths the game has anymore, instead just complaining.

I’m not even joking when I say that 3h should be up there as heralded as one of the best, most ambitious and complex JRPGs alongside Xenogears, the first Xenoblade game, Suikoden and Trails series as whole along other such games. Its a shame the games reputation is less like those games and more like Persona 5s where everyone focuses more on its flaws and the fans being annoying than the fact the game does geniunely A LOT right. It’s just that good, ambitious game I love so much.