#ooh some meta for you!

[scxttershot]

In a mood. And by that I mean multiple people have said verbatim this week that they no longer wish to hear about me and that I stop talking to them entirely, which is completely fair.

I keep going back to Floyd's "we are both lone wolves" [paraphrased] comment to Rick Flagg Jr. in the 1987 Suicide Squad arc The Flight of the Firebird* and how it is so blatantly false for both characters. I'd post a picture of the actual panel, but it is literally dark outside where I am and the lamp I have is shorting out. I'll obviously update this post when I remember, as I have a paper due later. Anyways, not to get off topic. Flagg feels as though he is useless when he's not leading a group, when he doesn't have something tangible to fight for even if that immediately tangible thing is Bronze Tiger and a bunch of idiots. Without the squad, or even just without Waller, he seems listless. Deadshot is subconsciously drawn towards human companionship whether he wants to admit it or not; even when coerced into teams, he bonds with people fast. Although, I don't know how great his definition of friendship is given that in the last roughly 40 years of his history he's kept trying to kill his teammates. And I'm not exactly saying that Deadshot is touchy-feely or whatnot, but I think by this point it's clear enough that he doesn't actually like being by himself.

*issues #5-7

[screamlet]

micelli's date nightmare (ver 2.5)

this is part meta, part fic, an alternate micelli's date from 8x6. word count: 2.7k

---

"that was kind of weird."

"no it wasn't. you're hot, so is she. it's okay to look."

"yeah, right, and i noticed you didn't." 

"i'm a kinsey 6," tommy says, kind of incredulous.

"i'm not sure what that means?" buck asks, as the audience surrogate.

and that's a problem, because in-universe buck is no longer the whole audience's surrogate. now he's a man who discovered his queerness later in life; he's a man in a queer relationship with another man; he's someone who celebrates a six-month anniversary out in public with his male partner. there's people in the audience who can see and celebrate parts of that journey with buck, who have been there or see how they can get there in their own exploring, but that's a road that not a lot of people have gone down or ever will. he doesn't belong to the general audience anymore, but the show needed him to still be the surrogate because we as the audience know buck.

but it's been six months and the audience needs to catch up on What It Means To Be Queer. so we get... "i'm not sure what that means?"

buuuuuuuuuuuut what if.

---

buck takes the picture for that girl and her friends, gets all weird because he could be perceived to be flirting with a woman while on a date (his gay anniversary dinner with a gay man who is his gay boyfriend). despite his awkwardness, she doesn't quite get that the big dude waiting for him is his date, his boyfriend. she's hot, he's awkward and hot, whatever.

so maybe she follows buck back to his table because she doesn't read them as being on a date! maybe he's a guy who doesn't want to ditch his buddy and like, it's micelli's!!! everyone's having fun, one of her friends really likes big guys, this could totally be something tonight!!

"thanks again for taking the picture for us," photo lady says as she comes back to the table with buck. she pauses and addresses both buck and tommy: 

"um, so we're actually celebrating our friend getting a promotion at work. it's just us girls right now, but would you guys want to join us?" 

maybe buck starts blushing because aaaahhh a lady hitting on him AND tommy, whaaaaat does he saaaaay

but tommy's like, "we'd love to… some other time, but, haha, i'm gay, like kinsey 6 gay, and he's…"

it takes a second, but buck manages: "uh!! his date!!"

"his date to our anniversary dinner," tommy corrects (dryly)

"and i'm still working my way around my number!! kinsey number. it's just for fun."

"oh! omg, congratulations!! and, uh. what's… what scale is that?"

tommy says, cutely, "where you fall on a range of heterosexual and homosexual desire. it's just for fun."

"ooh i'm gonna look that up, it sounds fun! okay, have a good night, guys, and congrats again!!!"

she leaves, their date continues, but buck's uncomfortable. "wow, haha, you just. told her we were on a date."

"you told her we were on a date," tommy says. "i told her we were here for our anniversary. was that a problem?"

"no, just."

"because we're in a restaurant for our anniversary."

"right, but. we're not like, being loud about it."

big fake tommy pout. "you didn't call ahead and tell them? they're not gonna bring us a cake with a giant dick on it, with little sixes for each testicle, and sing something from the village people? it's been so long since i heard macho man in public."

and haha very funny and buck is smiling but he's more uncomfortable than he's smiling. "i just didn't think of it, that's all."

"... which part? the giant dick cake, or the part where i told a stranger that we were on a date?" pause. "did you not want me to tell her?"

"no, uh, it's not that. or maybe it is that. i don't know." buck thinks. "i haven't done it before, you know? like, no one's ever asked."

now tommy's a little guarded. "yeah. you've been passing. you're still butch little buck to the world."

"and you pass, too! like, you're really… you know."

tommy nods. (maybe he kinda wants to jab at buck because he can't say the word masculine or butch or even say he's on a date with a man, but he doesn't.)

"it's funny but i think i don't," tommy says. "maybe it's the paranoia, internalized homophobia, toxic masculinity in the army and the 118 but… i've always felt like i stick out like a sore thumb. i've always felt like people know."

"they really don't, i promise."

tommy tilts his head. "how do you know?"

"i mean… well, okay, i did… tell eddie you were gay."

"what, recently? he didn't notice the couple of dozen times i've called you my boyfriend in the last six months? or the other way around?"

"no, way at the beginning after our last first date. i said something like, you don't hide it but you don't advertise it. he didn't know."

"and you think eddie is everyone?" tommy lets out a big breath. "well, he's not. you're both very adorable and very dense, mr. i didn't know he was jealous until he sprained my ankle and mr. i didn't know i had a crush until i sprained his ankle. other people, they might notice."

buck motions over his shoulder. "they didn't notice. they didn't know until you told them."

"one of them didn't." pause. "is it a problem that i told them?"

"... no, no of course not."

tommy's eyebrows go up. "so now those five women in the los angeles area know you like to fuck men. now what?"

"a man. i like you."

"right. you like me and you like to fuck me."

takes buck a minute to say, "right… well, it's not always…"

tommy laughs. "i meant categorically. kinsey 1? you think i'm your one and done?"

"i don't care about the scale, i care about you."

"it's not about the scale, buddy."

suddenly, perfect timing, a giant plate of spumoni arrives at their table. "from the ladies," the waiter says. there's a piece of paper to go with it that the waiter hands to tommy.

(is this the hot waiter? maybe he hands the paper to tommy and they share a look that buck doesn't like. there's lingering eye contact and it feels weirdly knowing even though they're strangers. probably strangers. does tommy know him? maybe the waiter's gay, too, and maybe he and tommy have hooked up? but tommy would have said something, or will say something. now tommy's unfolding the paper and definitely looking at the waiter's ass as he walks away. it's all A Lot and buck's upset, even as he remembers "it's okay to look."

(but does that apply to tommy, who knows he's gay? because he thought tommy meant it like, it's okay for buck to keep looking at women or still sometimes look at women because he's new to this. but tommy still looks at men even when he's with buck? that's—well okay of course he does, tommy knows what he likes, buck isn't dumb, or so cocky that he thinks he's the only guy tommy ever wants to look at again. tommy likes men. he's gonna look at men, and buck is gonna see him look at men sometimes.

(does anyone else see it, when tommy checks out men?)

"the note's from them?" buck turns around and the girls wave at them. buck weakly gives a thumbs up and turns back to tommy, who's cracking up at the note. he hands it to buck:

sorry for hitting on you during your anniversary date!!! the spumoni here is SO GOOD! also: rachel b. (that's me!!): 2 (does my sister's bachelorette party count?) cindy: 4 (seven sisters school haha) patricia: 00000000 (boring! sorry! and you guys are so hot!!! please reconsider? jk!!!) rachel s.: 5 (i thought i was the token gay and here's CINDY) sarah (recently a divorcée): 1 but that number is going UP happy anniversary!!!!!

"oh, wow," buck says. "that's a lot of information."

tommy gets up and heads over to the women, crouches at their table. buck turns around and watches the way he makes them laugh, the way one of them touches his arm, the little glances they throw buck's way—it's different. it's different from the way tommy was acting with him here. he's louder and… gayer. hands way more… out there. lots of head tilts. one of the women from the other side of the table gets up and hugs tommy tight, and they all call out byeeeeeeeeeee tommyyyyyyy as he comes back. he's turning bright red as he sits with buck again. heads around the restaurant turn towards them and buck feels frozen on the spot.

tommy looks happy, then disappointed. "was that too much?"

"too much what?"

tommy raises his eyebrows.

"you keep doing that, like—"

"did i queen it up too much for you?"

"no i just… didn't know you were like that. or could be, sometimes."

tommy looks like he's about to say something bitchy, but then he puts it away. "that's what i mean. sometimes i'm obvious, even if you can't see it."

"i mean, that was obvious. you just put on a show for everyone."

tommy laughs, shocked surprise, and kind of angry. "and does that upset you?"

"no, of course not!" buck pauses. "did you know that waiter?"

"the waiter?"

"yeah, you were like, looking at him, and you checked him out."

"and? you checked rachel b. out when she was here and i didn't say anything. i said it was okay to look. which of these things is a problem?"

buck checks himself. he doesn't really know what he's mad about, or if he's even mad. he's just uncomfortable. everything feels uncomfortable and weird, and like everyone's looking at him. that waiter knows something about tommy, those girls like tommy more than they like him, and why wouldn't they? tommy was so cool and easy with them, and buck's all weird and awkward with everyone, and their anniversary dinner kind of sucks now.

"are you okay?" tommy asks. "are you gonna make me eat this whole plate of spumoni by myself?" he pauses. "are you jealous of that waiter?"

"i don't know." buck sits back and sulks. "i hate this place. i don't know why we keep coming here."

"well, the pizza's pretty good, this spumoni is great, and the last time we were here, you told eddie we were gonna pick up some hot chicks after we saw our movie." tommy's foot nudges buck's under the table; buck startles. "you move on from that at all? you still wanna go pick up hot chicks? there's five right over your shoulder. they're thinking of hitting up rachel s.'s favorite lesbian bar. they even asked if we wanted to come with them."

buck looks panicked. "did you say yes?" suddenly he remembers himself. "sorry, sorry, i mean—like, women i've dated talk about it all the time, you know, going to gay bars so they don't get hit on."

tommy nods, then leans in: "but they're going to a lesbian bar so they do get hit on." tommy leans back and says, "which is pretty funny."

"is it?"

"isn't it?"

"like…" buck doesn't even know what he wants to say. he doesn't really—he can't picture, exactly, what bothers him. "like what if they do meet someone, you know? some nice lady? and they make out or hook up and then one of them is like, actually sorry this was fun but—"

"so what?" tommy's eyebrows are climbing into his hair again. "you've never hooked up at a bar or club and done that? sorry, this was fun…"

"but they…"

"they need to take it more seriously?"

"yeah. yes. exactly. it's serious business!! it's not just walking into some bar and making out with a—being a woman and making out with a woman and maybe that's your whole thing now, or it's not your thing and—and what if she gets hurt, you know?"

"the hypothetical dyke that will instantly fall in love with one of the kinsey zeros through four and have her heart broken?"

"stop making fun of me, i'm serious."

"i can tell but i don't know what you're serious about." tommy adjusts his chair, sits up straight, but buck notices how he pulls his chair back a little, like he's making more space. space to leave? is he gonna get up and leave because buck is doing too much, or saying the wrong things, or being weird about women, or thinking about women, or not—

"it's really funny, actually," tommy says. "that hypothetical lesbian bar romance is the most i've seen you engage with like, anything gay besides getting your dick in my mouth."

"jesus, tommy, we're in public." buck doesn't even realize he's said something weird until he sees how tommy has gone so quiet and still. "i care about stuff. i engage."

"really? you didn't go to pride."

"i was working, so were you."

"i would have traded shifts if you wanted to go."

buck's uncomfortable again. "did i have to go?"

"of course not, but did you want to go? have you gone before?"

"of course i have," buck says, but he's not sure. he's usually working, and sometimes they get calls to handle something during pride but it's rarely anything weird: dehydration, party drugs gone wrong or too far. they're usually in and out before buck can get much pride done.

"i'm working, usually," buck admits. "but if you wanted to go…"

"it's not really my scene, either, but you didn't feel like… any kind of call? any kind of curiosity? what it would be like to take the day off, go to pride, be there with a boyfriend? like you'd be out there in your little shorts—"

"i don't own little shorts."

tommy smiles and he looks kind of mean, like he got a cheap shot at his expense except buck doesn't get it.

"what? i don't! they make my thighs look too big."

"alright, forget that. but the rest of it. you didn't want to be out with other gay people, showing off your boyfriend, getting shown off by your boyfriend? because i would have." tommy suddenly goes still again. "i would have shown you off."

a real gut punch. "tommy, i didn't know you wanted to go."

"i didn't know how much you didn't want to go."

"it just… it doesn't feel like it's for me! i didn't…"

tommy waits. buck waits. 

"are you bisexual?" tommy asks. "pansexual? both? neither? queer? straight?"

defensively: "i'm not straight, i have a boyfriend."

"and that makes you…"

buck pauses. "i don't know." he looks at tommy, who looks worried.

"do you want to know?"

pause. "i guess i have to."

"you don't have to do anything, but it bugs me that you have a boyfriend and that's all you care about. it bothers me that it's been six months and you've never thought about all the times we've been clocked in public. being seen like that didn't bother you? or did you not notice?"

buck flinches. apparently the latter. "we have?"

"yes, evan. every coffee place or restaurant or bar with a little rainbow outside, and even the ones that don't. two guys head in together, standing close together, flirting with each other���"

"that doesn't mean…" buck hears himself. 

"what? maybe it doesn't mean we're there to check out the glory hole in the back, but it means we're probably a couple. does that bother you? i mean, it clearly does, but did you even realize until now that it bothered you?"

"no! it didn't bother me because it wasn't a big deal. you're making it a big deal. why can't we just go out and have fun? now i have to go around and count how many people think we're gay, or if people even notice, or if i'm being weird and making it obvious i'm with you, or…"

"and, six months late, welcome to my life," tommy says. "seriously, do you want any of this spumoni or what?"

[rheitais]

Dc x Dp Fallen Moons Pt. 1.5

Was thinking of interactions for this post. So here we go, unhinged thoughts at 1 am on a weekday while I procrastinate. Thank you @kizzer55555 for the parental figure. Clayface is their dad and i feel that it fits for the whole uncanny twins.

Damian: Father, Richard, meet my classmates Daniel and Dante Nightingale. They were assigned to my group project with Jonathan.

Danny and Dan: Nice to meet you, Mr.Wayne. *while deadpanning*

Dick and Bruce: Reeling internally ever so aggressively.

_____________________________

Danny: Dad we met Bruce Wayne today.

Karlo: Is that so? Did you have fun?

Dante: Eh it was kinda boring. I think the only interesting part was his cave but even then he really is just a fruitloop.

Karlo: Of course- Wait what? Did you say cave????

_____________________________

Batman, still in the cave: So it seems you were right Nightwing. Not only are their records fake but even their parent identity is fake and with footage from Oracle, it is believed their possible guardian is Clayface.

Nightwing, patroing: Do you think they are in danger? I mean with how they act and stuff. They might even be metas from what robin put in their file.

Red hood: Are you talking about casper and jade?

Robin: Red hood, I believe that your very ridiculous skills for names need to be reworked. Neither of them are jade.

Red hood: Whatever you say baby bird, as for you Blue and B, those kids couldn't be anymore safe. Honestly.

Batman: What do you know?

Red hood: I don't know, the fact that I'm watching Clayface throw down with some vampire dude in an alley, like a full on cat fight. On top of that, he is winning. Ooh that was right in the ribs, yeah I don't think the vampire dude is going to get away from trying to kidnap his kids and the squirts are cheering him on too.

_____________________________

Karlo, standing over Vald's slightly but bloody deformed body: Come here to help or try taking them too?

Red hood: Honestly, I'll take care of the guy. Just go home it's late as hell and definitely pass their bedtime.

Karlo: Tell your clan they don't have any business looking into me or my family. Also this "thing" is a warning. Try taking them from and every last one of you will feel this tenfold.

Red Robin in coms: Parenthood is one hell of a drug.

Batman, pretty much understanding that feeling from after Jason's death: This case is closed.

_____________________________

3 am and at Bat Burger:

Karlo: Jesus Christ, kids breathe, the food isn't going anywhere.

Dante: But it will start fighting back if we take too long.

Karlo: Food shouldn't be fighting you?

Danny: Home food did, always.

Karlo proceeds to go through the 5 stages of grief.

__________________________________

Harley: K, baby where did you find these munchkins?!

Ivy: Yes because they are definitely not yours.

Selina: Oh don't let you-know-who hear that, he would adopt these kittens in a heartbeat.

Danny: NO, WE ARE STAYING WITH DAD. No more adoption. It started and ended with Dad.

Dante: Dad already swore he would kill both Bruce and Batman if they tried taking us anyway.

Karlo, already done with life and exhausted on the couch: They can try and fail miserably.

[puck-luck]

Ooh omg congrats on the 1K!!

I would like to request 5 of clubs with Jack Hughes please. (Maybe with an exhibition kink 🙈)

This isn't quite as clubs-like or exhibitionist, but I've been feeling slightly out of the mood today (I think because I had to make a lesson about the American relationship with Native Americans during colonization... not the most uplifting topic). Hoping for something better tomorrow!

Also I'm watching a 2.5 hour video essay about One Direction's history right now. I love that people can make whatever content they want, and they usually give it their all :)

after typing that i'm realizing that statement is really meta since i'm writing nhl fanfic. sigh. ok fine i guess i enjoy my own content whatever

Warnings: fingering, exhibition, Paul Mescal in Gladiator II WC: 592

You’ve never been one to keep trivial secrets from Jack. He’s your boyfriend and you are thoroughly against miscommunication. Your openness has resulted in plenty of fun jokes for Jack, the latest of which has landed you in your current predicament. You’re in the bougie movie theater that Jack always splurges on, sitting in a plush recliner and watching Gladiator II. Jack thought this would be a fun date night, because– well– you love Paul Mescal. 

It’s something about his nose. It’s very Roman, which you find sexy. Jack knows this, and knows that you’ve particularly enjoyed the costume design of the film, even joking with you about dressing up like a gladiator for Halloween. 

He hadn’t mentioned it again until this morning, which is when he told you that he’d bought some tickets for the film. It had actually been out for a while now, so the theater is relatively empty, but you’d never had the time to see the movie. Jack, after all, had wanted to see it with you… probably because he wanted to pull something like this.

He knows that Paul Mescal is your celebrity crush. You’ve been repeating that to yourself since you realized that it’s the motivation behind Jack’s movements. His touch had been casual at first, just tapping his fingers against your thigh. He’d convinced you to wear a skirt by claiming you’d be going to dinner afterward. You expect that his real reason is that he wanted easy access.

His fingers are inside of you now, petting over your walls. He’s teasing you, moving slowly when Paul Mescal isn’t on screen and thrusting into you at a quicker pace when your crush graces your vision with his presence. Jack also particularly likes drawing circles over your clit as he moves inside you, constantly keeping you on the edge.

“Jack,” you hiss, ready to try and convince him to stop, even though you only half-want his movements to cease. You’re flushing a bit, eyes darting around the theater to make sure no one is watching you. There are only a few other groups in the theater: another couple two rows ahead, a group of university-aged girls near the middle of the theater, two middle aged women in the front row. All in all, there are less than fifteen people in this theater. 

“Be quiet, baby. I can’t have everyone hearing you,” Jack murmurs. He shoves a handful of popcorn into his mouth, continuing his movements. He’s acting completely normal, even as your cunt squeezes him tight. 

You bring your hand down and clutch his wrist, trying to halt his movements. 

Jack turns to you. “Do you really want me to stop?” He asks quietly. Paul Mescal starts speaking on the screen and Jack’s eyes flicker away from you to check the screen. His thumb increases its pace against your clit and his fingers flex rapidly inside of you. 

You whimper a bit, clenching down involuntarily. Your knuckles turn white while your fingers grip his arm. Your hips jolt.

Jack quirks an eyebrow. 

“No,” you admit, loosening your grip and allowing him to continue. 

“Just pay attention to Paul,” Jack encourages, smirking at you and brushing a kiss against your cheek. “I’m just here to help you along, baby.”

You scoff quietly, cringing a bit at his words. 

Jack clocks your reaction, his face breaking out in a tiny smile. He giggles to himself, tracing the line of your jaw before mouthing against your throat. “Don’t laugh. We’re having fun. You, me, and your other boyfriend.”

[enjolraspermettendo]

Les Miserables Fanfic recs✨️

I tried to make a selection, my absolute favourites have a heart next to them ❤️, but my les mis fics bookmarks have 17 pages, so you know, there are still other amazing fics that i didn't include (part 2 maybe?). I also realised while making this list that most of these fics are actually very well known, but still, they're great 🤷‍♀️ I'm an angst enthusiast, be warned.

( I'm trying to also tag the tumblr accounts of the authors: if you are one of the authors and I missed your url and want me to add you or if you want me to remove you dont hesitate to contact me! )

❤️ World Aint Ready by idiopathicsmile @idiopathicsmile

Enjolras presses his lips together. He already looks pained, and Grantaire hasn't even opened his mouth yet. That's got to be a record, even for them.

"I need a favor," he says at last.

"With what?" says Grantaire. "Ooh, are you forming a cult? Can I join? I'd be awesome at cults, I just know it." He ticks off his qualifications on his fingers. "I love chanting, I look great in robes—"

(High school AU. Grantaire the disaffected stoner is pulled into a cause bigger than himself. Or: in which there are pretend boyfriends for great justice.)

Part 1 of World Aint Ready-verse

To Fold the Sheet by Lyres

“Can you say one good thing about the season?”

Holding out his soap-sud covered hands until Grantaire tosses a towel on top of them, Enjolras hums in thought. “Not really,” he says, once he's dried off. “Just don't have a lot of happy memories of summer, I suppose.”

(In which Grantaire attempts to make Happy Summer Memories, and Enjolras is endlessly patient.)

History of Melancholia by Squash (JeSuisGourde) @meta-squash

Grantaire deals with his depression by documenting it through photography as he and Enjolras try to wade through life with mental illness. It doesn't make it any easier for him or Enjolras, though. It's the blind leading the blind as they try to navigate the waters of depression.

A series of moments in no particular order, showing the paths that Grantaire's depression and addiction has taken him on and the ways he has tried to survive.

Submission (Going Down, Down) by ddeadkennedys

anyway, enjolras hated grantaire at first. enjolras isn't an asshole, he's not a gatekeeper or some sort of shitty elitist, but grantaire was uninspired, hopeless despite all that potential. a waste. but then that whole thing went down, and shit changed, and if grantaire thought he couldn't get enough of enjolras' attention before, now that enj is only mean to him for fun he's a fucking junkie for it.

Part 1 of the revolution is my boyfriend

Keep It Kind, Keep It Good, Keep It Right by lady_ragnell @theladyragnell

“You aren’t going to ask me if I’m okay?”

“You aren’t. Believe me, I know the signs.” Grantaire sighs, and his breath mists in the air like cigarette smoke. “They love you in there.”

“And out here?”

“You know that’s not a fair question.”

Forget Me Not by Opium_du_Peuple @just-french-me-up

Enjolras loses four years worth of memories after a nasty car accident. Though he still remembers who Combeferre and Courfeyrac are, he also finds himself with a herd of friends he doesn't remember meeting. Friends who are exactly what his blank mind needs to recollect his missing memories.

or : the amnesia fic no one asked for.

i'm not the moon (i'm not even a star) by serinesaccade @serinesaccade

“The amnesiac has questions,” says Grantaire. Boyfriend grips the wheel. “Don’t worry, we’ll start with the 200 dollar Jeopardy trivia.” A semi roars past them. “What’s your name?” The perfect sinew and bones of his fingers relax. “Oh,” he murmurs. Just like that, defenses lowered. “Enjolras.” “Cool,” Grantaire says. “I’m Grantaire.” Something happens to Enjolras’ face which, if you zoomed in, might be considered a smile. “I know.” “How long have we been dating, Enjolras?” The almost-smile is gone. The gameshow metaphor has become too apt; someone’s lost it all. “That’s complicated.” Well. Grantaire should’ve known some part of this fairytale was too good to be true. He’s best friends with a streetsmart renegade and someone who wrote him a welcome-back-to-consciousness poem in godawful blue icing on an orange frosted cookie cake. There are nearly ten people who were waiting for him to wake up in a hospital room. Of course his inexplicable relationship with his supernova hot, socially conscientious boyfriend is ‘complicated.’

thirteen days and fourteen hours and a dozen minutes by Potoo

"Enjolras,” Grantaire gasps as delicate fingers brush over his chest, an airy quality to them, “what do you want?” Because Grantaire would serve him the whole world on a silver platter, and it would never be enough.

“You,” Enjolras states, his voice clear and severe, “I want you.”

Enjolras discovers one by one what his friends think about Grantaire. He is rather surprised by their words.

Also: body worship porn.

Metropolitan Art by ryssabeth @avagueambitioninyourerection

Paris is his home.

❤️ Wrap your fingers round my thumb by Ibbyliv

When Éponine leaves in the morning, he’s already feeling much better. No really, he is. He makes a cup of coffee and even showers. The sun is shining brightly –even though it’s mostly late in the afternoon than morning but he has no one to apologize to, no reason to excuse himself for being a lazy ass and not finishing that painting for ages- and he’s humming a catchy tune that has been stuck in his head while he wipes his hair dry with a towel. He opens the door because he feels good enough to take the trash out, and everything’s alright, even the odor coming from the plastic bag, until he hears it.

It’s a cry, a wail, desperate and heartbreaking as if something tiny is trying to cause its lungs to explode and is on its way to success. Grantaire looks around, not willing to accept what he feels coming, before lowering his eyes on the floor. In this moment, Grantaire swears, he's so fucking wasted. * Enjolras leaves to work abroad for a year. When he returns, he finds out that there has been a new addition to their group.

A Series of Progressions by AnnaBolena @annabrolena

Modern AU in Paris in which most of Les Amis are students and all of them are sort of slow on the getting together aspect of relationships, with sociopolitical commentary and medical jabber peppered in between.

how sweet and lovely dost thou make the shame by Tegami @furtherfish

He could have shrugged and that would have been it. Say that he just found it precious. But Grantaire was Grantaire and he never could keep himself from oversharing and he was already dizzy with the way this night was going, so he told the truth. “The first thought I had when I read that poem was ‘If someone would ever call me “sweet boy” and mean it, I would probably pass out.’” OR: E & R are being ""casual"". Grantaire attempts to break some of their habits. Enjolras reads some angsty notes R left in his copy of Shakespeare's sonnets. Then they fuck

❤️ Hotel California by sunflowerbright

'You can check out, but you can never leave' - Reincarnation!AU

❤️ Paris Burning by thecitysmith @thecitysmith

In a world where cities are personified, the City of Paris has been missing for centuries, driven away by the horrors of war and the worst humanity has offered him. Enjolras dreams of meeting Paris, and leading him to a better tomorrow. What he doesn't know is that Paris is now a cynical drunk who calls himself Grantaire.

❤️ Thirty-Two Times by Ark @et-in-arkadia

Marius, looking chastised but sad, says, “Is there nothing then for romance, Enjolras? It seems a strange emotion to be struck with, distracting as a fever, if it means nothing.” It is Grantaire who answers first. “Nothing means anything, Marius,” says the cynic. “Yet who would ever die for his country if he did not love some person who lived within it?”

❤️ Once We're Kings by raeldaza

Their kingdoms have been at odds for centuries, so what will be a greater 'fuck you' than to send hapless knight Grantaire as their representative for Prince Enjolras's queen choosing ceremony before he is crowned King? Grantaire disagrees, but he doesn't seem to get much of a say in the matter. No one is really expecting anything to come of it, but trust Enjolras to defy expectations.

❤️ Your Heart on Your Skin by zade @racetrackthehiggins

Grantaire’s first flower appears when he is two years old. It’s late, for a First Bloom, considering some children are born with their First already etched above their hearts, but Grantaire’s parents are warm and loving and wait to see what sort of child they have born unto the world. His First Bloom, when it comes, is vibrant patch of yellow carnations. He is too young to know what it means, and his parents don’t tell him, just—withdraw, and a much smaller patch of yellow carnations appears on his mother’s ankle. -- Soulmate AU where things in your life appear as flowers on your skin, and people with hard lives have a lot of flowers to show for it

Tetris by chapstickaddict

Cosette is Enjolras' half-sister. His father slept with Fantine and then buggered off to be with his wife. Then Enjolras found out. One day he sees her- and he knows its her- and doesn't know what to do. Enjolras is Cosette's half-brother. Her mother slept with a married man and died of a broken heart and weary soul. Then Cosette found out. One day, she finds him-and she knows its him- and doesn't know what to do. Then Marius happened...

Silence Is the Speech of Love by lady_ragnell @theladyragnell

Grantaire's life has a pattern: he pays his respects to Aphrodite, he goes to work, he loves Enjolras and provokes him because he can't bring himself to do otherwise. That seems unlikely to change, at least until Enjolras speaks out against the gods and ends up cursed. Grantaire does his best to help him, but it turns out it's just as hard to love Enjolras up close as it is from afar.

Part 1 of The Speech of Love

❤️ I Believe In Nothing but the Truth and Who We Are by Whreflections

"Under the wine, Grantaire smelled like smoke and summer nights. His dark hair curled in a chaotic mess around his face, his neck below pale and soft. The first time they met, the first time he drew the scent into his lungs, he ached with the need to mark that stretch of skin, to card his fingers through Grantaire’s hair so very gently before tilting his head back so Enjolras might mark his bared throat and make his claim. He resisted then, telling himself that to act on instinct alone was the arena of an animal; he was a man of intellect, and he could choose." As an alpha, Enjolras has known Grantaire to be his mate since he first came to the Musain, a truth he does his best to bury. With his devotion already promised to France, he tells himself he cannot risk dividing his loyalties, cannot risk a bond that would pull so heavy on his heart. This is what he's told himself a thousand times, but when Grantaire needs him, his careful resolutions may not be able to hold against the strain.

His Love Letter by ShitpostingfromtheBarricade @shitpostingfromthebarricade

Your Wednesday regular appears right on time and orders the same thing as he does every week, but something's different today.

❤️ Here's looking at you by illuminate

“So domestic trouble rather than treason?” Floreal said. “I’m not saying one precludes the other.” Enjolras said, which came out more pained than he had intended. “Are you suggesting Grantaire sold national secrets to a crime lord because you were a bad boyfriend?” Floreal asked. Her tone was bemused, but there was a glint in her eye that turned the comment into mockery. “No.” Enjolras snapped, stung, and then didn’t say more. Spy AU. Grantaire removes his tracker and disappears the same night Lamarque is killed in his office. Enjolras is left behind, trying to figure out what happened and why Grantaire didn't tell him anything.

❤️ Meanwhile, A Glacier by standalone

“I’ll go.” He says it without brashness or deference. Just a statement. “Where?” “You want to climb the Forty,” he says, and Enjolras can’t deny it. “I’ll go with you.”

❤️ It's Not the Same Anymore by ShameDumpster @shamedumpster

Grantaire is a bookstore clerk in his late twenties, and to everyone’s eternal disbelief, a father. It’s been years since he’s seen anyone from his former group of friends, after a falling out cleaved him from the ABC, but everything changes when Enjolras walks into his bookstore. Can they rekindle their friendship, or something more, while they both come to terms with how their lives have changed over the past decade?

Part 1 of INtSA-verse

❤️ Combeferre's Tattoos by standalone

Enjolras clunked down three lowball glasses of whiskey and a bottle of soda water. “We have already established, ‘Ferre, his freedom to leave us. Can you please stop bringing it up and instead give him some incentive to stay?” Combeferre cocked his head to the side, as if amused at Enjolras’s crankiness. “Such as?” “He seemed to like you shirtless.” ‘Ferre nodded. “Then perhaps someone should take my shirt off.” or When the universe gives you Enjolras and Combeferre, who the hell are you to ask questions?

Part 1 of Tattoos AU

❤️ In Defiance of all Geometry by idiopathicsmile @idiopathicsmile

Amis House might not be the biggest student co-op, or the fanciest, but it's got something all its own. Specifically, smoke damage on the kitchen ceiling from that time Courfeyrac lit a political pamphlet on fire. In which there are secrets, pining, pancakes, and revelations, and sometimes the shortest distance between three points is not a triangle but a circle.

Part 1 of IDOAG-verse

❤️ We still got time (Raise your hopeful voice) by RavenXavier

“Excuse-you!” came Grantaire’s offended voice from the other side of the room. “I would make an excellent wife, Monsieur Lesgle, should I choose to! I have all the qualities of one!" (In which Enjolras slowly falls in love, and Grantaire takes the time to explore what feels right.)

Musagetes by defractum @defractum

"You've had sex," says Grantaire, just to clarify. He gives Enjolras an obvious look up and down, as if he's trying to imagine it right now: Enjolras having sex, Enjolras in the act of having sex. The curve of his mouth gives away his smirk; it's Grantaire though, so his smirk is two-thirds mocking and one-third self-deprecating. In which Enjolras has sex, has casual sex, and doesn't talk about it; in which Grantaire speaks better through art.

❤️ Through the Narrow Place by revolutionbarbie

“What brought you to Paris?” Montparnasse asked. “A train, ostensibly. And a bus.” Grantaire leaves Poland for Paris, content to remain alone forever if it means that he'll be safe. He goes to work and he comes home and he doesn't think about how few people there would be to miss him should he disappear. When he meets the Friends who gather and plot at the Cafe Musain, he realises how much he has been missing and though their leader is reckless and arrogant, Grantaire can't help but be drawn to him.

❤️ A Thousand Miles by kjack89 @kjack89

Some couples had a morning breakfast routine. For Enjolras and Grantaire, it was coffee. Come rain, shine, or hectic schedules, they still made time every morning to have a cup of coffee together. Sometimes that time saw Grantaire perching on the counter in the bathroom while Enjolras gulped his cup in the shower; other times, it was the two of them in bed long past when they were supposed to get up, wrapped in blankets and each other. Some days those precious few minutes were the only time they saw each other, and they treasured it. Even when Enjolras was out of town on business, they called or Facetimed each other to share their morning cup of coffee. It was the one consistency in their lives that Grantaire could count on.

❤️ Hēbē by illuminate

“You cannot feed on a citizen without their consent, because that would be an attack on their person - and their Rights, I am sure. But you cannot risk revealing your nature and so you cannot ask for permission. Luckily, you have me, who am already aware and quite willing.” The chair screeches loudly as Enjolras pushes himself away from the table. ”Come now, Apollo, let me be your cupbearer.” Grantaire implores; his tone somewhere between teasing and honest. “No, we are not doing that.” Enjolras growls. (In short: Enjolras has trouble feeding himself, because he is too busy planning the revolution. Grantaire finds out and is more than willing to help.)

Part 1 of cupbearer

Enjolras looks down at where Grantaire’s hand holds the pack against him and doesn’t bother to take hold. “If you were Combeferre,” he says, “this would be the part where you tell me these things will kill me.” “If I were Combeferre, I’d be inside and you’d be bothering someone else,” Grantaire snaps. He snatches the pack of cigarettes back and extracts one, leaving just two inside. It is with sharp, savage movements that he jabs it into his mouth, lights it with the silver Zippo, and then offers it to Enjolras.

love is in the air, i just gotta figure out a window to break out by tamquams

[thelegendofravio]

20 Incorrect Kirby Quotes

Mostly Taranza, Magolor, Marx and Susie.

Again sorry for just dumping all of them at once and if someone has already done some of these

1.

*in a group chat*

Magolor: First one to reply is gat.

Magolor: *gay

Magolor: Wait…

2.

Marx: Welcome to my very first vlog, in which I try different hair products!

Marx: *sprays hairspray in their mouth*

Marx: Well, right off the bat I can tell you this one is not very good.

3.

Magolor: Hold on, I can explain!

Meta Knight: Really? Can you now?

Magolor: I can if you give me a minute to think of a convincing lie.

4.

Dedede: What are you doing here?

Taranza: I could ask you the same question.

Dedede: I live here. This is my house.

Taranza: I should probably ask you a different question.

5.

Marx: “I wouldn’t wish that on my worst enemy” I would. Pussy.

Marx: “I’m not gonna sink to their level” I will. Coward.

Marx: “I’m the bigger person” I’m 150 cm tall give me the gun bitch.

6.

Magolor: Kirby, my old friend!

Kirby: I think you tried to kill me at some point.

Magolor: That was obviously just my way of getting to know you.

7.

Susie: You know, studies show that keeping a ladder in the house is more dangerous than a loaded gun.

Susie: That’s why I own TEN guns.

Susie: Just in case some maniac tries to sneak in with a ladder.

8.

Taranza: WHOEVER CAUSED THIS MESS IS GOING TO-

Sectonia/Joronia: It was me…

Taranza: …Is going to be forgiven because everyone deserves a second chance.

9.

Marx: Hey Susie, can I get some ice cream?

Susie: Only a spoonful!

Marx: *proceeds to pull out a comically large spoon*

10.

Sectonia: Well Taranza, I have to say, I’m really disappointed.

Taranza: Well, you didn’t HAVE to say it. You could’ve just thought it.

11.

Susie: If bees can be fish and boys can be girls, then why can’t my dad love me?

Magolor: I thought I was going to have to yell at you, but now I think I should hug you.

12.

Sectonia: Let’s write Taranza a friendly note, shall we? Dear… Incompetent… Dumbass…

13.

Magolor: We need to open this locked door. Taranza, give me your credit card.

Taranza: Here.

Magolor, pocketing it: Thanks. Marx, break down the door.

14.

Magolor: *falls down the stairs*

Taranza: Are you okay?

Susie: Stop falling down the stairs!

Marx: How’d the ground taste?

15.

Susie: When was the last time you cried?

Taranza: Uh 15 minutes ago, why??

Susie: really? That recent?

Taranza: Yeah *voce crack* is that an issue? *starts crying again*

16.

Magolor: We can bake these cookies at 400 degrees for 10 minutes or 4,000 degrees for 1 minute.

Taranza: No, that’s not how you make cookies.

Susie: FLOOR IT!!

Magolor: How about 4,000,000 degrees for 1 second?!?

Taranza: yOU’RE GONNA BURN THE HOUSE DOWN-

Magolor: I’M GONNA HARNESS THE POWER OF THE FUCKING SUN TO MAKE COOKIES!

Marx: DO IT!

Taranza: NO-

17.

Magolor: You bought a taco?

Marx: Yes.

Magolor: From the same truck that hit Taranza?!

Marx, with a mouthful of taco: Well, me starving ain’t gonna help them.

18.

Dedede: Hey Taranza, do you have any hobbies?

Taranza: Swimming…

Dedede: Really? That’s cool. I never expected you to-

Taranza: In a pool of self hatred and regret.

19.

Marx: Do you guys want to see a butterfly?

Taranza: Ooh, yes please!

Susie, with their laptop open: I’m not going to stop working to look at a stupid bug!

Marx: It’s not a bug though…

Susie: …

Taranza: …

Susie: Well I still don’t want to see.

Taranza, realizing: Please don’t throw-

Marx: Whee! *throws a stick of butter*

20.

Taranza: You read my diary?

Magolor: At first I did not know it was your diary. I thought it was a very sad handwritten book.

And that's all. There is a magoranza one too that I posted earlier

[1moreff-creator]

Select Two, Choose One: How will the Culprit get Found?

Since the latest DRDT chapter seems to have narrowed down the suspect list to just two people, many have speculated on how exactly the cast is going to pin down the correct suspect, and whether or not the audience has the tools to do so. I thought I’d throw my hat in the ring too! And while I’m still really 50/50 split, there is one piece of evidence that could change the murder method… in a way that points us to the culprit. Very inconclusive evidence, but it’s there. Let’s get into it.

Spoilers up to CH2 EP14. CW: Hanging, murder, blood, Eden and Ace!Culprit discussion

As a starting point, I’ll assume that the deduction that the culprit must be one of Eden or Ace is accurate, to simplify things if nothing else.

I will start with what I’ll call “meta only” arguments. In other words, things that characters can’t reliably use to narrow down the suspect, but that we the audience can take into consideration for theory-crafting.

-Mindset post-Nico murder attempt: Immediately after Nico runs out of the gym, the killer needs to be in the correct mindset to grab the tape, and they also need to be able to more or less figure out what Nico did to replicate it with Arei. Although, importantly, the killer doesn’t need to come up with the full plan on the spot, and they don’t need to fully understand what Nico was doing. At the end of the day, the only real similarities are the general idea of a pulley and a hanging.

Here’s more or less the train of thought Eden might have had if she’s the killer.

Eden: Hmm… The fan is broken and there was wire on it, Ace’s neck looks cut… Maybe Nico used some kind of pulley to hang him and it broke? Maybe I could do that… This tape looks useful for that.

Meanwhile, since Ace woke up in the middle of the murder attempt, he has to do a little less deducing.

Ace: Did I just get knocked- HOLY SHIT NICO IS HANGING ME WITH SOME SORT OF FUCKING SPINNING DEVICE AAAA-! Ooh, tape! :D

The actual planning of a murder would come later in the morning for Ace, once he sits down and has A Thought about it. Grabbing the tape in that context seems insane, but there may be precedent for Ace being prone to stealing the weirdest shit (we’ll get to it), so…

I think both of these are plausible. I wouldn’t say either can be disqualified like this, so we keep looking.

-Ripping/reconstructing the note: The note to Arei was ripped up and thrown into the trash, then Eden, Rose and Whit put it together.

Ace has no real reason to destroy the note, he could have just left it as it was. Maybe throw it in the trash since “it’s what Eden would have done”, but destroying it runs the risk of people not being able to put it together to point at Eden/Arturo. Although, you could argue Ace was trying to frame Nico specifically, so the note wasn’t useful and he threw it away because it made sense in his mind.

Here’s where we get introduced to a pretty big problem of having Ace as a suspect; that thing Teruko said, that sometimes assuming people will always act logically is a bad idea. Ace is the prime example; a lot of shit in this case makes a lot more sense if you assume Ace did it because he’s not smart enough to notice the problems with it. Such as using the method to frame Nico when only a few people in the class know what the method is; he maybe wouldn’t have noticed that that could point towards him as well. Ace is erratic, it’s very difficult to pin down why he does half the shit he does.

Eden, at least, makes sense. By destroying the note, then rebuilding it herself, she throws off suspicion with the exact argument she used in the trial; if she’s the killer, why do that? Just leaving the note as it is runs the risk of someone finding it and presenting it, which removes that argument, meaning tearing it is imperative.

And she would want the class to find it, not just because it makes her look more innocent if she talks about a building friendship with Arei, but because the note is where we get the “7:30” time, which combined with the fish making people think the murder was at nighttime, appears to give Eden an alibi.

In conclusion, the note being ripped makes more sense with Eden as the culprit… but it doesn’t disqualify Ace because he’s an idiot. And speaking of that…

-Fish Paradox: As outlined in my Ep13 murder theory revision, the problem with the fish is that everyone who benefits from the fish being at the crime scene only benefits if they have an alibi for nighttime, but that coincides with the time the fish disappeared, as Nico fed them and counted all of them after having dinner, so they couldn’t have taken it. Meanwhile, people like Ace who could have taken the fish, wouldn’t have a reason to as they don’t benefit from the nighttime alibi.

Except, it’s fucking Ace. It’s genuinely possible he thought people would see fish and instantly jump on Nico for some reason. See the problems that arise when you can no longer assume the killer is acting rationally?

Anyways, inconclusive (we’ll talk Eden later).

-No blood on tape: This heavily depends on exactly how Ace could grabbed the tape. His hands sorta get covered in blood instantly, so it’s hard to imagine he’d be able to do that without staining the entire roll of tape with blood. He couldn’t have easily washed it, either, since he passes out shortly after, and the blood would have likely dried by the time he woke up. This is definitely a point towards Eden, but can the cast use this? I don’t think so, because it relies on what we saw during the episode, which is not easy to prove in a trial setting.

-Dialogue and trial behavior: This one’s difficult, and as you might expect, inconclusive.

I would argue Eden has a higher amount of outright suspicious lines (“Teruko, wait—“ haunts me), but she also has a higher amount of seemingly anti-suspicious lines that make her look very innocent (see: the entire speech at the end of Ep 14).

She also has a moment where she steers the trial in the right direction by denying that Arei could have committed assisted suicide, but it’s worth remembering that if the class thinks that’s what happened and they learn of Eden’s relationship with her, they might assume Arei and Eden worked together to get Eden out. In other words, by denying the notion of assisted suicide, Eden!Culprit avoids the class reaching the right conclusion through the wrong method. Of course, if she’s innocent, it’s just genuine.

Comparatively, Ace operates at a much more stable level of suspiciousness I can only call “Ace level.” He’s constantly throwing suspicion on Nico, who the killer seemingly tried to frame with the method; he kept David and Arei’s conversation hidden; and was one of the first to jump on the “David’s the culprit” bandwagon. In a vacuum, this is super suspicious; hell, Levi was the fandom’s prime suspect for less.

But… it’s Ace. His behavior isn’t too different from the first trial. So while it’s possible he’s doing all this because he’s the culprit, it’s also possible he’s just being Ace.

Impossible to tell, I fear.

-Eden’s Night 2 paranoia: You might recall Eden being very worried someone was following her in night 2, which could suggest she was doing something suspicious (eg setting up the ball of clothes, more on this later) and was scared she’d get found out.

The problem is that there’s a perfectly fine explanation for Spotless!Eden. This is the night after her confrontation with Arturo, and Teruko did enter the same room as her; she could have just been paranoid because of the former, and felt someone was following her because of the latter. Moot point.

(I don’t think anyone else was following Eden because Teruko would have presumably seen them. Then again, I have overestimated our protag’s perceptiveness in the past)

-Eden’s strength: Eden is the weakest of the cast, so it’s very possible that half the Arei murder method is just impossible for her. But… we can’t know for absolutely sure what “weakest of the cast” means, and it’s not evidence that can be used in a trial. Ignorable.

-Motive, character writing and themes: I’m lumping these in together because I’ll give the same answer to all of them: the dev can just add an explanation in the inevitable post-trial trauma dump. We don’t know absolutely everything there is to know about these characters, or the way the narrative is going, so it’s impossible to confidently argue based on this. Physical evidence will always take precedence over these things in my books.

And that kinda settles it for that. There’s minor arguments like “Eden won’t die before we explore the Fork CG” (well, Xander did, so) or “if the Scrum Debate is Ace vs Eden then Ace is probably safe” (we don’t know what the Scrum Debate will be), but I’ll skip them to get to the more pressing matters.

That being trial-worthy evidence. What can the most dysfunctional cast of any fangan ever (/affectionate) use to fully commit to a culprit?

-Fish Alibi: If Ace has the problem of “no reason to bring fish,” Eden has the problem that her alibi literally starts directly after dinner. If Nico ate dinner with her and Hu, she couldn’t have taken the fish.

Except, of course, Nico could have had dinner earlier, and this point is completely moot. We can’t know yet.

-BDA: This is very obviously not what the cast will use to come to the conclusion given the discussions we’ve had, but I’ll bring it up anyways. This was explained in the episode though, so…

-Playground floor: sorastar6’s idea; since the floor of the playground is made of the same stuff as the relax room, it’d become sticky after getting wet from the water in the jugs, and thus, the culprit could have some stuck to their shoe. Unfortunately for some of you, we can’t easily look at the cast’s feet all the time, so this would only work for the characters, not us. However, Hu does mention heels as an example of something that can scuff the floor, and Ace wears heels, so small point to him.

-Missing glove: I still have no idea where this thing went. My only guess would be that the killer removed it to more easily put tape on Arei’s wrists, but by the time they’d strung her up, they decided putting the glove back on would take too much time (? I have no concept of how hard it’s be to properly put a glove on a dead person’s hand), and they wanted to get out of there as fast as possible. If true, that would mean they still have the glove on them, as it wasn’t in the trash. Again, if I’m right about this, the cast can use this, we can’t.

-Random garbage:

Something here. Rose would remember everything about it, so it’s usable. Maybe Ace’s gloves were damaged and he had to use the needle and thread to fix them? Maybe one of those napkins is the cloth with turpentine Nico used and only Ace would have identified and used it (assuming it wouldn’t have dried and MonoTV wouldn’t have thrown it out for some reason)? What even is that pink paper thing? Who knows.

-Ball of clothes: Held together by something Teruko identified as starch, there’s been around three hundred theories involving this thing. The only one that’s actually incriminating (for the two possibilities being discussed) is thebadjoe’s idea of the starch being from the enriched formula of the relax room, which could implicate Eden as she was acting suspiciously around the dress-up room on night 2.

I’ve seen it argued that the clothes would be dirty in that case, but that can be solved with an extra layer of clothes under the clothes that actually get starched up, which would later be either discarded, washed, or simply put inside the ball itself.

(This might be the last murder diagram I make for this case. Holy shit I can’t believe that)

Which is all well and good, but this is still ultimately assuming both that the cast has some way of making sure Ace couldn’t have done this, which I’m not sure exists, and that the starch comes from the relax room in the first place.

Because something I learnt, like, last week, is that people put starch on clothes. Like that’s a thing they do. So it’s entirely possible there’s starch for clothes in the dress-up room and anyone could have done this. If that’s the case, this cannot be used to argue at all. I don’t love the idea, since we don’t know if there really is starch there or not, but it’s there.

-Grammar: The letter to Arei pretty famously misspells “responsibel” (responsible), has horrible punctuation, etc. It’s possible someone in the trial will realize, ask Ace and Eden to spell the word, and whoever gets it right is cleared. We can’t know, but it’s a possibility. This also has the benefit of being obscenely funny.

-Custom weapon: If the killer used their custom weapon, it may point to them as guilty, as only they have access to it. However, I fail to see how a riding crop (Ace) or a wrench (Eden) would help in the slightest.

There is, however, one more item that only one of these characters has access to. And while I am very unsure of this assumption, if you ask me right now what is the decisive piece of evidence that will close the case once and for all, I will tell you:

-The shoulder band thingy:

Ace: Too fucking bad. Mine now. I’m keeping it.

Yep. This one.

For starters, remember that thing I said about the tape? That Ace has precedent of stealing completely random shit for no reason, and so it’s plausible he grabbed the tape just because? This is the precedent.

More importantly though, it’s something only Ace has access to, so if it can be determined it was used in the crime scene, it’s curtains.

And there is actually one place I could see it being used. Followers of my method theories know that, through the fire and the flames, there’s been one deduction that’s remain constant: the rope was tied to the ball of clothes, which was thrown over the railings to get the rope as high as needed. The ball also hit the lights, displacing the bulb and causing it to flicker.

(He he I snuck the image into a fourth post >:D)

I’ve always sorta assumed DRDT takes place in a physics exercise where air drag is ignored, but it’s true that this might be harder than I’ve been presenting it as.

So, we get the use for the shoulder band; a slingshot. I’m unsure on how it would be constructed (swingset maybe? seesaw?), but the idea is that. Create a slingshot, throw the clothes, badabim badabum, Ace is the culprit.

I’m not the only one to think of this btw. Reddit user (yes we’re cross-platforming for this) Makatrull seems to have arrived at the same conclusion. Great minds think alike ig.

Of course, this comes with its own issues. Mainly, how do you connect the shoulder band to the crime scene? The only way I see that happening is if the cast determines this is literally the only way the lights get broken, which… yeah, I’m gonna have to let them do the math on that one.

It’s impossible to judge without existing in the DRDT world. Is the ceiling higher than I’d previously assumed? Then it’s possible to come to this conclusion. Is it lower, and possible that even Eden would have managed to just throw the ball over the railing? Certainly. So, for now, inconclusive. When I say it’s the most likely to be the decisive evidence, I mean by like, 0.1%, I really have no clue.

———

There’s probably more, but that’s all I can think of for now.

Seeing as we’re reaching the end, I’m gonna say that regardless of the outcome, this might be one of my favorite trials in all of both canon and fan-made Danganronpa. So much shit happened. I’ll save my full thoughts for a more dedicated post, but goddamn, I can’t wait to see the conclusion!

Hope you enjoyed! If you made it this far, you deserve a shoulder band thing. Do with it as you please. See you!

[vidavalor]

Ah, I remembered!

My question was: what are your thoughts on Crowley saying ‘I lost my best friend’ when he’s directly talking to Aziraphale’s non-corporate ghost in season 1? I always thought that line was strange. Is it that he can’t say ‘I lost you directly’ because others might be listening?

Hi @procrastiel ooh, nice! I *love* this scene so I'm super happy to share an opinion on it. Thank you. :)

Meta on the meanings behind what they call each other, what they intentionally *don't* call each other, how they actually said they loved each other and came up with a shorthand for it in 1941, and why they still don't just use those damn words already...

This goes everywhere, just FYI lol. I think I started with "no nightingales" and took a scenic route through 1600, 1941 and bits of S2 before coming back to the scene you asked about but I've been told it makes sense. Thanks for indulging me. :)

There are certain things that Crowley & Aziraphale feel that they can't call one another and can't say to one another directly. It's not just because they could be overheard if they're in public, though that's always a concern. They don't say them when they're alone, either.

It's because it hurts too much.

They've always tried to be optimistic about surviving Armageddon and being able to be together somehow but they're terrified that they won't and the odds, in their minds, aren't great, being that it's the whole will of God and all. As a result, they've lived their whole relationship expecting it to end in tragedy. They could both live for all of time, forced apart by Heaven and Hell. One of them could die and leave the other alone for eternity with nothing but the memory of the other. Meanwhile, in the now? It's not a great situation, either.

They can't really be together. They are together but not openly and they can't promise each other everything and they absolutely would if they could. Heaven and Hell could literally murder them if they got caught together so they have to be careful and keep it a secret. This means that even as the human world they live in opens up and starts to change to a point that queer humans like them are living more open lives with one another, Crowley and Aziraphale still cannot at this stage in the story.

So, it all becomes then an unspoken question of: what would make this easier? (As if it could ever really be made easier?) They don't wish to cause each other any additional pain. What would make it easier, they think, is if they don't say certain things so that what they can't have now or what might be lost to them in the future is and will be easier to bear.

This is delusional but they're doing it anyway because it gives them some measure of control over things they can't totally control.

They think it is easier to deal with not being able to be together if they just never say directly aloud what they are in terms that are surface-level undeniable. They speak in a coded language with one another and they say all the things in those words. But the doublespeak gives them some cover. Not to ever deny any of it but it softens the edges of it.

It's also because they live with the fact that they can't fully be together but they also both are fundamentally optimists and want to think that maybe, someday, they could find a way to have what they want to have with one another. That's also why they don't say the things fully. A part of them thinks that if they just don't right now and they wait until some time comes when it seems like they could have a life together, then they still get to have those moments. They're almost saving some of it for a life they hope they get to have but aren't sure if they will.

As a result, they are romantic as all fuck towards one another but they don't use words like romance or love aloud. If they do find they have to talk about it, they've shorthanded it in a way that they both understand because it's based on their past together. We already can see bits of it uncoded-- nightingales, dining at the Ritz-- but there are more than that that we can see if we deep dive a bit here so let's do that...

What's evident in the scene in 2.06 wherein Crowley decides to try to abandon the doublespeak is how deeply ingrained this way of speaking is for both of them. Also, how they don't abandon it when they're alone (the 1967 scene also illustrates this.) Crowley actually reverts back to their doublespeak *three sentences* into his proposal. He doesn't get much further than establishing that they've both been on this planet for a long time before he starts evoking coded messaging. He flicks his hands between them during the "you and me" line in a way that is echoing how Aziraphale gestured at him to mean "couple" in 1941. He winds up using coded language all over the place, peaking with the "no nightingales" moment that is actually coded language twice over because of "nightingales" being their word for romance and the asking Aziraphale to listen for birds evoking the Job minisode and the moment in the courtyard when they came up with the doublespeak.

Part of why Crowley can't get through the proposal without it is because he doesn't want to do it like this. Both the doublespeak and the idea of someday loosening it a bit mean things to them. They like their private language. Maggie and Nina are not exactly correct in assuming that they never say how they really feel. They're not wrong, either, but they're not fully right. Crowley and Aziraphale do talk. They just do it in a way that hurts them less because they can't bear to hurt each other because they're batshit crazy in love with each other. Maggie and Nina are correct in saying that Crowley and Aziraphale don't say how they truly feel if saying how you truly feel means using traditional language but they are wrong to say that they don't express these feelings at all because we have literally been watching them do so this entire time.

Notice how Crowley, even risking more with breaking their code in 2.06, still doesn't say some things. Amazing how he said all of that and he didn't say I love you, isn't it? He could have. He is, in what else he's saying, but the words they don't say are still there on the table. Aziraphale, later in the scene, almost does. He almost does because he is a mess over the situation and he wants to give Crowley something but then he doesn't and he spits out a self-aware I forgive you instead. That horrid, complicated version of it that he's used before and is code they both kind of hate. He's angry that this is all happening the way it's happening because it's taking some of the things they leave unsaid for hopeful, better days and it's saying them in a less than ideal moment.

That they both leave out that I love you, though, is the most I love you thing they could have possibly done.

They think it will be easier to not be free to be together and unafraid in the present-- and to maybe lose one another in the future, if they eventually have to-- if they pretend they're not a team or a group of the two of them and one way to do that is to never say words like the one we were all silently screaming at Crowley to say in that scene in 2.06 lol: "couple."

Are they a couple? Yes. Are they lovers? Yes. Are they partners, the term Nina used? Yes. Do they refer to their relationship using any of the terms in this paragraph? Oh God no...

That is why Crowley freaks out when Nina tries to get him to use uncoded, normal, human person language to help her understand what Crowley and Aziraphale's relationship is. She calls them partners and this is Crowley:

We're in agreement with Nina then when she responds with:

Nina isn't wrong here. She's just from a different world than Crowley. Nina lives in a world like ours in the year 2023 and she's puzzling Crowley and Aziraphale out through that filter. She doesn't know at this point that they are an angel and a demon who could be murdered by Heaven/Hell for being together. Her best rationale for why she's never seen Crowley and Aziraphale in her cafe together and didn't know until this week that the bookseller has a fella is her theory that Crowley is married and that he and Aziraphale are having an affair. To her, it explains why they've got chemistry for days but they're secretive. Crowley denies that-- defending Aziraphale's honor like the good old fashioned lover boy he is :)-- but the reason why he quickly denied that he and Aziraphale are partners, even if they absolutely are, is twofold. They are used to hiding it, it's dangerous for them to get caught out, and he probably feels uncomfortable with the idea of telling someone what they are exactly without talking with Aziraphale about it first-- that's all one reason.

The other reason is that he and Aziraphale don't use that word. It's not that it's an inaccurate one; it's probably the most accurate one, actually. They have a word, as we'll see, but partners isn't it because partners is the same thing as a couple and these are embargoed words to them. They don't use those phrases, even if that's what this is, just as they don't say I love you because if they don't call it love directly, they'll never lose that love, in their minds. If they don't know what it's like to hear the other say it, they don't ever have to bear the pain of never hearing it again. Better to hold those words back and only use them if they ever can somehow really be fully, openly together without fear. If Crowley doesn't use those words with Aziraphale, then he's not about to use them with the Coffee Shop Human he's only just recently met.

Along these same lines, they refrain from traditionally romantic terms of endearment on the surface. No my love, no darling, no sweetheart. Angel was there at the start and it stays because while it's always really angel (romantic), it's also angel (species/occupational), so it works well enough with their code. But its equivalent in reverse is Crowley. It's intimate, in the sense that only Crowley and Aziraphale know what it means. Only they were there in Job's courtyard. That's the coded layer of it-- it's Crowley's name to everyone else on the surface but it's that and a pet name to Aziraphale. It's why Aziraphale just calls him that constantly. Crowley changed his name to something only Aziraphale also really understands, making the use of it by Aziraphale then a way of expressing affection. When Nina asks them both separately about their relationship, both Crowley and Aziraphale actually revert to using what they call one another in an effort to explain it, even though they know that it doesn't translate fully in human terms without more words. Crowley says Aziraphale is an angel he knows; Aziraphale says:

Ironically? They are actually making it all *more* intimate by speaking in their own, private, coded language. They can't give each other everything but this they can, right? The language is their own, little world and not being able to explain their relationship to humans that well in 2023 doesn't mean they don't know what they mean to one another, which is more important. Since they can't make each other promises of forever that they can't keep and they can't have a life in the present that they'd choose for themselves, something they can do is use their little language to be sweet towards one another and they do. By having to work a little harder at conveying meaning through doublespeak, they wind up with something ironically actually at least as romantic as the traditional words, if not more so.

Anyone can call a lover darling and it can be lovely but can just anyone make my dear fellow romantic? Aziraphale can. This one was all him. He loved standing there in front of a dozen deadly human soldiers in the Kingdom of Wessex in 597 A.D., getting away with a pet name under the guise of stealing the "old sport"-style of male, moneyed, British speak and turning it romantic. This scene is great with the pet names because it opens with Aziraphale being a bit of a tease with "is that you under there, Crawley?" which he only does so that Crowley will roll his eyes and correct him. Aziraphale loves that Crowley changed his name to something coded between them based off of the moment they started their doublespeak. It was very romantic and this scene shows that Aziraphale sometimes, in earlier days, would call Crowley the old name just to get Crowley to correct him, which is all just a coded way of getting Crowley to say that, yes, he still feels the same way and yes, he still wants Aziraphale to call him that. This same scene, a few sentences later, then has Aziraphale's my DEAR fellow-- heavy emphasis on the 'dear'-- which is then answering Crowley's admission by just skipping any and all of Crowley's names entirely lol and calling The Black Knight my dear in front of a bunch of bloodthirsty soldiers and mercenaries.

The my [] fellow is perfect in their little language because of how it sounds all "I say, old chap!" on the surface but contains words that are romantic to them in their doublespeak. It's intentional that it's *not* "old chap" or "old sport" that they appropriated for their own purposes, it's my [] fellow. Fellow as in human, which is how they see their relationship (because it is) and that's something that comes up when Crowley uses a variant of this in 1941, which we'll get to in a second. My adds an intimate element to it of admitting that they are each other's in whatever ways they can be.

Aziraphale, like we said a moment ago, will sometimes sauce Crowley with the pet names a little and he does in S1 when he calls Anathema my dear when reassuring her in a scene in which he and Crowley are having a playful coded argument over Crowley's driving. Aziraphale miracles a bike rack onto the back of The Bentley and unnecessarily codes the word "bicycle" ("a perfectly normal velocipede"), smirking when Crowley grumbles "bicycle" at him. It's joking with him a bit at the lunacy of their little language *in* their little language. (Crowley playing back during this sequence is also calling Aziraphale angel (romantic) in front of Anathema, which was also a strategic decision to signal to her that he might look like a murder hornet but he's really just long-suffering gone on the sunshine-y one. Very we're just an old gay married couple, hen. We won't hurt you. in tone.) Anyway, Aziraphale using my dear with Anathema-- and his little smirks towards Crowley around it-- was really just underlining the way he uses my DEAR fellow with Crowley by using the same core phrase with a human in normal, uncoded, human conversation.

Other than this and the big one we're going to get to, there are really only two other things we've seen them use to refer to one another. In S1's Eleven Years Ago/2008, there's the moment when Crowley and Aziraphale have arrived back at the bookshop and Aziraphale is flirting with Crowley and says this, tongue firmly in cheek:

I mentioned this in another post about the wall slam in Tadfield but this is a very much intentionally blasphemous specific sexual request that is more at home in the sex meta post you all have me working on lol but for the purposes of this conversation, "foul fiend" is Bible for "wicked demon", so this is Aziraphale just kind of flirtily, jokingly calling Crowley a wicked demon in the one area in life where Crowley would probably happily own that description lol. It also has the other layer of humor in it in that Crowley calls Aziraphale angel (romantic) all the time, more often than he uses Aziraphale's actual name, and you'd think he wouldn't want to because Heaven hasn't exactly done right by Crowley and he's not especially fond of it. By calling Aziraphale angel with love behind the meaning of it, he's calling Aziraphale a good angel. He's saying that Aziraphale is what an angel is *supposed*to be, something that Aziraphale struggles with. It's both sweet and reassuring at the same time. As a result, Aziraphale has never just started calling Crowley "demon" for the same reasons-- he thinks if being a demon is being demonic and truly evil, then Crowley is a terrible demon because he's a lovely person. He is, however, positively wicked in bed, and Aziraphale likes to mock their whole situation with blasphemous Bible innuendo when requesting a little hellfire.

The other thing to briefly mention before we get into the friend discussion is a scene not long after the one we just talked about, when they're both smashed in the bookshop in S1. When he's drunk and attempting to say "bouillabaisse", Crowley gets distracted staring at Aziraphale for a moment and calls him baby before going back to his attempts at saying a word (in French, their romance language, per S2) and we get the "fish stew-- anyway!" segue back into the rest of the scene. Aziraphale was too drunk to notice enough to react so this opens up the question of whether or not the rules can get slightly more lax in bed. Does Crowley call Aziraphale baby in more intimate moments or does he just want to and it slipped out when he was drunk? It's a fairly normal phrase so it both would and would not be a surprise either way but it's still something of a question mark by the end of S2.

But there's one thing that they use that pertains to your question from the Discorporated!Aziraphale scene (told you we'd start to get here eventually lol) and that's how they use the word friend.

The rules of their language apply-- what is said on the surface is what one of the meanings of what they are saying is. It has to be what it sounds like on the surface to also be a coded thing. Aziraphale is Aziraphale's name and angel is what he is and Crowley is the name Crowley chose for himself. That angel and Crowley have hidden meanings-- that angel is given a tone that turns it from referring to Aziraphale by his species and more into angel (romantic); that Crowley is the name everyone calls Crowley now-- from angels to demons to humans alike-- but only Aziraphale knows that it's an in-joke referencing Crowley having to playact at being demonic and evil to hide his truer, sweeter nature... this is what makes these terms acceptable in their mutual language. My [] fellow is then also meeting the rules of the language because of the humor of taking a non-romantic phrase and using it for this romance of theirs that they don't refer to as one. It sounds like a perfect common thing for British men of any kind of relationship to use in conversation on the surface but it's romantic to them underneath.

So when they say friend, by their own rules of this language, it has to first contain the surface meaning. It has to be true on that level to reoccur in their language. So 'friend' does mean 'friend' in a friendship sense. They are friends. They are good friends-- best friends. Using the word is an admittance that they are each other's closest friends, which is both lovely in its own right and healthy in a romantic relationship. You want to be friends with your romantic partner. It doesn't mean you can't have other friends, of course, but if you're not friends with your partner, it's not really going to be a terribly satisfying relationship and since that is what they are-- the longest-running of long-term relationships lol-- that they are friends is important and a good thing. It's also a big deal for them to admit to it, since they are actually *supposed* to be mortal enemies. Their whole enemies-to-lovers thing never really got off the ground because they adored each other on sight but that they're friends despite the danger and the conflicts is a big thing in its own right.

But that's not the *only* meaning of friend to them, so let's look at how they evolved that bit of their language.

From what we've seen so far, it started in 1600 in The Globe Theatre scene with this:

In 1600, Burbage drops some human, queer coding into the secret language. Friend, the way Burbage is using it, is something that's actually implying lover. The surface word is technically related to friendship but the tone changes the meaning of friendship in this context to be that of a sexual relationship. Burbage's tone implies that he thinks Crowley and Aziraphale are fucking (which Crowley, laughing, silently agrees with is obvious, since he's been ignoring Burbage in favor of buzzing around Aziraphale and clearly trying to flirt his way into his bed).

Burbage is pissed that these two-- who, as we know, are basically the entire audience-- have been ignoring his monologue in favor of flirting with each other so when Aziraphale tries at a modicum of politeness (that somehow is even bitchier subtly than Burbage lol-- "I love all the... talking" is the best he can come up with), Burbage slings back by trying to drag Crowley into it by calling him Aziraphale's friend, with that loaded tone that makes the question really: 'and what does your lover think?'

Aziraphale gets the innuendo-- he's not exactly a novice at this in 1600-- but his immediate response is just to panic at the idea of anyone noticing him and Crowley together and, as Aziraphale does when stressed, he lies in increasingly absurd levels of untruth. (See also: the scene with Shax in The Bentley in S2, when he spirals up into ludicrously claiming to *not even know who Gabriel is* in an effort to say that he has nothing to do with his disappearance.)

Crowley is bemused by Aziraphale's increasingly desperate attempts to deny what is abundantly obvious to everyone around them and by Burbage's attempt to make a thing out of them to try to assuage his bruised ego. He chooses a little violence with this particularly amusing bit of go fuck yourself, you insecure little twerp:

Anyway lol what this scene then does is give us a moment in the story wherein we see them in a situation where friend (loaded) is defined as friend used euphemistically for lover and they both know it. This isn't coding they came up with but that they will wind up appropriating from the humans around them and repurposing for themselves, though they won't for awhile still to come yet.

What's worth noting here is that friend (loaded) in this human code is euphemistic for a pretty wide array of loaded friend relationships. There's no separation in it for friends with benefits versus someone you're seeing but aren't comfortable admitting that versus someone you've been with for awhile versus the person that is basically your secret spouse, etc.. All of these things are friend (loaded) in human code because the main purpose of it is to identify a pair of people who are involved as such without directly saying so on the surface, even if it's implied heavily via tone.

So what happens when Crowley and Aziraphale eventually decide to repurpose it for themselves?

They've got to be clear on what it means. They'll need to define it more specifically amongst themselves in order to use it.

For awhile still after 1600, they just aren't defining their relationship. They don't need friend (loaded) because they have things they call each other, right? They've got angel and Crowley and my dear fellow and the like. They're not usually around a lot of other humans together that are going to do what Burbage did and try to force a definition of it. (This changes, as we know, in the modern era-- especially S2-- but back in the day, it was true for them.) As a result, they've never had to define this and that's absolutely fucking perfect, as far as they're concerned.

Not defining this? Lovely. Yes. More of that. Makes the fact that they can't just call each other my love hurt a lot less, they're convinced. It helps now for sure and it'll make it less painful if they lose each other. They totally will not at all continue to spend thousands of years wondering what it would sound like if they said the things. They don't each have fourteen million fantasies about being able to use the traditional words and how they'd do it-- absolutely not lol. *Not* using the traditional words isn't at all making both the allure of those words-- and the ones they *do* use-- hotter and more romantic or anything. Not in the slightest...

So then we eventually get the Holy Water Arc, right, and in the middle of that scene, we see them run into a definition problem. In 1862, what actually causes them to fight isn't the holy water request. It's Aziraphale giving it all a word and that word being "fraternizing." First rule of We Don't Say It Club is that we don't say it... but it's also that if you're going to say a word that means the two of you and what you have, maybe don't use the one that Heaven would-- the one that means 'socializing with the enemy.' In Aziraphale's defense, they're both a mess and half-broken up in this scene and there's more going on it than we're going to get into here but the point is that suddenly not having a word caused big drama and caused the whole holy water conversation to de-evolve into an argument that broke them up for the eleven or so minutes that they can stay broken up.

But they still hadn't really resolved the whole holy water argument debacle by 1941, even if there is evidence in the show that they saw one another between 1862 and 1941, and the reason why they haven't is because holy water is irretrievably linked to defining what they are.

Crowley asking for it meant they had to consider what they are to one another and talk about it and 1862 proved their language didn't have words for that at the time. There is a level of panic to it because the request contains a certain level of acknowledgement about how they feel about each other. Aziraphale jumps onto holy water being a suicide pill not just because he's terribly worried that that's why a visibly anxious and depressed Crowley wants it but because if it's not what Crowley wants it for, then Crowley is saying he wants it for defense and whose defense, right? Not just his own, potentially. It's very much saying that he wants it to protect not just himself but Aziraphale from Hell and now we're talking about Crowley being willing to risk the wrath of Hell and maybe get himself killed trying to protect Aziraphale from harm and now, we're closer than ever to that I love you under the surface and they panic and they avoid it for 80 some odd years entirely until World War II...

...and then we arrive at The Blitz in 1941. We are now a scant one hundred years or so until 6,000 years being up since the creation of Earth and Armageddon was always going to happen in "*about* 6,000 years" so, for all they know, this is it... and Crowley in 1600 told you how he feels about sad endings:

So while rescuing Aziraphale is nothing new, Crowley turned up in 1941 with the intent of making a better ending, in case they had now found themselves at the start of the end of the world. They were almost out of time either way and he didn't want it all to end without them having said the things but also they didn't know *for sure* if this was it... and they still can't be together if it isn't... so Crowley can't just show up and be like so, angel, I've been meaning to tell you in the actual words for the last six millennia-- I'm madly in love with you. He has to find a way to do it in their language of doublespeak. And so, here's Crowley using friend (loaded) in front of the Nazis in 1941:

By using my friend in the church, Crowley is then actually euphemistically calling Aziraphale my lover by calling back to The Globe Theatre and stealing the human coded term that Burbage used. Crowley does not care what the Nazis think. The comment isn't for them; it's for Aziraphale. So is letting Aziraphale find out about his first name, which is also calling back to The Globe Theatre. ("Anthony", pronounced "Antony", as in Shakespeare's 'Antony and Cleopatra', the play in which Shakespeare put the love poetry he stole that Crowley wrote for Aziraphale.) So is referencing the unguarded holy water in the church, which is then trying to talk about it a little by connecting it to this romantic grand gesture here and acknowledging why they panicked over it all those years ago. It's all saying I'm in love with you in their little language in the best way Crowley can in this moment.

But what did we say about friend (loaded)? We said they have to define it, right?

Because it can mean different things. Crowley isn't wrong to use it and Aziraphale understands it the way he does in the church. He understands it to euphemistically refer to them as lovers, which they are. It's just that all of this combined with Crowley saving the books then makes Aziraphale realize that it's one thing to say my friend (loaded) but if you say it and then there's holy water referencing and then there's more of the Shakespeare scene in there with Anthony and the little "you don't like it?" pout and then there's the entered a church for you and... you put all of that together with little demonic miracle of my own and saving the books...

...and Aziraphale realizes that Crowley is taking the thing that they always were-- my friend (loaded)-- and using it in the middle of saying that he's in love with him.

Crowley is trying to give it a word.

The word he's using meets all their language rules. It's from a moment in their past. It has a true surface meaning and a loaded undertone and subtext for days. He's not asking Aziraphale to use it. He's not saying the actual thing, as that would be breaking their rules, but he is absolutely saying it in their language.

He's not asking Aziraphale for it in return. He's just saying that this could all be over soon and he needed Aziraphale to know and in some ways, it's an apology of sorts. He's sorry they fought. He's sorry they lost years over it. He's sorry for the pain of it. He was in love, you see. The sex while pining got to be a lot. All of this got to be a lot. You get it now right, Aziraphale? Yes? Good. Lift home...

The phrase my friend (loaded) takes on a different meaning after Crowley saves the books and after their conversation inside and outside The Bentley. That's the point of the two "shut up"s-- the one from Part 1 and the one right after it where Part 2 picks up. Why have this conversation twice? Because it's actually two different conversations.

The first one outside The Bentley is Aziraphale in a love stupor, just telling Crowley that saving the books was a nice thing and Crowley responding with a half-effort "shut up" while he cleans his glasses. It's the only scene in the entire series to date in which Crowley is cleaning his glasses and he is in this moment to give Aziraphale his eyes for a moment. But The Blitz, Part 2 shows us this again... and then gives us the scene in The Bentley with what starts out sounding like the same conversation on the surface to start. It is, though, not the same conversation *under* the surface...

There's a reason why Aziraphale says a second time that saving the books was a nice thing. They're now in The Bentley, which is a little more private, and Aziraphale can't let this drop because he needs to know for sure what Crowley is saying with this and if Crowley's sure he wants to be saying what it seems like he's saying. This is basically Aziraphale's version of Crowley's "are you sure? are you sure you're sure?" in the magic shop later on. Aziraphale knows Crowley just said he's in love with him but Aziraphale also knows *Crowley*, right?

He's been with Crowley for a long time. He knows him very well. He knows that Crowley is anxious and emotional and hopelessly romantic and that the world is literally ending around them as they're driving through bombs raining down over London and part of Aziraphale is thinking of the fact that even in this seemingly apocalyptic Armageddon that could be starting here, Crowley was coded in what he just did. He left the traditional words on the table. He said the things in their language and that is, in some ways, even more romantic, but he's left them the things they leave out of hope for a better future, just in case. There's a caution to that and while Aziraphale appreciates the caution, he also can sense that Crowley was nervous about doing this. He is a little concerned that Crowley's going to have said he loved him and then regret it and pull away from him again and Aziraphale can't do the first bit of the Holy Water Arc all over again. He's really wanting to start to move into a lighter era here lol. He also really wants to be sure that he's understanding what Crowley is saying entirely.

And he wants to hear it again.

If Crowley isn't going to shut down on him entirely now, Aziraphale very much liked all of this and would like more of it but he first has to be sure he knows for sure what Crowley means and he can't just ask directly or he's both saying the things they leave unsaid and he'd be undoing Crowley's effort so he has to find a way to ask without directly asking and in such a way that an already sensitive about all of this Crowley won't take offense or be embarrassed and that gives them a way back from this if Crowley shows signs that he feels like he might have gone too far.

So Aziraphale offers Crowley an out.

He tells him again that it was such a nice thing Crowley did for him. He means this and it was a nice thing but this is also saying that he heard that I'm in love with you that Crowley was saying by saving his books and that he liked hearing it, that it was nice, that it was okay that Crowley did that, but that it's also okay if he feels like he made a mistake with it.

Crowley's response to again being told that it was nice is to again tell Aziraphale to "shut up", this one a bit more emphatically than he did outside The Bentley a few moments before. It's unclear to what extent this language, at this time, is sexualized, but by 2019/S1, this back and forth of Aziraphale calling Crowley "nice" and Crowley responding with some bite is a self-parodic sex game that they're playing in Tadfield.

Much of what happens in Tadfield is playing on other parts of their story-- think about the paintball bit with the gun but now with knowledge of The Bullet Catch in The Blitz, Part 2-- and there is a big difference in the ways Aziraphale calls Crowley "nice" in 1941 and in 2019. In Tadfield in 2019, Aziraphale is literally smirking in a way that implies that this is a little game they play and he's saying a series of things that he knows will prompt this intentionally outsized reaction from Crowley, who is playing it with him. The game is likely tied *to* this bit of 1941 that we see in The Blitz, Part 2 in S2, in that it's referencing it a bit (if very obviously going in a different direction lol), but also because Aziraphale's phrasing and tone in 1941 is not smirking. It's softer and quieter and not designed, through their language, to prompt a certain response out of Crowley. It's not yet a sex game, it's still a kind of conversation they've had in the past that will serve as inspiration for said sex game in the future.

While it's a bit unclear if a version of this already existed in 1941 or if 1941 is part of the evolution to what it becomes by 2019, there's a tone to it in The Bentley in 1941 that says that, at the least, Crowley suspects that Aziraphale is trying to lure him towards sex by calling him nice and that's reinforced by the next thing Aziraphale says, which continues it, but is also doing so to provide Crowley with an out to his confession of love, in case Crowley wants to take it.

Aziraphale's out comes in the form of offering him sex, which is absolutely what this is:

Oh, gee, Aziraphale, whatever could you do in this moment here in The Bentley? You aren't at all telling him you'd do literally anything he says he wants right now, right here, in his damn car, are you?

But while Aziraphale would so absolutely yes because lawd, 1941 Crowley is sldjwkejele... look at what he's *really* saying as well...

What he's saying here is we can pretend you just did all of that for sex, if you want to. I know you didn't and you know you didn't but we are good at pretending and if you're silently having an anxiety attack behind your glasses over there, we don't have do this...

Crowley's response?

The quiet "forget it, will you?"

Meaning: I don't want to take it back. I'm in love with you. I wanted to say it. I meant to say it. Everything might be going to go pear-shaped and I wanted to have said it somehow. I don't need you to say it. I don't know what I expected but I also maybe kinda didn't want the response to be 'aww, you're sweet... do you want a blowjob?' so maybe let's just drop this. We're going to never speak of this again now. Moving onto spreading the demon drink...

Crowley turns down Aziraphale's offer to make it about sex and, in doing so, Crowley says indisputably that it's about love. If he had taken up Aziraphale's offer in that moment, then it would have been agreeing to pretend that he's never said he's in love with Aziraphale and to instead pretend that the romantic-looking things were all an effort to get into Aziraphale's pants. When he turns down sex, Aziraphale smiles softly because, to him, *this* is then really the moment that Crowley said he loves him.

Aziraphale knows for sure now what Crowley was saying and my friend (loaded) now has a definition between them that means the whole deal. Since Crowley said the thing that meant lovers euphemistically as part of saying he's in love with him, then my friend (loaded) is now forever part of the night during The Blitz in 1941 when Crowley said he was in love with him, which means that they can't use any version of friend (loaded) with each other without that being part of it. Friend (loaded) always meant lovers (sexual partners) but now it also means lovers (romantic partners) as well. It's not that they just suddenly became romantic partners because it's been a romance all along but now they're acknowledging it in a way they can't go back from and they do so by giving what they are to one another a word in their secret language.

Aziraphale then wants to return the feeling. Crowley is saying that he doesn't need him to by telling him to forget it about it and wanting to move on from it but Aziraphale can't accept that. Crowley might be right-- this could be it-- and like Aziraphale's going to let Crowley potentially soon go to his grave without telling him he's not alone in how he feels. That's not happening. However you think the events happened to give Aziraphale the opportunity to rescue Crowley from the wrath of Mrs. H-- divine fate, Aziraphale miracling the bottles broken, The Bentley shipping it and helping Aziraphale, all of the above, etc..-- he gets the chance not ten minutes later and he takes it... and, of course, what does he use?

My good friend (loaded af lol).

They've already just redefined my friend (loaded) by this point, so to turn around and use it is to tell Crowley I feel the same way. I love you, too. This is Crowley's change in expression in reaction in that above gif. It's one thing when Aziraphale volunteers to help-- that is sweet and Crowley's all eyebrows raised in intrigued surprise. His whole expression then slips from that into being stunned when he hears my good friend and he realizes that Aziraphale is now grand gesturing *him*. He's realizing that the bit in the car really was just an offer of an out, not just that plus Aziraphale saying he was uncomfortable with what Crowley had said and needing it to stay a lot more hidden beneath a cover of sex. It was Aziraphale needing to be sure he understood and needing to be sure that Crowley was sure he wanted to make this change in how they are but now that he's sure on those things, Aziraphale is actually all in for it.

Worth mentioning that my good friend (loaded) is a mashup of my friend and my dear fellow, which makes it extra sweet. Just as Crowley started this by calling back to The Globe Theatre by using my friend (loaded), Aziraphale is calling back to the my dear fellow rhythm of what he's called Crowley for centuries. It says I love you and every 'my dear fellow' was not just fondness but an 'I love you', if you didn't already know. I've loved you forever.

It's also quite literally calling Crowley 'good', which is not something that he really believes about himself but is something Aziraphale believes about him. His good friend, as in close friend, but also his good friend, as in good person. He also does nothing to discourage Mrs. H's inevitable understanding that he and Crowley are a couple. He gestures between them to indicate it. He uses my good friend in such a way that it's just the same thing queer humans of the time would have said to someone low-risk (a theatre person) in London during WW2. It's completely inverted from his response to Burbage in a different theatre in 1600, in the moment this whole friend thing became a thing for them, which is also intentional. It's telling Crowley he understood all the things Crowley was saying in the church and he feels them, too.

Then, there's this, once they're back the bookshop:

Here, we're acknowledging what friends means now by pausing and emphasizing it. "That's what friends are for" is not a phrase that would require the pause and the tone on friends if friendship was all "friends" meant to them. It's not now and this is acknowledging that.

Note Crowley's little lip twitch/almost-sad-smile at what Aziraphale is saying. It's agreement. It's assent. This is them confirming that they understand what the other is saying and giving this new word a home in their language.

This is then what they call each other now when they need to talk about it and it's my friend on the surface and it's my love underneath.

There's a sadness to it. How nice it would be to just be able to say it... It's also a moment of realizing that they aren't sure they can use this word all the time. It's good to have a word and a shared understanding of what it means and they have no desire to take back these confessions of love here but while it's lovely to have said this now, it's also a bit heartbreaking.

Aziraphale's heartbreak, his little Crowley move of putting on his (transparent lol) glasses, his brave smile, and then how quickly they both transition from this conversation into The West End, The West End and I'm a lonely G.I... and The farthing *has vanished*! It shows you how accustomed they are to burying the pain under trying to live in the moment for one another.

A few moments after this, Aziraphale will be showing Crowley some of his human magic tricks in preparation for performing on stage and when they get to the point where Aziraphale is telling Crowley about Goldstone's Magic Shop, he then tells him that it's not for him because it's "for professional conjurers only."

This is somewhat unintentional metaphor on Aziraphale's part that Crowley then acknowledges and turns into coded language in his response. Aziraphale's love of human magic is metaphorical for his love of humanity and living in a way as to indulge his humanity in a way that angels have been taught not to do. The reason why Aziraphale's love of magic is this metaphor and not, say, his love of books or music or food, is because all of the other things that Aziraphale likes about the human experiences can be dismissed by him as relating to understanding the human experience *so as to be a better angel.* He's really not a student of humanity just to learn how to better guide them. He admits to Adam in front of Crowley in S1 that he thinks that humans are the ones who get it when he tells him that he hoped Adam would be good and worried he'd be evil but that he's something better than either of those-- he's human incarnate. Aziraphale can justify most of his indulgences as being related to learning human ways to relate to them to help them-- food, books (his home and his book collection can be justified as necessary cover for his angelic embassy), music, etc.... but the love of human magic?

Aziraphale just loves it. It's for him. It's his hobby. He thinks it's a little selfish and probably a lot unbecoming of an angel. He'd completely just want this for a job and he's not supposed to want a job other than to be an angel, which is supposed to be the bestest job imaginable lol. What kind of angel wants a silly human job? What kind of angel with actual magical powers is obsessed with human magic? Aziraphale is. He's endlessly fascinated. It makes him happy. It brings him joy. It's the part of living as a human that he's done in such a way that it's just for him and in such a way that it conflicts a bit with his role as an angel. The only other way Aziraphale loves like this, in this human way? The only other thing he studies at to be a better human over being a better angel?

Crowley.

So when Aziraphale says that he can't go to Goldstone's because it's "for professional conjurers only", Crowley knows that what Aziraphale is really saying is that the shop is "for actual humans only". He knows Aziraphale is admitting that he's sometimes insecure about his ability to be human because of how his humanity is tied to being an angel. Crowley knows that they're talking about Aziraphale and his human magic love on one level but that they're also talking about them and their relationship on another level. This is Aziraphale saying that he loves human magic with a passion but he's not sure he's as good as it as he could be or as he wants to be because maybe he doesn't know everything about being a human in the way that the "professional conjurers"-- humans-- know... and everything we just said he's unsure about with relation to human magic is also how he feels sometimes about loving Crowley.

This conversation is happening in an overlapping way with their friend confessions and Crowley hears that Aziraphale is saying in there that he loves Crowley with a passion but he's not always sure that he's studied enough, that he knows enough, about being human to be what Crowley deserves. He would love to go to this magic shop but he's afraid that it's not meant for him. He struggles, as Crowley already knows, with how he's not supposed to want it but oh he wants and he can't help but love magic and he can't help but love Crowley... all of which prompts Crowley to reassure him, using a now-familiar bit of their language:

"You, my Nefertiti-fooling fellow, are about to perform on the West End stage. If that doesn't make you a 'professional conjurer'... I don't know what does."

Meaning:

You, my human-passing man, are so good at this that you fooled the Ancient Egyptian Queen. You're about to perform your human magic on stage-- to make yourself vulnerable in a way that scares humans. You are always willing to take risks like that and try something new and learn more about being human and that makes you human. It's human to not totally know how to be human, I think. You're doing all of this tonight because you love me. It doesn't matter if you're a good magician or not. This love of ours is human and you're very good at it. You love me very well. If loving me doesn't make you a 'professional conjurer'... I don't know what does.

Crowley uses my [] fellow to emphasize my friend (loaded) by using the term of endearment that Aziraphale himself started that has human connotations to make the point that their love makes them human and to tell Aziraphale that he's very good at their love.

Aziraphale, understandably melting over that:

And then? They just keep using my friend. For decades. Through S2.

What makes it work for so long is the fact that it's human-coded in origin so if they run into a situation where they need to refer to one another like this, they can use it and it doesn't get a lot of questions. After the partners scene with Nina, Crowley uses my friend without thinking twice about it, telling her that she'll be safe in the bookshop because "my friend would never let anything happen to you." Nina already gets that they're friend (loaded) and she doesn't know what using friend means to them because only they know about 1941 but it's a phrase that they can use with the outside world if they need to but that mostly stays between them because only they know that, in their language, my friend = my love.

So when Crowley says I lost my best friend in the Discorporated!Aziraphale scene in S1, he means that he lost his best friend but he *also* really means I lost the love of my life.

The first thing my best friend means is just the actual, uncoded definition-- what the words really mean as they are. Aziraphale is Crowley's best friend. Whatever else they are to one another, they've always been that. The idea that he'd have to go through the end of the world and whatever came after without his best friend devastated him. In a lot of ways, it's sweeter than saying anything else, even if they weren't in a public space, because it's saying that what he'd miss the most is just having his partner in crime in life. The other layer of it is the coded layer. Since they are a couple that uses my friend in an euphemistic way for my love, then Crowley's my best friend in 2019 is the same thing as Aziraphale's my good friend was in 1941. It is my best friend on the surface and it is that but it's also my love beneath it.

This scene is also then the same thing in meaning:

And by S1's present of 2019, they're at a point of using it in an argument, which provides them the means to talk in a way they didn't have in 1862. Yeah, they have their dramatic little breakup spats but this is actually a marked improvement over where they were before the holy water mess. So now watch this bit of the bandstand again here below for the friend (loaded)...

Remember that Aziraphale lies increasing bits of absurdity when stressed and that Crowley knows that. He dismisses what Aziraphale says with that "you doooo" when Aziraphale tries the *utterly ridiculous* "I don't even like you" lol. They're both panicked about the end of the world here in Ineffable Divorce: Round One and Crowley's trying to get them to run away again, which is a terrible idea, but in the process of suggesting it, Crowley is calling them friends (now eternally loaded, as we just spent this meta proving lol) and...

...*how long* have they been friends does he say?

So, how long have they been in love, per their language, per Crowley in the bandstand scene?

Six thousand years.

Since the start.

Vavoom. Sorted. :)

[accirax]

I think I remember you making a theory about who would die and when in Eden’s Garden. Now that the title of chapter 1 has been revealed, (and the title usually at least loosely relates to the themes/victim/culprit of the chapter), have your options on who might bite the dust this chapter changed?

Project: Eden's Garden Chapter 1 Killer/Victim Theory

Ooh, an Eden's Garden ask! It's been a while since I've gotten to talk about this game, so, thanks :D

Funnily enough, the inciting incident of this ask isn't actually real. I haven't made a full death prediction for P:EG, mostly because of how little information we have as to the characters' full personalities and, perhaps more importantly, their bonds with each other. Your memory might be a combination of my mastermind ranking (and its update), that one time I rambled about different fangan writing styles (including the logic behind a first victim), and some off-the-wall speculation about what a ch2 victim Eva might look like in another meta discussion post mostly focused on DRDT. I made some offhand comments about potential victims and killers (especially in the early game) in all of those posts, so given my history of discussing DRDT's death order, I can see how that post might have formulated in your mind. Alas, it does not actually exist.

Still, with the first chapter of P:EG coming out soon (ish), I'd be delighted to spare some speculations as to who might be on the chopping block for the first chapter, least! My usual apologies for this taking so long, but this time, I also wanted to replay the prologue since I was kind of hazy on what actually happened in it. However, this extensive writing period has given me additional time to think of what I want to say, and hopefully come up with a convincing theory as to what may happen.

(Spoilers for Trigger Happy Havoc, SDR2, and V3, as well as some very minor spoilers for SDRA2 Chapter 2. You only need to worry about them if you wanted to go into SDRA2 completely blind.)

The Title

The first step here is obviously to take a deep dive into what the title could actually mean or imply. I keep wanting to think that the title refers to death, but that phrase is "beyond the veil," not "beneath the veil." "Beneath the veil," as far as I can tell, isn't a commonly recurring phrase. Plus, it's not like saying that there's going to be a death in this chapter is anything mind blowing, nor does it help us narrow down who would die.

So, let's take a step back. "Beneath the veil" implies that somebody is hiding something, because there's a piece of fabric concealing their face, and therefore their true intentions. However, it's not necessarily a super successful concealment, because (according to a quick google search) most veils are transparent. The character(s) this title refers to may only be partially concealing their hypocrisy from the group, as opposed to being fully undercover. Notably, veils are often (in Western culture, at least) associated with weddings. The choice of the word "veil" could implicate our local Matchmaker as the beholder of the hypocrisy.

Speaking of hypocrisy, I think that's the key word in this title that can help us pin down the central characters and themes of this chapter. As defined by the Merriam-Webster dictionary, hypocrisy is "a feigning to be what one is not or believe what one does not, especially the false assumption of an appearance of virtue or religion." In simpler terms, it's lying about or double-crossing something that you believe in to make it look like you have the moral high ground.

Therefore, in order for a character to fit the themes of this chapter, they have to have something they're actually hypocritical about. Take Ulysses, for example. In what way is he pretending to be better than the others around him? What core beliefs has the game shown us that he has that could be weaponized against others? I don't yet see anything compelling, and therefore, he might not be super important to this chapter.

Combining the title with the way the prologue ended, I definitely think that this first chapter is going to be about Damon's point of view being proven correct. Meanwhile, the rest of the students will secretly struggle with morality and their desire to kill while pretending that everything's cool. You know, like how most killing games start! (Other than the protag being such a downer.) It'll be interesting to presumably witness this typical group dynamic from the perspective of an outsider. Being someone who's used to tearing others' arguments apart, I wonder if Damon could be better than the average person at finding the hidden meanings and opinions behind others' words. I just think it'd be super funny if he were listening in on a breakfast conversation and it was just like--

Ingrid: Keep your chins up, everybody! If we can keep our heads on straight and trust in one another, I'm sure we'll start figurin' out how to get out of here! Damon: ("We'll start," implying that no progress has been made thus far. Combined with that if clause, Ingrid's frustrations that no one is thinking clearly and she's found no one to trust become obvious.) Eloise: Right...! It's like my dad always said: "in union, there is strength." I'm sure he'd be happy to hear that all of us are on the same page. I wish I could tell him... Damon: (Sounds like someone has been obsessing over the thought of going home.) Wolfgang: There's no need to worry, Eloise. I won't let any of the despicable killers in this academy keep us from our families. You can count on me. Damon: (Jesus Christ.)

Anyways, victims and culprits! I'll be discussing the top 5 most likely students that I can see filling each role.

The Killers

As much as I'd like to talk about the culprits second for the sake of drama, it'll be a lot easier for me to talk about potential blackeneds first. I think I've said this somewhere on this blog before, but who a victim is really depends on who the killer is. After all, the victim was only targeted because of the killer's rationale. A victim can be random, but a killer is pretty much never random. So, who could be filling our first blackened spot?

#5: Diana

Despite her placement as #5-- AKA, above 11 other students that I won't be talking about in a role as the killer at all-- I actually don't really like putting Diana here. To me, her fears and hopes for the future read as genuine. And, while a character who starts off fully sipping the hope Kool Aid can obviously come to murder in the end, for Diana, I don't think it would happen so fast. If she isn't secretly evil, I think it would take at least one murder to make her crack under pressure.

However, I can't argue that Diana has a compelling argument for the title of hypocrite. Simply put, she's the character in the prologue who seems most invested in everyone working together and being friends, without any personal power-seeking agendas. Therefore, if the veil in question is that of promoting friendship, Diana would be the most extreme example to use to prove the point that friendship in Eden's Garden Academy (at this point in time) is a fruitless endeavor.

#4: Wenona

After discussing my reasons for suspecting Diana, Wenona might come as a surprise. Does she really fit the theme? Out of all of the characters who could be hiding behind a guise of teamwork and being a good person, is she really the best fit?

Well, while I think it's likely that the main crux of the hypocrisy this chapter will be about remaining unified and trusting one another, that theme can always be interpreted in multiple ways at once. We could have characters who are hypocritically pretending to be nice while harboring ill intentions, and characters who are hypocritically pretending to be meaner than they are looking down on the nice folks while secretly being soft inside.

That's more of what I'm getting at with Wenona. If she were the blackened, I think the hypocrisy would be "pretending to be strong and better than other people while actually being just as weak as the rest of them." As the Ultimate Entrepreneur, Wenona seems to take a lot of pride in herself and her skills. She has the same sort of snobbish demeanor that Damon has when it comes to assessing the less academic of the talents recruited to Eden's Garden Academy.

Wenona is a cutthroat genius when it comes to social politics and financial practices. Even if this killing game wasn't in her initial plans, she'll obviously be able to crush it. She isn't trapped in here with Tozu; Tozu is trapped in here with her. That's what she wants everyone to think.

But, if she does become the blackened... how much of that attitude is really real? I'm imagining a scenario in which Wenona's reason for killing is less "fuck this shit I'm out" and more genuine fear for losing her life at the hands of the killing game and/or never returning to her regular life. When asked why she killed the victim, she tries to fake ruthlessness, but in the face of her execution, the clear truth is that she was just afraid of dying. Thus, Wenona would spend the majority of the daily life hypocritically sneering at the "weaker" students like Toshiko or Diana for not being tough enough to cut it in the killing game, before ultimately proving herself as the weakest link in the end.

#3: Eva

From the Prologue alone, we can already tell that Eva is a character who easily has strong enough opinions to potentially become a hypocrite. But, wait-- wouldn't her killing someone actually line up perfectly with the argument she made?

How is that hypocrisy?

Well, although Eva is certainly of the opinion that someone will kill, she acts as if she's above it herself. If it's been a while since you've seen the Prologue, that could be easy to forget. However, after she makes her initial statement that someone here will kill because they have too much to lose, she starts talking about how pretending that everything is fine will only make people more vulnerable to being killed. She directly accuses Wolfgang of doing this purposefully in order to better his own chances of succeeding as a blackened.

Most of her statements use the pronoun "you," which, whether referring to anyone in the group or Wolfgang specifically, does not include Eva herself. You, Wolfgang, are making a mistake that will lead others towards their deaths, murders that will happen by your guys' hands. Me, though...? (I'm tight as fuck!!!)

After criticizing Wolfgang so harshly, Eva would be the biggest hypocrite if she was actually the one to be the first killer. Even though Eva was doing the other students a favor by telling them the harsh truth, she did so in a way that put herself above them. She's let everyone know that she's smarter than them for immediately seeing straight through the killing game, and for not falling for Wolfgang's obvious manipulation tactics. If the rest of the students then learned that Eva played directly into the killing game's hands by becoming its first killer, I think they'd have every right to call her a hypocrite.

As for Eva and Damon, I think that making Eva the first killer could be really interesting for Damon's character. That's because, whether he'd admit to it or not, I think that Damon does align with Eva more than anyone else at this point. They were working together to promote the idea that pretending that nothing is wrong is dumb at best and harmful at worst. Damon doesn't seem like the type of protagonist who would be super vehemently against the idea of killing another student himself.

Thus, if Eva did become a killer, it would give him a startling window into what he would look like if he had decided to forsake this academy and kill. Every assertion he's internally made suddenly sounds flaky and desperate when coming out of the mouth of someone on death row. And, now that he's been betrayed by Eva too, why do some of the counterarguments the other students are making against Eva's claims sound more and more legitimate...? I think Eva's death as a killer could be the perfect wake-up call to Damon that his cold and calculating demeanor might not be as perfect of a plan as he acts like it is now.

However, much like Diana, I do think that Eva's reactions are genuine-- in this case, genuinely coming from a place of wanting to save the other students as opposed to wanting them all dead. Even if it would be compelling if Eva turned out to be some massive hypocrite, that doesn't mean that the setup for that being the case is actually there. We've seen so little of all of the characters so far that it's hard to provide textual evidence as to why I think this is the case, so unfortunately we'll just have to rely on my gut feeling. Every day I have to remind myself that it's okay to say "it's just my opinion" in the Just My Opinion essays. Sigh.

#2: Wolfgang

I feel like (as compared to something like DRDT) I have so little of a finger on the pulse of the P:EG community in terms of knowing what's popular opinion and what's not. Is Wolfgang's placement here a surprising take? Are people surprised to see that I have Wolfgang listed as a potential early killer as opposed to a final boss antag/survivor? Are people surprised that he's not #1???

Anyways. Hypocrisy. Wolfgang. It's so obvious that I feel like I don't even need to say it. I mean, I already did say it in this very post. Eva has already called Wolfgang out for hypocritically claiming to protect everyone while actually increasing the odds that someone could be taken advantage of. Wolfgang claims to be a defender of the people, but as soon as he hits the Trial Grounds, he seems to fixate on proving his viewpoint correct over all else. In the Chapter 1 demo (really mild spoilers for that, I guess), the literal last thing we leave off on is Damon calling out Wolfgang for being a hypocrite when it comes to investigating the school. Wolfgang Akire, Ultimate Laywer? Nah, I only know Wolfgang Akire, Ultimate Hypocrite.

Going back to my analysis of how early deaths work (here's the link again if you didn't read/refresh on it before but want to now), if P:EG is a project that wants to make their early deaths out of characters that are really visible, then Wolfgang is perhaps the best choice for that. The only other possible rivals he has in that regard are Damon or Eva.

Given how visible Wolfgang has been, it feels inevitable that this chapter will revolve around his hypocrisy somehow. The question is whether that would result in him dying or not. And, part of that question for me returns to what I mentioned at the beginning: how much does the fandom expect that it would result in him dying?

Make no mistake, this isn't an effort to people please by going along with what most people believe to be true. It's an effort to deduce which option would read as a more surprising and satisfying answer to a mystery posed in this mystery series. If the fandom is really caught up on the idea that "Wolfgang is P:EG's Byakuya/Nagito/Kokichi antag character, and that character MUST make it to the end after opposing the protagonist all the way through!!!", then it would work as a successful subversion to have that character die early, and leave the audience questioning who will come to fill the void in the story that Wolfgang left behind. However, if the audience has already broken free of those expectations and see Wolfgang as someone whose biases and neuroses could easily lead to him snapping early, then actually making him the first killer could turn out kinda boring.

I think I'm of the latter opinion at this point, although I could obviously just be biased in thinking that others share my opinions because my opinions are the main ones I've heard. Even if Wolfgang is a really obvious fandom's favorite edgy antag archetype, I can't deny that there's a lot of really good thematic setup in the Debater vs Lawyer department that I feel like the writers will want to reap the payoff from. It would be a shame to let whatever twisted worldview Wolfgang is cooking on "go to waste" by having him exit the story so early. But, I'm also always a fan of riffing wildly and unexpectedly off of the preconceptions of a killing game that Danganronpa fans have built up in their minds, so I would neither be too surprised nor mind at all if the writers did wind up letting Wolfgang flame out early, as long as they have a plan for what happens next prepared.

#1: Jean

Despite what I was just complaining about in Wolfgang's section, I'm almost certain that this will come as a surprise to people. Does that make me a hypocrite, too? Yay, how thematic!

Jean does not seem like the typical first killer. He's way too silly and entrenched in his theming. He's an oddball character! Accirax, weren't you literally the one who said that oddball characters don't die in Chapter 1?!

Oddballs tend not to die in Chapters 1 or 2. This is because oddball characters are generally created to supply a very niche kind of comedic relief[...] Any character deemed worthy of being included in a fangan occupies one of 16 highly contested slots. So, if you include a character for the purpose of making jokes with them, you'll want to get your bang for your buck! It’s hard to fit every joke you have in mind into only a chapter or two. The best example I could come up with for a (canon) oddball who dies early is Teruteru. In his case, the writers likely anticipated that his hyper-flirtatious nature would get tiring if it continued on for too long, and thus, exhausted all of the jokes they wanted to make in Chapter 1 before his exit. An oddball who dies this early has a limited shelf life, and is likely accompanied by other oddballs who can pick up the comedic slack.

Why, I sure did! Thank you for remembering that one niche argument in a really long post about a completely different series, imaginary person. However, that logic is why I initially wasn't suspicious of Jean either. With a bit of investigation, however, I've landed on him as my most likely choice.

Let's start with the hypocrisy. Although not necessarily the loudest voice on the subject, Jean, too, is someone who has strongly advocated for unity and friendship in the face of the killing game. It was easy for me at least to forget, but he has a bit of a leadership position in the Prologue, a bit behind Wolfgang. Even Damon can surprisingly attest to the command he can wield when he needs to.

It makes sense that, as a Ship Captain, he's all about getting people to work together under his leadership to accomplish amazing feats. Therefore, while not as obvious about it as Diana or Wolfgang, Jean would also be someone who could only commit a murder hypocritically.

Like, you can't just say this and then selfishly try to win the Class Trial to protect your own life. Well, not without speaking from beneath the veil of hypocrisy, anyways.

However, as I just admitted three sentences ago, the argument for Jean fitting the hypocrisy theme is weaker than someone like Diana or Wolfgang. So, what chose me to pick him over those two, or someone else at a similar level? Well, for that, we'll have to go over my...

Project: Eden's Garden Chapter 1 Murder Theory

HA HA! You thought we were merely conducting narrative analysis, but we're taking a look at evidence as well! It is a bold choice to try to predict who the blackened will be based on the murder committed when said murder hasn't even been committed yet, I'm aware. However, it's the choice of location that made me lean towards Jean. And, while it's no guarantee...

... I find it really likely that this will be the site of the murder. It screams murder location to me. Why the hell is there all this water on the floor if it won't be relevant in some way somewhere down the line? It's also locked in as the first area that you investigate closely. This doesn't have to mean that a murder will happen here, obviously-- none of Makoto's classroom, Hajime's beach, or Kaede's classroom become murder locations-- but it still does mean that this location will leave a lasting impact on your mind. The first time you ever get to wield the controls in this fangame is to investigate this room. And investigate it, we did.

I feel like locations that become murder relevant are often investigated in a much more specific way than ones that aren't, especially in cases where aspects of the room are critical to solving the mystery. This often includes them having CGs and/or cutscenes to illustrate the location's functions at work, and potentially be art used for a truth bullet in the future. Off the top of my head, I can remember a couple of times this happened in v3.

To use a fangan example, it also happened at least once in SDRA2.

(translation by Johnny Youngster)

The P:EG basement area was investigated to hell and back during Eva and Damon's first introductions. Like, can't you imagine this being truth bullet art?

Anyways, down in this basement that no innocent student has any good reason to visit, there's a conspicuous vent we've investigated in detail that looks over the Dining Hall, which several students are inclined to visit at various points in the day.

It has gaps in it that are wide enough to see through, and perhaps wide enough to use a weapon through. Even beyond something like a poisoned spear or the like, if you could shoot a gun through these slits, it could be enough to take someone out. Damon has very conveniently already removed one of the grates in the way, which will make it easier for the killer to do their malicious deed, and perhaps even make it easier for them to figure out that they could remove the other vent as well.

Now, it is true that Damon and Eva had to work together in order to reach this vent, which could make it difficult for the killer to utilize. However, it's obviously not impossible. If the killer were tall-- say, six feet tall, an entire half foot taller than Eva-- then it's possible they could access it on their own anyways, especially if they possessed any sort of climbing ability. The killer could also have an accomplice with which to create the same sort of setup Damon and Eva made (although, to Jean's credit, if this were the case, he'd probably be the one on the bottom -> not the one holding the weapon -> not the actual blackened). Or, they could use the cardboard boxes and duct tape that have conveniently already been identified in this room to make some stairs.

Although, that raises a problem, doesn't it? The entire floor of this room is covered in water.

A cardboard box would likely have structural issues if you put it in the water and then tried to stand on it. Maybe it could work if you put several cardboard boxes inside of each other...? Or if you just quickly used them as steps to hop up before fully leaning your weight on the generator. Regardless, we have other problems. Even if Eva has proven that the water won't electrocute you if you step in it, it's still an issue. If you step in the water with your shoes on and then try to quickly flee the scene, you'd leave wet footprints and damning damp ankle evidence behind. You could take your shoes off and roll up your pants like Damon does, but that could cost you precious time.

If only there were someone out there who was already wearing waterproof shoes...

... and maybe even a cloth or sash of some sort to wipe them off with before leaving the room.

Even Jean's character conception makes sense to me from this perspective. For your first chapter, you need a character who can be a kind and friendly leader type whose betrayal will rattle the more friendship-inclined of the group, and you need them to wear waterproof shoes. Leader plus waterproof shoes... well, that could be a ship's captain, couldn't it?

In this case, Jean's oddball nature is actually a boon to him in pretty much all manners. Despite relying so much on the gimmick of "I'm not a pirate!", Jean does seem to have a serious side to him. That duality gives him some clearly articulated character depth, even if it may not be explored much in the main plot. The striking nautical gimmick makes it harder for him to fade into the newly introduced crowd. He's quickly recognizable at a glance, making it easier for the casual viewer to remember him in the long gulf between chapters.

Speaking of being memorable, Jean is placed right in front of the tree when the characters in the Tree of Knowledge room are introduced.

He also stands there before the 0th Class Trial.

(Using this screenshot even though it's blurry just to show that these are different points in time.)

It's not as memorable of a spot as Eva, Grace, Wolfgang, or Toshiko (who go around and introduce themselves with Damon and thus get top billing), or even as Eloise and Desmond (who at least get their own room), but it's still notable. Between my own playthrough and others', I've seen people go around the circle with Ingrid first or Ulysses first, but everyone always talks to Jean right after they enter the room. The dark trunk is a great contrast against Jean's bright orange design, so he's really striking standing against the door. When I think of this room, I know exactly where Jean is, while the others are... somewhere back there. If I'm right, it's a subtle way to make sure that all players have at least some connection to Jean before he dies, and possibly even to make the first post-Trial gathering feel a little emptier with that super-highlighted spot empty.

I do want to touch on the narrative again, though, because that's more important than the murder plan that may or may not just be my own invention. I maintain that, right now, Diana or Wolfgang make more sense as someone who would illustrate the hypocrisy of pretending to be friends while actually murdering for their own purposes. However, depending on how Chapter 1 plays out, I think that Jean could be just as good as them, if not better. There's been some foreshadowing that Jean might take on a leaderly role in the group, but at the moment, it's been pretty focused on Wolfgang alone. However, if Jean starts to take on any sort of leadership position, even if it's mostly in the background or as the heart to Wolfgang's brains, I think he could work just as well as Wolfgang.

So, that's my prediction for now! The most likely blackened is Jean, with Wolfgang and Eva as backups, and Wenona and Diana as backups after them. But, in the case of any of them being the killer, who would they kill? Obviously, the answer may differ slightly depending on which of them (or someone else) it is, but I'll try to come up with a good aggregate answer.

The Victims

While my victim ideas will still be roughly ranked in order of likelihood, know that there's a lot less difference between #1 and #5 here than on the killers list. And, along that line of thinking, I'm a lot less confident in these predictions than in the killers', in the sense that I would be less surprised if the victim was none of the five characters discussed below than I would be for the killer. But, at any rate: the five most likely victims.

#5: Kai

I could definitely see some personal bias coming in to me placing Kai here. Not because I dislike Kai-- actually, he was quite possibly my favorite character coming out of the Prologue. I love a funny pathetic drama queen. I just remember, after first playing that Prologue, having the fear that Kai would turn out to be the first killer, thus eliminating my so-far favorite from the game. Obviously I've since removed him from my likely killers' catalogue, but I still can't shake the feeling that he could be an early death.

Kai is an easily recognizable and memorable character. You know who he is near-instantaneously-- take one look at him and you're already saying, "oh god, the influencer." He's really talkative, already having taken up a lot of screen time in his "arc" of being terrified by the body to being too lazy to participate in the Trial to eventually blabbering his way through it anyways. He also already has a defined dynamic with Damon. Even if I can't necessarily say that Damon would be sad to see Kai gone at this point (sorry Kaimon shippers), he'd have to have some sort of personal reaction to it. I could see him eventually recognizing something along the lines of, "it's weird to not have Kai around bothering me anymore."

It's no surprise that Kai is a popular character in the fandom, because he has all the traits to take on a role like that. However, that sort of characterization is a double edged sword. When considering the killing game as a whole, it's hard to come up with a first victim who will still be remembered and celebrated by the end of the entire saga (assuming that's what you're going for). However, despite not being a super critical character to the story*, I could see Kai continue to be featured in fanart and included in fanfiction due to his humor and pretty boy appeal long after his demise.

(*I'm not saying that Kai couldn't be a super relevant character if he survives Chapter 1, I'm just saying that, if he is the Chapter 1 victim, I don't think it would be in a Mukuro/Twogami/Rantaro Early Mystery kind of way.)

Kai is definitely one of those characters that I see in a crux position, where they're either going to be a super early game character or a super late game character. And, to be honest, despite what I've said here and what I believed after playing the Prologue, I actually now think Kai might have the legs to go long game. Although he could just be a bit of a cowardly funny guy who can't handle the circumstances and instantly drops dead (sort of like what was originally planned for Hiro in THH), Kai does seem to have a lot of... issues. While I originally thought those might just play out in his FTEs-- which is still theoretically possible-- I think the story might take more time to dive into them. There's also a clear arc before him of initially not rising to the killing game's challenge, but eventually being forced to take things seriously and give it his all.

There're also the comments that Grace made in Kai's introduction about him a dictator. From what we've seen of Kai so far, that label seems really hard to believe. If his character ever needs to rise to that dictator status, he'll probably need more time to do it.

I'm also applying some... meta knowledge here. I'm pretty sure I remember from watching some of the San Japan interviews that Kai is at least one of the writers' favorite characters, which is a bold take if he does die literally first. Also, I just learned from trying to look up what Kai and Damon's ship name is that apparently three of the staff artists ship Kaimon. Could that indicate that Kai and Damon might survive together...? I could definitely just be looking into things too much with both of these, but it's hard for me to not consider all the evidence at hand.

Anyways. Kai could really easily be taken out first, or he could have a major role to play yet. In either case, I'm sure this speculation will be fun to look back at in the future.

#4: Toshiko

Hey, maybe I can make that wedding veil thing have meaning after all.

Part of what I was considering when coming up with my list of potential victims is what sort of rationale the killer would have when choosing who to kill. Obviously, with the method I described in Jean's section, it's possible the criteria would be "whoever walks into the Dining Hall alone first," which is essentially random. However, that doesn't give me much to work with, so I tried to assume something more specific than that. However, I also didn't want to make it too specific-- like Peko targeting Mahiru in SDR2 Ch2 due to a prior conflict-- because that forces me to pin down my killer too hard, and might rely on information I simply don't have.

Instead, we're looking for a broad category, like "Sayaka wanted a manipulable man." Honestly, the "I want to kill but I don't have a specific image in mind of who" apparently doesn't happen too much in canon, but I think it's a really useful one to consider. Would the killer want to target an unpopular person so that anyone could have a motive to kill? Would the killer want to target the smartest person around so that they'll have fewer hurdles to deal with in the Class Trial? Would the killer take out the weakest and most vulnerable target because that's all they could manage, or even because they want people to believe that's all they could manage?

To go along with the hypocrisy theme, I think that the killer taking out an easy target for simplicity's sake is a very plausible option. Especially if the killer is a strong person like Jean, there's that added injustice of, "dude, you couldn't even pick on someone your own size?"

If that is the case, Toshiko is an obvious choice for someone who's small and easy to beat in a fight. (Kai follows these guidelines too, to an extent.) Other than her small size potentially making her harder to hit, I could imagine anyone being able to overpower her with relative ease. This part is more of a shot in the dark, as we haven't seen any daily life play out yet, but I wouldn't be surprised if Toshiko's notably younger age leaves her with few friends around the school. Thus, she might more often be found alone, making her easier to ambush and giving the killer more time before somebody realizes something is wrong.

Toshiko is also in the group of Eva, Grace, Wolfgang, and herself who got additional focus via conducting introductions with Damon in the Prologue. Including the first victim within that group would be a great way to give their character with the least screen time a bit more before they die off.

However, I also have my doubts that this will happen. It's just... such a bold move to kill the literal child as you're drawing first blood. Like, obviously I picked it for the hypocrisy-themed chapter because that kind of thing would make you look like a monster, but, would anybody really bite?

I also just kinda get the vibes that Toshiko is set up to be more than the first victim. While uniquely making her a child could be intentional, if the first killer is meant to look extra heartless, I don't understand where the Ultimate Matchmaker talent would have come from in that case. I guess she could matchmake or otherwise psychoanalyze people in the Chapter 1 daily life before she dies...? Maybe the killer could be worried about her figuring out how they're feeling and want to silence her. Actually, okay, that's convincing enough.

Picking Toshiko goes against my gut instincts of where Eden's Garden is headed, but I can't deny that there are sensible arguments behind Toshiko dying first as well. Or, maybe I'm just delusional. I'll leave that up to y'all's judgment at this point.

#3: Diana

Uh, kind of the same things that I just said about Toshiko, as well as my arguments for Diana being the killer. Diana also appears to be pretty weak, so it wouldn't be too hard for others to overpower and kill her. I also didn't forget that she too is a child, although she appears much more mature than Toshiko due to 1) being a high school senior as opposed to a high school freshman and 2) having an industry job rather than however Toshiko's business functions. You could still use the argument of "why would you kill someone who still has so much life left to live," although it might feel a little awkward when characters like Mark are only one year older than Diana and Toshiko is (presumably) still standing right there.

Really, though, the main reason why Diana ranks this high is because she's so darn nice. Even if people might see her as a little ditzy, I still feel that she'd have the most unilaterally "why did you choose to kill such a sweet person" response across the board. Depending on who the killer is, that choice could be hypocritical. If it's someone like Jean or Wolfgang who had been trying to convince everyone to work together and shaming those who didn't conform, eliminating someone who was happily following along with your plan could be considered hypocritical.

However, I still think that Diana is more primed to have a surprisingly deep run than a surprisingly short one. If Diana died first, then her character is "nice girl," and that's it. What about all of that weird mastermind coding?! My new theory is actually that Diana will be killed at some point because people think she's the mastermind, even though she's actually innocent. (That, or The_Humbugg is right and Diana has autism, and the mastermind coding is a galaxy brain method to ensure that viewers are wary of her for reasons that are entirely not her fault, much like how neurotypical people might instinctively find autistic people unsettling/shifty even when they aren't trying to be. I love The_Humbugg's video everyone should watch that.)

I was actually at first worried for her in Chapter 1 for that reason, until I remembered that (currently, at least) the students haven't been told that there's a mastermind among them. (Assuming there even canonically is, I might add.) Obviously, they could learn about that in Chapter 1, but at that point, just put it in the Prologue. Then the fandom could be sure in the long hiatus that speculating about a mastermind had a point, and potentially start thinking about how a killer could react to that information.

Still, Diana's extreme friendship stances make it easy for me to fit her into the hypocrisy theme in either the killer or victim position. But, if she can use her chameleon skills to fade into the background for just one chapter, I think she might have a long life ahead of her.

#2: Wolfgang

Anybody think this dude is just... flying too close to the sun?

Perhaps this placement is a remnant of the past: when my sister and I were first playing through the Prologue, we totally thought that Wolfgang gave off first victim energy. Except, funnily enough, we thought it was because he was kind of a bland, friendly character who clearly didn't have much going for him, if he was burning one of his voice lines on "Miss Madison!". We were fully taken aback when he popped off in the Prologue trial, and agreed that he wouldn't be a first victim for those reasons anymore. However, he could still die first for other reasons.

Other than Damon, it's hard to argue that any character gets more of a spotlight in the Prologue than Wolfgang. Hell, he might even beat Damon in that regard. It may just be the fandom's penchant for fawning over pale, skinny, antagonistic men, but Wolfgang certainly felt like the most after-the-fact-discussed character to me. However, it's possible that Wolfgang is being set up as a huge figure in the Prologue and Chapter 1 daily life because that's all the time he has to shine. It's possible the Prologue trial was conceptualized under the rationale that the Ultimate Lawyer should have to attend at least one Trial.

While Wolfgang isn't necessarily easy to overpower, it's easy to see how any killer would want to off him so that they don't have to face him in the Class Trial. Even if Damon did a considerable amount of heavy lifting, the majority of the Class sees it as Wolfgang's skills that got them through the Class Trial. He certainly displayed how ruthless he was willing to become against those who spat in the face of what he called justice. If I were becoming the blackened, I'd be worried about facing off against him in the Class Trial. One easy way to prevent that from happening is to cancel his attendance.

Also, while I said I didn't want to get too into the details of any killers in particular, should Jean be the blackened, things could get extra spicy. If I'm right that Jean and Wolfgang could come to lead the group together, then killing your co-leader because you're afraid he could properly bring you to justice is just extra salt in the wound.

But, now it's time for the counterarguments, naturally. Everything I said about the lost potential of having Wolfgang cap out at first killer is probably even more true if he's the first victim. The whole "lawyer versus bargain bin" thing would only actually be applicable to one Trial, even if the memory of Wolfgang's Trial prowess would probably hang over Damon's head for a while. More decisively, if the game is going for an ethos/logos/pathos thing, I have a hard time seeing who would fill the ethos shoes quite as well as Wolfgang did. I guess Damon could eventually step into that role, coming to embody all three...? However, it might be a little early to set that arc in motion.

Again, maybe it's just an inability to shake my initial assumptions, but I still have the vibe ingrained in my mind that Wolfgang will be a shockingly early death. Well, shocking to some people. Not me or Venus, though. But, I won't be shocked if he lives, either. Wolfgang will be a narratively important character, we just need to see how exactly he'll go about it.

#1: Eva

Wow, Eva gets to be the third character included who introduced themselves alongside Damon and the third repeat character from the killer's list! Unfortunately, it seems like I'm not predicting that she's going to make it even as far as the third death in this killing game. Tell me that statement's a lie...!

I think I'll actually start out with some of the counterarguments this time, because they relate to things I've said about other characters. Like Diana, I did initially call Eva to mind because I thought people would think she's suspicious, and perhaps kill her under the assumption that she's the mastermind. However, that's once again probably not going to be the case, because the students don't currently know whether there's a mastermind among them or not. Also, going back to the ethos/logos/pathos thing, I think there's a pretty decent chance that Wolfgang will be ethos, Damon will be pathos, and Eva will serve as logos. There are... probably better options for a replacement logos (including Damon just double wielding with truth and pathos bullets) than a replacement ethos, but Eva is probably still be the best fit. Given that no one trusts her (ethos) and everyone thinks an emotional argument would be a lie (pathos), all she has to convince people is the cold hard facts (logos).

Also, you can't ignore that Damon, Wolfgang, and Eva could just be a really obvious protag/antag/support trio that will all make it to Chapter 5 or whatever. I'm hoping for something a little less vanilla than that, but, hey, that's just me. It's their game and they can do whatever they want.

However... The_Humbugg comes in clutch once again! I won't fully reiterate all of their points, but basically, they bring up a lot of solid arguments about how Eva might have additional information about the prior killing game in which Cara died. Even beyond the possibility that Tozu might stack the killing game in a way that could subtly target Eva, unlike Kai, she does feel like she's being written as the Early Mystery. Also, if she's the one bringing up information about the prior killing games, it's possible another student could "connect the dots" themselves and assume she's somehow behind this one.

Beyond those more far-reaching speculative points though, I do also think that Eva being a victim would fit with the themes of hypocrisy. Specifically, the veil part. Given that the killer is (probably) "beneath the veil of hypocrisy," they aren't just hypocritical, but they're hidden beneath their hypocrisy. They might not even know that that veil is there. So, essentially, killing Eva-- the one who's been directly calling people out for their poor assumptions-- would be the killer succumbing to vice and doing anything to shut up the nagging voice that's accusing them of wrongdoing. They can't come out from under the veil of hypocrisy and confront it face-to-face, so they wind up only furthering their hypocrisy in an attempt to hide from it.

Eva is also in the top three most highlighted characters of the Prologue, between introducing herself alongside Damon (bonus points for meeting Damon first and in special circumstances) and her little speech at the end of the Class Trial. Even more than Wolfgang, to me, her heightened involvement in the Prologue feels like an inclusion to get her more content before an early death, rather than setting up a major character with other relationships and plot threads down the road. That's just my gut instinct, though.

Final Thoughts

And with that, Eva's section is over. I do want to make quick mention of Cassidy, though, because I know a lot of people think that she'll be the first victim. I think it's because of where and how much she's appeared in promotional material...? To be honest, I don't really see it, but I probably would have listed her sixth for lack of other ideas. She is another character whose jokes made her very memorable after only one chapter, and I could see her getting on someone's nerves enough for them to choose to strike back against her. Again, won't be super surprised if it is her-- because, to reiterate, I don't have incredibly strong feelings about who the victim will be-- but I didn't have much of my own to add for Cassidy speculation.

Well, you askers have done it again (/pos). You got me to ramble for way too long about Fangan Possibilities. It's fine; I think that geeking out over various fangan theory essays is important for my account and my personal ecosystem. Perhaps next time, I'll have a bit more evidence to look over if the first chapter is out by then. Or, maybe I'll have a thought of my own after rewatching/replaying the prologue again, or somebody will send me another ask that I take WAY too long to respond to.

Thank you again for the ask and your patience, @thefandomenchantress! I hope you and everyone else enjoyed. Until next time!

[major-comet]

The Music in RvB: Restoration Kinda Sucks. Here's how I'd fix it.

I gave this as a presentation the other night after my first re-watch of the finale, and it was a major hit so I thought I would share it with other people who think too hard about Halo fanfiction.

Red VS Blue has some truly fantastic music in it's 21 year history, and I think that the music here was pretty weak. Obviously this post has major spoilers for RvB19 / Restoration, so be warned.

So, under the Read More is a typed up and fleshed out version of my powerpoint presentation where I will dive in and not just bitch about the musical choices, but explain how I would fix things. This is...really long, but I hope you all enjoy my thoughts :)

This will be best enjoyed if you listen to the songs I'm talking about as a refresher. For your convenience, I have input links to the songs on Youtube when necessary

So what's the problem?

Since the development of the finale overlapped with Rooster Teeth getting shut down, it's very likely that they had minimal funds. (EDIT: Yes, the finale itself was done by the time the announcement rolled around. However, the decision was almost certainly already in the works at WB. RT was shut down in part for financial reasons. It’s all connected.) I personally think this was part of why Burnie/RT was/were [reportedly] so insistent on using stock music for part of the season rather than a whole soundtrack done by Trocadero - I'm not sure they had the money to properly compensate for a full soundtrack. And maybe it was just a stupid / dick move, and had nothing to do with money at all, but that's what I choose to believe if only because it makes me feel slightly better about it.

This means that besides the stock music, the new score by Carl Thiel, the Zero song for that cameo, and Waning Moon (the Barenaked Ladies song), all we have are four re-used songs from earlier RvB - these songs being the Trocadero Grifball theme, I Say Ooh and Round One by Jeff Williams, and Vale Deah by Trocadero. There's also a David Levy composition in there somewhere according to the credits, R U Ready, but I have no idea what it is or where it plays. It's bothering the hell out of me because it does not appear to be a reused piece as far as I can tell - at least not reused from RvB. If anyone has any leads on this please reach out, because it seems crazy that there's one random possibly original David composition mixed in there. I've checked Apple Music and Soundcloud, nothing by that name.

In this very Meta focused film, neither of The Meta's themes play in any shape or form - [When] Your Middle Name is Danger by Trocadero or Plagam Extremam Infligere by Jeff Williams.

Nor do any of the character themes, really. Most of the series' iconic recurring tracks are completely absent. Tex's various themes, Carolina's theme - hell not even Blood Gulch Blues or the iconic intro music.

Were there any highlights?

Of course there were!

Considering I was going into the finale having only been spoiled on Vale Deah, I was pleasantly surprised to hear the Jeff tracks! That was totally unexpected, and really lovely.

Speaking of, I thought the use of Vale Deah was a really lovely touch. Fun fact: that song was used for the end credits of the Season 1 DVD, so it really felt like a sweet full circle moment.

I think that using a Barenaked Ladies song for that very sweet scene of Caboose, Grif, and Simmons reminiscing about Blood Gulch by the fire was a very lovely choice, and quite honestly it was my favorite scene in the whole thing. The BNL have been close to RvB and RT since damn near the beginning, and it was very nice to hear them attached to the finale in that small way.

I should also point out that the composer for the season is Carl Thiel - known for his work on Hot Fuzz and the second and third Spy Kids movies. I think he did a totally fine job. I liked the bugles that were under Sarge's death, but the rest doesn't really stand out much. Perfectly serviceable.

So, now that that's out of the way, let's break down those four returning songs a bit more - shall we?

Grifball Official Theme - Trocadero

This was a really funny choice. It's such a quick bit, but I respect Burnie's dedication to get in one last Grifball joke. Obviously, I would have preferred to hear a different song for something else, but this was totally harmless.

Vale Deah - Trocadero

Lo-fi Hip-hop beats to get divorced to.

God that scene was heartbreaking. I love this song a lot - I think a lot of Trocadero's strongest stuff is the stuff that just feels kind of melancholy. It's something Nico does really well, and I think Vale Deah is one of my favorite examples of that. Like I said above, I think this song was used really well - if I had to pick a different track for that same scene I would probably choose Half Life. While it was written during the Blood Gulch era, it wasn't really used in the show until Seasons 12 and 13 - notably, a version of it plays under Kimball's rally speech to the troops after Doyle's death. I just really like it, tbh. There's absolutely other songs that could work, but I think having it be a BGC-era track served the scene really well.

I Say Ooh - Jeff Williams

My feelings about this are pretty similar to Grifball. It was cute, it was nice to hear, but I wish they had used a different Jeff track somewhere else. Ultimately, it's pretty harmless. It is kind of an odd choice though - I'm pretty sure Jeff didn't write it for RvB. This was a song that he composed that was used in two RT Shorts (live action sketches that RT used to do). I think it would have been nicer to use one of his RvB tracks for the introduction of Niner - could have been a cute spot to use a track like I Am The Best or Forge World or hell, Come on Carolina would have been cute.

Round One - Jeff Williams

...Actually, I have a lot to say about Round One, so let's get everything else out of the way first.

Other Scenes that *should* have had returning tracks before I talk about Round One for a billion years

Sarge's death should have been scored with a version of Rally (Sarge's Speech). My vision is a version of it that's just the string section - familiar, but not enough to be distracting, and absolutely soul crushing if you do recognize it.

The scene with Wash and Dr. Grey in the hospital needed a hint of what Nico so lovingly calls the "Wash Trauma Theme" - which is closely related to the Trocadero Meta theme, fun fact. I think Limited Duty from the scene in Season 16 where Carolina tells Wash about the brain damage could have worked pretty well there.

The scene at the end with Wash and Carolina talking about Doc and the Freelancers really needed something. I think one of the variations of the Shisno trilogy Carwash theme could have worked very well.

Obviously the big scene with Tucker and Sigma on the ship would have really benefited from [When] Your Middle Name is Danger or one of the many themes that incorporates it, but I'd also throw Soul Clef XI into the ring! I think it's so interesting that the work around they came up with for not being able to get Elijah Wood back was to have epsilon!Sigma take on a more Felix-y type of voice. Partly because Felix was an incredibly ambitious villain so he fits it pretty well, but more importantly that was a very smart voice to pick to fuck with Tucker in particular! I think that was really smart, and I think having some version of Felix's theme playing during that scene would have been really cool.

Bolt by Trocadero was never used in the series proper. However it was used in this ten year retrospective that they released alongside Season 10. I highly recommend giving it a watch, because watching it now that it's Over - RvB, RT, all of it - it's honestly kind of heart breaking. They're all filled with this deep optimism about the future of the company, and hindsight is a bitch on this one. They use it in a really sweet sequence at the end where they're showing a bunch of old photos. Anyways I think this should have played in the credits after Vale Deah finished. "We only want to have a good time."

Miscellaneous Trocadero Songs I would have liked to see them find a place for that I haven't already / will not mention elsewhere

Steady Ride (Gunmetal Green) - this is THE Grimmons song ever to me. I love it so much. Also fun fact: as of the interview Burnie did with Nico on the season 10 (I think?) dvd/bluray, this was Burnie's favorite Trocadero track. And you can tell when you watch the DVD cuts of the first 6-ish seasons - it plays all the time.

I like Good Fight a lot, not sure there was a great spot for it? but still would have been nice - It's used a few times as a Wash theme, I believe.

No One is my favorite Trocadero song and I wish it could've been there Somewhere. It was the elevator-music type song that played behind Vic in BG once or twice, I think was in the season 4 credits, and also played during the weapons demonstrations in the Meta VS Carolina Death Battle. I just like it a lot, lol.

Okay let's get back to Round One.

Why they shouldn't have used Round One for the big fight in RvB Restoration

AKA: The actual bulk of the presentation

Okay so we've got some pros and cons to this track. Starting with the Pros;

It's a song from an iconic scene - the 3v1 training room fight from Season 9

Tex and Maine are both in the fight

Was a great "Oh FUCK yeah" moment for the fans

Great track

Cons;

Not really a song for Carolina or the Meta (or y'know. Tucker. He's there too), and only kind of a song for Tex

Honestly the fight makes me think about York more than anyone else, since that's the fight where he gets hurt

Not a cool thematic moment besides just Tex being a badass

Started too late into the fight - it's sad that Carolina got a cool track when she (finally!) showed up, but Tex just got generic music. Show my girl some respect :(

So what would be better?

It has to be something that makes you think of at least one of the fighters. A track that's good for multiple would be better, but not required.

I think it should start when Tex first shows up, not when her armor changes. that’s a cool moment, but it still means most of the fight is working with Thiel’s score.

It should be something with a note of thematic relevance - for example, the big moment right at the end of the fight is Tex reminding epsilon!Sigma that she's not based on the Director's memories of her failure this time; she's based on the memories of Grif, Caboose, and Simmons. And she Always kicked their asses.

Still needs to be a big "Oh FUCK yeah" moment.

While incorporating Carolina's theme would be nice, I think it's more important to get at least one of the others - but we'll do our best here. I think this is moreso a Tex v meta!Tucker fight in my heart than it is a Carolina fight.

So let's look over a few options, shall we? These are in no particular order.

Spiral - Jeff Williams

This is the song that plays during the Season 9 car chase when Maine gets shot. It incorporates Carolina's theme, because in PFL her theme is never too far behind whenever a Maine/Meta song is playing, which has always been interesting to me. It has all that freaky choral stuff that Jeff loved to use, and generally is just a great track.

Fragments - Jeff Williams

This plays during the Freelancer break-in in Season 10, and it just rocks so hard. Anything from the break-in would be cool because that was the last time Tex, Carolina, and Maine/The Meta were all in the same place, and of course was when The Meta was properly created. I think it was so sad that they used the instrumental of Round One, because the vocals are part of what makes the Jeff era of RvB soundtracks so iconic, and god this song delivers! Also this song has a kickass trumpet solo at the end.

Slingshot (from the Death Battle) - Trocadero

Man this song rules. This of course plays in the Meta VS Carolina Death Battle from Season 14. It's a very different energy from the Jeff picks, but it rocks so fucking much. This is a fight between Carolina and The Meta, and would of course be a callback to a (marginally) more recent - and extremely popular - episode of the show. If you haven't watched the Death Battle in a while you really should, it still kicks just as much ass now as it did back when I was in high school.

Literally any other song from the 3v1 Training Room Fight - Jeff Williams

This includes;

Round One (feat Lamar Hall)

Just the Bullfight part

On Your Knees

I just think the instrumental to Round One is the weakest choice from this fight tbh! Bullfight is my favorite out of the three, because it sounds the most Tex-y. The guitars are very her, and it incorporates part of her Agent Tex motif. And On Your Knees would have had the biggest "Oh FUCK yeah" factor. But honestly even just using the version of Round One with the vocals would have been way better.

EDIT TO ADD: a quick note - while it’s listed in the credits as Round One/Bullfight, that’s just how the instrumental is packaged on the OST. As far as I could tell in my two watches of it, they never actually make it to the Bullfight part of the track.

A Girl Named Tex - Trocadero

hold on, walk with me on this one.

I had a vision of Tex fighting meta!Tucker set to the "Yellow rose of Texas clad in black, lonely star tattooed upon her back. Double Tex she'll hit you like a truck. Double Tex and she'll mess you up." bit right after I watched 19 the first time and it's been haunting me ever since. (That bit starts at about 02:19)

This is her theme for the first chunk of the show - which just so happens to be the time period Grif, Simmons, and Caboose were primarily reminiscing about. It would have been cool as hell, and I can See the beginning of the fight in my head - the opening strums (what my brother so lovingly calls the Out of Mind music) when caboose is saying his line about how he brought back someone even worse than church, and then the fight starts! I can see it in my mind, it would have been so cool!

I just think there should have been more Blood Gulch era music in here.

100 Tex Battle - Jeff Williams

This doesn't get you any Meta points, but obviously it incorporates little bits of Tex's, and a lot of Carolina's theme. Twisting a Tex vs Carolina fight - obviously, Carolina vs all the Tex bots in Season 10 - into one where they're fighting alongside each other would have been really lovely and a cool full circle moment.

This song is really cool, it's such a good fight. I do think it maybe sounds a bit goofy at points for this fight, but still a cool option.

Okay so now let's go over my top three-ish picks

Ice Fight (or maybe the revelations suite?) - Jeff Williams

Jumping to the end of Season 8, we have a fight that involves Tex vs The Meta! And Wash, Doc, and all the Reds and Blues (barring Donut and Lopez. Hmm. Doesn't that sound familiar.) are there! Ice Fight rules so hard, it's so good.

And it has some of that narrative theming I was looking for! While yes, Tex does technically lose this fight - so does The Meta. And how does she lose it?

By going into the recovery unit.

The main reason I suggest the Suite instead of just Ice Fight is because I think having a touch of Red Vs Blue would have been really nice.

Mental Meta Metal - Jeff Williams

Genuinely my favorite track from season 10. If you let the song play the whole way through, it has Jeff's themes for The Meta, Carolina, and Tex in it. This plays the first time we see Maine in a fight in Season 10, and is also Sigma's first time in the field after we see him pondering Meta-stability in the classroom.

It incorporates elements from both Spiral and Plagam Extremam Infligere, which is kind of Jeff's theme for the Meta that he established back in Season 8. It also plays during the Freelancer Break-in when he's tossing Carolina off the cliff. The Latin on that translates to “to inflict an extreme blow”.

It also has a very strong statement of Carolina's theme, which could have been a great opportunity to bring her in with her theme!

Now, before I go over my final pick, let's go over what we need again;

We need a song with thematic relevance to the fight, that’s from an iconic scene, has a good energy to it, and would give fans a big “OH FUCK YEAH” moment.

Well, isn’t it obvious?

Agent Tex (/ Tex vs Tank / Hell's Angel) - Jeff Williams

The first instance of Jeff Williams’ Tex motif, later used in Hell’s Angel and Tex vs Tank, etc. I would add the opening strum commonly heard in the later iterations, but keep it generally the Agent Tex version which was used in the S8 Warehouse fight, as seen above.

This is like. The RvB scene ever. So many people saw this before they watched the show, and many more never even watched RvB - just this fight, since RT uploaded it separately from the episode because they knew it kicked so much ass. It also helped draw in folks who may have been fans of Monty Oum's other work. Fun fact: This was RT’s outro music for a really long time, too. So it really has history with the company.

Part of why I think this pick would work so well, beyond it just being Tex's theme for the Jeff Williams era, is that it would be so interesting in terms of narrative theming. The Season 8 warehouse fight was Tucker, Grif, Simmons, Sarge, and Caboose against Tex.

This whole sequence was Grif, Simmons, Caboose, Carolina, and Tex against Tucker.

This was one of the other scenes being reminisced about around the fire - you can see it as one of the clips shown during the scene. I think it would have been a really powerful moment, and a fantastic "FUCK YEAH" moment for everyone whose stuck around this long. This track is so good, and I really do think it would have been the perfect choice for this fight.

It's not even my favorite, if I was just choosing favorites I'd have picked Mental Meta Metal or A Girl Named Tex.

What have we learned? Why Were We Here?

Red vs Blue is a show with a lot of really fantastic music in it's book, and a really strong history of musical callbacks - particularly with the Meta's theme and how it's so closely tied to the motif Trocadero liked to use as "Wash Trauma" music. Making a clever callback to a song you've used before can help strengthen the thing you're trying to get across to your audience. I think it's somehing that Restoration really struggles with, which is pretty sad. But I hope you found my deep dive / analysis of what could have been interesting.

I'd really like to dive in and do a long reflection about the series as a whole, but as it stands this is around 3,000 words and if I get started on that, this post will never end. I'll probably work on that once i've actually Finished this rewatch.

Thank you for reading all of that!

[pluckyredhead]

for the ask meme: Garth/Koryak + no capes AU?

Ooh this is a fascinating prompt because I don't know how you translate Arthur's...everything...to no capes. Is he royalty but not of an underwater kingdom and no one has superpowers? Is he an Olympic swimmer? Is he "royalty" in the sense that he's super rich or famous? Is he just like...a fisherman?

I think I would go with a modern royalty AU where Arthur is already way more internationally famous than most royalty of tiny coastal European kingdoms are because Atlanna eloped with a commoner (possibly - gasp! - an American) and it's all very dramatic, and that's before you get into whatever the deal would be with Orm in this universe.

And then the scandal and drama continues as Arthur 1) discovers the lost, orphaned child of one of his dukes or something and adopts him, 2) gets married to a princess of another tiny coastal kingdom in THE royal wedding of all time, 3) tragically loses his infant heir in a tragic kidnapping that is like the only international news for days, 4) publicly separates from Meta, 5) starts dating a woman half his age, 6) holy shit now she's dating his not-son??? Atlantean royal gossip is AMAZING. The paparazzi can barely keep up. And that's before some random American (another one!) comes forward and says that King Arthur of Atlantis is his father, and the DNA tests confirm it.

So you have Garth, who has been shoved into a spotlight he never wanted since he was eight years old, hounded by the paparazzi, featured in teen magazines' "11 Cutest Princes" articles and whatnot, always very conscious of his extremely tenuous relationship with Arthur's family. And since he and Arthur reconciled after however the Aquababy thing went down here, Arthur has been trying to find a way to legitimize Garth as his heir.

And you have Koryak, who grew up ostracized, broke, always on the outside, who was going through his mother's belongings after she died and realized that he is a fucking prince who could have been living in a fucking palace all this time, and he is going to get what is owed him, and he doesn't care who doesn't like it.

And meanwhile Arthur's advisors are like "This is Too Much Drama, we are an international laughingstock and Parliament is on the cusp of either making Orm king instead or just dissolving the monarchy entirely (can they do that? whatever)." So Arthur is like "Look, I will admit I have absolutely no idea what to do about this whole...situation, but in the meantime, you two had better look like you're getting along or we're all fucked."

Which leads to 30k of forced proximity, enemies-to-lovers, no capes modern royalty AU featuring scandalous paparazzi photos of Garth and Koryak angrily making out in, like, Atlan's extremely solemn memorial garden or somewhere else equally inappropriate.

[scxttershot]

Oh god it's fucking character analysis time with Archie [he has listened to yet another Blue October album from start to finish]

It's not really that Floyd isn't marriage material, it's that he's afraid. At least, from how I see it. Add in the critically low self-esteem and he just doesn't think he's good enough for anyone. Or anything other than a quick fuck for that matter. "he was married once" yes and he's also canon divorced because he thought Susan was naïve and too trusting re. Deadshot: Beginnings, an absolutely wonderful but extremely emotionally heavy miniseries. Speaking of which, I oftentimes feel as though I'm the only Deadshot roleplayer/enjoyer in existence who doesn't mind that series existing and continuing to be somewhat canon [at least in terms of DC characters now remembering their entire pasts and history now] because it continues with the theme of Floyd feeling as though he fails everyone in his life that should have meant something to him. You would not be wrong that canon Floyd didn't give as much of a shit about the kid when he was alive as he should have, but arguably, Eddie Jr.'s death was the catalyst for him giving a shit about Zoe. And probably also Suchin as much as her very state of existence is questionable.

[wingedshadowfan]

Hi, I just found your blog by seeing a reblog in another blog I follow for another show and I loved it all. So much great meta. I loved Arcane and I LOVED Caitlyn, she’s my fave by far but I’m not in the fandom in any way because after way too long in countless fandoms I know what kind of crap I would find about the show and Cait and seeing everyone’s “defense” of her here I can see I was right. So most of fans hate her? Don’t get any kind of complexity? Think she’s unredeemable for her serious but understandable mistakes? Only care about poor fandom’s fave Jinx who has never done anything wrong in her life? LOL so not surprising.

I think I’ll keep myself away from that but I was wondering if you read fic? I would love to read some but written by authors who actually love Caitlyn, hell if she’s their fave even better so you or any of your followers have any recs? I never read any fic in this fandom but I would love to try but the number of fics are staggering. Thank you, even without any recs it was a pleasure to read so much good meta about Caitlyn. 

ooh, this is gonna be a long reply!

first of all, thank you so much! i'm super glad we can support each other in critically analyzing and discussing media together, especially one as complicated, meticulously and lovingly made as arcane <3

i'm convinced i will never shut up abt caitlyn and though i do call it defense, it's not about excusing or justifying her actions for me, i truly think she has one of the most interesting (if not the most interesting) arcs in the whole show, and having gone through a character regression and made a ton of mistakes doesn't take away from that, it adds onto it for me. she seems to still be quite misunderstood by the fandom in terms of moral compass, motivations and intention, which is why i hope people would look a little deeper into her (very complex) character after reading some posts abt her - mine or otherwise. tiktok user danpyxel has some amazing analysis (they've got a background in narrative, afaik) and they're incredibly pleasing to listen to, i recommend them for arcane discussions not just about caitlyn!!

now, i'm not a jinx hater in the slightest, i think she's also a very complicated and interesting character, one who mirrors caitlyn a lot actually! and yet i keep seeing tweets like the og one here (quote retweet explained really well in just 3 tweets that that wasn't what happened) so i'm reminded the fight isn't over:

and onto your last point, i do read fanfic (and i write too, though mostly kpop ones so far)!

i'm actually cooking up a caitvi post-war fanfic/short story and it's plaguing my mind but it'll probably be finished and posted in mid jan at the earliest bcuz i'm in the middle of exam season right now :')

but yea i also haven't read anything in the arcane fandom yet bcuz it seems quite intimidating as a caitlyn enjoyer lol. if any of my followers/ppl who see this have recommendations, please please please drop them here!!

[emchante]

Softcore porn streamer! Max getting sent fanfics about himself on stream (meta, I know). And usually it's a bit uncanny valley for him to read them, so he saves it for birthday/charity streams. So he opens the anonymous submissions he got, and yours actually gets him going. Plus bonus of him getting extra cocky and teasing to hide that he's genuinely turned on

- 🦋

OOH hello new nonnie!! happy to have youu<3

LOVE this idea, though!! definitely saves it for charity or birthday streams— he loves people thirsting over him, but the fanfics have him a little 🤓☝️“i would not say that!”, so he has to try act nonchalant when reading them.

but god. the stream was fun. crack fics, semi-serious fics and then full on pwp. everyone is having a good time. god, max is having a good time when it gets to your submission.

obviously he doesn’t know it’s you— but he’s completely flabbergasted at the writing. there’s even some chatters that are saying ‘can we have the link?’ ‘lowkey.. can we get access to this..?’ which max finds hilarious.

the way you write him so dominant, commanding and teasing gets him going. it gets him even cockier, licking his lips as he chuckles. he’s got one hand on his mouse, scrolling through the fic. the other hand is out of view, on his hard cock and palming it as he imagines doing these very things that he’s reading to someone.. to you.

[brucewaynehater101]

There's like, what? at least THREE speedforce users concentrated in a singular time period? and the word concentrated sounds a bit extreme until you remember the fact that these btiches have power over time; they can timetravel

Impluse did time traveled and has made a place for himself in an older time period permanently

Compared to that, the metabolism's hardly a big deal at all

and unless their world/universe/multiverse is isolated in it's own bubble where not even timetravel gets out, that means their time shenanigans likely affect existing multiverses outside their own so that's a doozy to comprehend

And time travel isn't even exclusive to speedforce users, nothing is sacred, there's magic, and sciences and magical sciences, probably metas with time powers and there's also time loops and---

As far as we're aware, there isn't just THREE speedforce users who can and will time travel if it's called for, but multiple other instance of time travel or manipulation, all concentrated in a singular time period

that fucks shit up

anomalies that people might not even pick up on because the screwing of reality has affected their very minds become the norm; because minus this time period the whole rest of the timeline, before and after that era, is in perfect working order

this particular patch of the timeline is mangled forever and irreversibly, before anybody knew there was a timeperiod in need of unmangling

The clock ticks onward---the heroes and villains, and everyone beyond moves on and dies and the next generations after them don the spotlights, and time marches existence onwards as it always has; that's true, that's permanent. It's ineffable truth

Nothing has changed

you say it feels like just yesterday we did this very act as though it weren't the case

The clock ticks onwards---1:00, 2:00, 3:00, 4

5, 6, 7, 8

9, 10, 11

this is how the world ends

11:30

this is how the world ends

11:50

not with a bang

11:59:59

but with a---

1:00

this is all to say that this is my headcanon to explain Tim's Forever 21 17

and also other plotholes; and maybe you can take this hc to make an AU where there's more shenanigans than ceasing to age at a certain point due to a time period being Eternal even though the rest of the timeline is still perfectly functional

=======

( as for wtf the whole clock stuff was meant to convey, it references the reblogged 'prokopetz the eleventh hour' post )

"...“The Eleventh Hour” is generally used to refer to the Last Possible Point BEFORE everything goes horribly sideways, so this would suggest that you are in a place perpetually stuck at the terrible and fruitless moment just shy of impending disaster. "

-- askmissbernadette

Ooh! AUs/HCs that explore Tim's perpetual state of 17 are rad as hell (although thankful he has finally been allowed to become an adult).

I never did quite consider the ramifications of multiple people messing with the timeline. For one person, we've seen so much media that warns against it and shit. Multiple people that aren't communicating before, during, or after their interventions? How the hell does the space and time continuum not collapse?

Then, the multiverse theory is added on top of all that? My brain is a little too tired to try to even comprehend how bad of an idea it all sounds (for the speedsters and other people who mess with the timeline).

I like to hc that some of the universes that pop off are consequences from a Flash or anyone else screwing up time. It'd be cool to see some angst regarding that (let's say Bart went back in time to save Tim in his universe which caused another universe to lose their Tim [and the domino effect of that unplanned loss for that timeline]). That, or the rewritten history causes new universes to form as a result of the many many paths and choices that can happen after that change.

It'd also be fantastic to see a villain who's like Miguel from Across the Spider-Verse, but worse. A person who picks and chooses universes that they think best suits their needs and desires. They keep hopping to other ones when the one they are in is no longer suitable. They also integrate themselves into the universes with ease and sometimes murder that universe's version of them to take their spot (they prefer kidnapping, though, so that the OG person can resume their life when the villain leaves).

Anyways, there are some great fics out there that chat about Tim staying 17 and/or the other Bats having weird timelines too

[silicon-tmblr]

[Reposting this because I'm dumb stupid and don't know how reblogs work! This was supposed to be a reblog of this post by @g0nta-g0kuhara, a multi-part analysis of Kokichi Oma in Chapter 4]

Ooh a meta post! Sends me back to when I was first researching the DRV3 fandom before playing the game (I'm a little backwards, I know...). I only read the one part, but I wanted to chime in with some additions on top of the existing analysis.

Interestingly, the "neutral Kokichi face" that's highlighted in this post is one of two "neutral faces" that Kokichi makes throughout the game. That would be stand_005_037, or Kokichi's 37th sprite.

The other "neutral face" is the next sprite over, stand_005_038, which appears in a different context from the previous sprite. The difference between the two is really not terribly noticeable at a glance, so here's a visual.

Up to now, I've considered sprite 37 to be Kokichi's "unserious neutral", as his expression appears more relaxed than that of sprite 38, what I've thought to be his "serious neutral".

You know he's not serious when he's agreeing with Maki.

With the information from this analysis, though, it might be more accurate to call it his "masking neutral". Kokichi will use sprite 38 in low-emotion situations when he has a point to get across, like here in the Chapter 3 post-trial.

However, in high-emotion situations, as said in the initial analysis post, Kokichi is likely trying to hold himself back. That's when sprite 37 comes in.

Bro is either stifling a laugh or seething with anger in there

Regarding Kokichi's sprite 38, there's some stuff I've come across which loosely implies that it initially had a different design. When Kaito recaps his conversation with Kokichi in the hangar in the Chapter 5 post-trial, the conversation is portrayed with a sepia tone. The sprites for this conversation aren't really "sprites", per-se -- the entire scenario is actually stored as a series of background images in the game files.

One image that caught my attention, however, was bg_201_11:

On my first playthrough of the game, I dubbed this sprite "Kokichi angy"

This image stands out at a glance because of the Kokichi sprite, which isn't seen anywhere else in the entire game. Compared to the other images in the set, this image actually seems to be from an older build of the game, as the shadows in the background, shading on the sprites, and position of Kokichi's arm-belt-things are different.

bg_201_11 vs bg_201_01

My guess is that this unused sprite was an older version of sprite 38, especially since the current sprite 38 has similar errors as the older sprite.

Personally, I'm glad "Kokichi angy" wasn't actually used in the final game. He looks a little too much like a wet cat.

On another topic, also related to the linked analysis: let's talk about the ever controversial whiteboard note written by Kokichi under Shuichi's photo which, in the English localization, reads "trustworthy?"

As many people have pointed out, both now and in the past, this note was translated oddly and the original text was 「油断ならない？」 (yudan naranai?).

Though it's often translated by fans as “sneaky or cunning”, the literal translation is actually “don't be careless”, with “yudan” meaning “careless” and “naranai” meaning “must not (be)”. This is translateable in most situations as “dangerous”, hence that being the stock translation supplied by Jisho.org.

After all, "don't be careless" has essentially the same meaning as "this is dangerous", in most situations at least (think mountain climbing, or traveling through a dark alley; you wouldn't want to be careless because it is dangerous, you don't know what to expect so it's treacherous and sneaky).

When translating a note regarding a person, though, I would think "don't be careless" would be more appropriate, especially considering Shuichi isn't particularly dangerous compared to some other people in the academy whose dangers are well known (*cough cough* Maki)

You can find the independent translated meanings of yudan and naranai on Jisho as well as on Wikitionary (yudan, naranai).

So, Kokichi is essentially telling himself to stay on his guard around Shuichi, since he doesn't know what to expect from him. His attempt to team up with Shuichi in Chapter 4 was probably his confirmation that Shuichi wanted nothing to do with him, and that he should formulate his plans accordingly. It would probably have been ideal for him to have Shuichi on his side, as he saw Shuichi as a wild card (rather ironically; I'd imagine the group perceives Kokichi as the wild card of the group). So despite the translation error, the points made by the linked analysis still hold decent ground.

All in all, despite my belief that Chapter 4 is absolutely ridiculous, the linked analysis is quite good when one assumes Chapter 4 is logically sound (it's not), and still holds up even to someone like me who really dislikes Chapter 4 for its severe logical fallacies (my suspension of disbelief was absolutely thrown out the window when I played it... but maybe that's a matter for another day)