#or am I just imagining this is as common an interpretation as I think it is

[ilovejohnwinchester]

I know it’s a popular headcanon, but I don’t think it makes sense for John to have used Sam as shtriga bait in 1x18 given the shtriga’s MO. The shtriga randomly chooses a family, then methodically feeds off the kids one by one. Dean and Sam are able to capitalize on this and use Homophobic Motel Kid as bait because his brother has already been attacked. But John has absolutely no reason to expect Sam in particular to be targeted out of a whole town full of kids, and it wouldn’t be very practical to sit around waiting for the shtriga to pick him at random. Not to mention, John’s next move is to get both kids out of dodge—also impractical if the goal is to have bait, since Sam being targeted would mean Dean is definitely next. It makes way more sense that John gambled on them NOT being targeted at random, was horrified when they were, and then chose to leave rather than set a trap like Dean and Sam would later do with Motel Kid.

[talaricula]

Had an "and quartz of course" moment the other day when I was wearing a pendant of the Venus of Willendorf and two of my colleagues went "oh yes that's mesopotamian is it?"

[daiziesssart]

a humiliatingly long character analysis of lily evans

Someone sent me an ask that briefly mentioned how misunderstood Lily is, and before I knew it I was typing out this monster. I am. sorry. This is literally just me rambling about her, what I find compelling about her character, and why her character is so often misunderstood.

This is long as hell so I'm putting it under a read more lolol

Part of the reason I like Lily so much (other than my being ginger and projecting onto any redheaded female character I see) is that even though she isn’t explored as much as her other Marauders Era counterparts, we know enough about her to start building the framework for her character. And what I see is a girl who was incredibly interesting, kind, and flawed.

One thing I always think about in regards to Lily is that she was dealt with a pretty unfair hand. As soon as she receives her letter, she’s basically torn between two worlds, both of which have been less than welcome to her. On one hand, we have the muggle world that she’s known all her life, but once she starts integrating into the wizarding world, she likely feels a bit of a disconnect with that world. To twist the knife further, her sister- whom she loved dearly and grew up so close with- starts outwardly resenting her with such unbridled hostility that they likely couldn’t even be in a room alone together without major conflict. 

On the other hand, we have the wizarding world– a world she’s not as familiar with and one she soon learns holds a demographic of people who hate everything she is and would rather see her excommunicated or even dead. And even though finding out you’re a witch/wizard is probably such an exciting and life-changing moment, I can’t help but also take note of the difficulties, especially if you’re the only one in your family with magic. You’re essentially uprooted from the only way of life you’ve known at an already complicated age, and now you have to quickly become acclimated to this new world that you only just found out existed. Not only that, but now you’re suddenly attending a school with classes that are primarily focused on this world of magic (which is still brand new to you), and you have to work extra hard to play catch up in order to do well. Like, that all seems like… a lot for a kid to handle.

And then I remember how young she was when she was thrown into that mess. She was only 11, and kids that age desperately crave any sense of belonging. I mean, that’s something that still holds true for adults, but it’s especially critical for a developing child. So imagine Lily, ages 11-15, struggling to stay afloat in this weird purgatory between these two parts of herself, both of which have been the cause for major and traumatic experiences relating to rejection in her life.

(I say it was the “cause” even though it’s obvious that those things were never her fault at all, but when you’re a young kid navigating the world, the only thing you’re able to process is that the common denominator is you, therefore you’re the one who must shoulder the blame.)

So now we have this tween-teenaged girl who has a dysfunctional relationship with two major parts of identity and probably feels absolutely lost. 

This is why her hesitancy to end her friendship with Snape makes sense to me. Even though by fifth year he’s already well past toeing the line with the dark arts, Lily was willing to overlook some pretty egregious and troubling things in order to maintain the relationship. I kind of interpret that as her way of desperately clinging on to any sense of belonging she has left; her relationship with Petunia has already been poisoned, and now there are people who resent her existence as a witch; if she loses Severus too, what and who else does she have? And what tone does that set for her, if everyone and everything she’s come to hold close to her ends up turning her away?

It’s also important to note that not only is Severus one of her few remaining connections to the muggle world, but he’s also a wizard who grew up in the muggle world; he understands her, and I don’t doubt that he gave her some stability at times when she needed it (her finding out about her being a witch, her having trouble acclimating to the wizarding world, etc).

I see this as being one of her flaws and I can actually appreciate how relatable and realistic it feels. Lily is not a bad person; on the contrary, you’d be hard pressed to find anyone to describe her as such. Not to get all clinical and boring, but the interesting thing about (unhealthy) coping mechanisms is that it can actually be really hard to identify them in your own behavior. Unless you’re in therapy and/or are actively psychoanalyzing yourself, you likely don’t even realize how many of your common behaviors are born from self defense mechanisms put in place by your brain after past events.

To me, it makes sense why she avoided actually confronting the idea that Snape was too far gone. We know that she was aware of the path Severus was taking, but it almost seems like she was still convinced that she could save him, and could possibly steer him back in the right direction. It’s only when she becomes the target of his bigotry that she realizes that the Snape who called her a ‘mudblood’ was not the same Severus who was the one who held her hand and introduced her to this new, exciting world.

In a general sense, yes, it is selfish, to only take a stand when something starts affecting you personally. But I also think it’s important to note that it’s unlikely that this was a conscious decision on Lily’s part. In my eyes, it was easier to delude herself into thinking she still had a chance to save him before it was too late when she was able to separate him from his actions (considering, a lot of the time, she was only hearing about them after the fact, rather than seeing them firsthand). But the elusion is shattered once she sees that the Snape she grew up with– her friend, Severus– is, in fact, the same person who’s out there calling other students slurs, dismissing the malicious use of Dark Magic on others as just “a laugh”. There we see a Lily who is actually revealed to have been somewhat aware of Snape’s involvement with the darker side of magic, and genuinely feels pretty ashamed about her inaction.

Also, this is in no way me being a Snape-anti, and I actually could do an entire separate analysis on his character alone and why I find him so interesting.

Anyways, that moment in SWM is probably somewhat of an epiphany to her. It’s like a dam that’s been broken, and now she’s overwhelmed with the realization of exactly how much she overlooked in order to keep their friendship afloat. And for someone like Lily Evans, someone whom we know is opinionated and unafraid to call others out on their bullshit, that can be hard to swallow and feel pretty mortifying and shameful. And I think this was a huge turning point for her- at that point, she doesn’t have the luxury of avoiding uncomfortable truths anymore and now that she’s getting closer to graduating and being thrown out into the world on the brink of war, this was probably a really sobering discovery.

This is where we don’t have as much info to go off of, and a lot of it is up to interpretation. But we actually have little crumbs to go off of following her graduation and leading up to her death.

One of my favorite little tidbits isn’t in the books, and @seriousbrat's post reminded me about it. Here's the actual entry on Pottermore for anyone who's interested, but I'll summarize: after James and Lily began dating, Lily brings James to meet newly engaged Petunia and Vernon. Everything goes downhill, because Vernon is a smarmy asshole, and James is still pretty immature and can’t help but mess with him (which… fair, I guess). Petunia and Vernon storm out after Petunia letting Lily know that she had no intentions of having her as a bridesmaid, which causes Lily to break down into tears. I mention this because I also think it’s a pretty important aspect of her character; like we’ve seen in her past friendship with Snape, Lily seems more than willing to forgive others most of the time. Petunia is a bit of a complicated character herself, but she was objectively very cruel and unfair to Lily once it became obvious that she was a witch and Petunia was not.

Something that always stands out to me is just how desperate Lily is to earn Petunia’s trust and approval again. Even up until her death, she was more than willing to mend the relationship, were Petunia ever to consider. 

This is a detail about Lily that I feel is misunderstood quite a bit. I’ve seen a lot of instances of her character being reduced to a one-dimensional archetype with little to no complexity. And often, that archetype is “know-it-all, prudish, self righteous bookworm who is also a goody two-shoes with a stick up her ass”. What annoys me is that the reason for this is most definitely the scene in which she blows up at James in SWM for bullying Snape, and hurls quite a few insults at him directly after an extremely devastating and overwhelming situation for her. This frustrates me because we know for a fact that she’s the polar opposite of this archetype I’ve seen her reduced to. 

In actuality, she’s referred to as popular, charming, witty, bright and kind. From flashbacks we also are shown that she’s opinionated, bold, and not afraid to challenge others. With other context, like her interpersonal relationships, we can also see that she’s pretty emotionally driven and wears her heart on her sleeve. 

(I know Remus didn’t mention Lily much in the books, but I really love how he described her in the movies. He tells Harry that the first thing he noticed about him was not his striking resemblance to his father, but his eyes, the same eyes Lily had. He also calls her a “singularly gifted witch” and an “uncommonly kind woman”.

“She had a way of seeing the beauty in others, even and perhaps most especially, when that person could not see it in themselves.”

I know there are mixed feelings on whether or not the films count as canon source material, so take it with a grain of salt, but I personally cannot see a world in which Lily and Remus didn’t become close friends.)

Here we have a direct description of what she was like and who she was, corroborated by recounting of memories of her, and yet for some reason, this feels like the thing that is most commonly lost in translation.

I don’t think I can say why I think that is without mentioning the dreaded M word (misogyny- it’s misogyny), but I also don’t want to get too off topic so I’ll be brief: female characters are typically not given the same grace as male characters. When we have an undeveloped male character, he’s awarded the assumption that despite his lack of depth, there still exists a complex and multifaceted character– it’s merely just potential that hasn’t been tapped into. Whereas when we have underdeveloped female characters, they are taken at face value, meaning that not much exists beyond the little information we have of them. They are not presumed to have a life or a story that exists beyond the surface of what we know like male characters are. That’s why I think characters like Regulus, Evan, or Barty (just to name a few) are more popular than Lily, despite being less developed than she is.

(Before anyone gets defensive, no, I don’t think it’s an individual problem that you alone need to be shamed for. I think it’s the result of a deeper issue regarding misogyny in media as a concept; these are things that we’ve all unknowingly internalized and while it’s not our fault, we still have to do the work to deconstruct those learned prejudices.)

What I find really cool about her character is that despite how much she’s been hurt, she’s also still known as one of the most loving, kind, and considerate characters. There were so many times in her life where the love she received was conditional and ripped away from her– and I think that’s what makes her sacrifice even more poignant. She was able to protect her infant son from an extremely powerful dark wizard, wand-less, knowing that her husband was just murdered in cold blood, just from how much love she felt for Harry. Her love was a force of nature on its own, and I just think that’s such an amazing thing about her. 

I know I’m biased, given that she’s one of my favorite characters, but even upon delving into this, I still just find it so incredibly hard to understand how anyone can actively hate her (not indifference, but actual dislike). In my opinion (again, no one is unbiased, and she is a favorite character of mine, but trust me when I say that I’m trying to be objective as possible when I say this), she’s probably one of the most likable characters of the Marauders Era. I think perhaps a lot of people haven’t given her a chance or really taken the time to learn about her character, but it could be a myriad of other reasons that I’ll never understand. 

There's so much more I could say but this is long enough and I will stop myself

Lily Evans, u will always be famous to me

[raven-at-the-writing-desk]

Steal Your Heart (Part 1)

When the calling card of the infamous Knave of Hearts arrives, he’ll rob his victims blind of their most treasured items on the appointed date. Enter ace detective Yuu accompanied by rookie cop Deuce Spade, both seeking to apprehend the Knave and bring him to justice.

Will they succeed, or will the phantom thief steal their valuables--and their hearts--first?

This was originally meant to be one fic, but it was getting to be WAY too long. I decided to split it in half and release this part now and the second part (which I am still working on!) later. This first part focuses more on Yuu and Deuce; the second part will be more Yuu and Ace.

(Please note: there are slight romantic implications in the form of an Ace/Yuu/Deuce love triangle, but those elements could also be interpreted as platonic or as just playful teasing with no additional meaning. It’s all in the eyes of the reader!)

Imagine this...

The police station’s waiting room was a familiar sight.

With time, the shiny checkered floor had grown matte, marred with scratches and scuffs from the boots that crossed it on a daily basis. Someone had taken to attempt to pretty up the otherwise dull space by hanging out abstract paintings on the cream-colored walls, and a vase of white roses dripping with red paint at the check-in desk. There was as even a glass tank which housed a small family of colorful hedgehogs.

Maybe they were meant to be welcoming—but really, they were more clashing than anything. Certainly not a fit for the stiff atmosphere of the station.

Still the fluorescent lightbulbs buzzed faintly, flickering in and out on occasion. The sound distracted from the old television mounted in a corner to entertain guests. It seemed to play commercials on a loop more often than it played actual shows. Currently, an Olympus Corp. branded tablet was being toted as the next big technological marvel—though the TV’s audio was fuzzy at best, and the image half static.

A coffee table pushed to the wall, stacked with a new stash of magazines. Whoever updated the reading materials—most likely the friendly senior officer with orange waves for hair—was into the latest trends, often selecting fashion magazines with high gloss finishes. A dangerously beautiful man graced the covers of many of them, dressed in the hottest summertime styles while looking the part of an untouchable ice queen.

As usual, the station was scented with coffee and tea, the beverages of choice for many officers burning the midnight oil or working overtime. The chief demanded it at times to meet deadlines and goals—he was such a stickler for them—and the caffeine helped those under him stay sane as they went about their duties.

In the afternoons, most were either out on lunch or on patrol, lessening the foot traffic at HQ. There was only one man in uniform, seated behind the desk and filing some papers.

Yuu shifted in their own chair, adjusting the rim of the baseball cap upon their head. They were suited in an inconspicuous jacket and sneakers, fingers toying with a badge in a pocket, hidden out of view. To the common man, they were a jogger--but one flash of their lilac gemstone bound to a black and white striped ribbon, and there would be no doubt as to what their true identity was.

The smell of coffee and tea grew stronger, and Yuu glanced up from behind the bill of their hat.

The bespectacled man from behind the fro

nt desk had approached. He had a sheepish smile, bearing a paper cup filled with hot brown liquid and a napkin with a donut laid upon it. Bright pink icing dusted with sugared violet petals crowned the golden fried pastry.

“Detective.”

“Mr. Clover.” Yuu nodded—a terse, polite greeting. “It’s been a while, hasn’t it?”

“Please, just ‘Trey’ is fine.” He offered the treats, which they readily accepted. “Sorry for calling you in on such short notice. I’m sure you’re busy juggling your other cases—but I think I speak for the entire department when I say we’re thankful that you were able to make it.”

“No worries, I’m used to it in this line of work,” Yuu replied. “It must be something pretty urgent this time around. The Chief sounded frantic over the phone.”

Trey rubbed at his chin, grasping for the right words. “Let’s just say he’s not in the best of moods right now. You’ll need that sugar to get through this in one piece.”

“That’s very thoughtful of you.”

“Just trying to avoid any trouble. You’d better finish them before you step into his office. You know how he hates it when there are crumbs or spills in there.”

“Aye, aye, sir.” Yuu gave a joking salute before starting to pack away at their snack. The drink was the instant kind, and practically scalding, but it was easy to tell that the donut was homemade. The pastry, flaky on the outside and fluffy on the inside, dusted with sugar granules and sweet icing. “Wouldn’t want the Chief to be blowing a fuse again.”

“No, definitely not. He’s done too much of that lately.” Trey carefully eyed Yuu’s donut, now only half of it left. “Oh, but be sure to brush your teeth a thorough cleaning tonight, or I might have some problems with you. Cavities and staining are real dangers, you know.”

“Are you Assistant Chief of Police or my dental hygienist?” Yuu took a generous swig, then a bite just as big. “You worry too much about everything.”

“Ahahah… Do I? It’s a habit, I guess. Comes with the job.”

“That stressful, huh?”

“Well, I do what I can to smooth things over. Hopefully you can too. It’s been difficult on our department with the Chief all rattled up about the… situation.” He stopped himself. “I’m sure you’ll hear all about it from him.”

So the case is top-secret, Yuu concluded with the last of their donut. Not to be discussed in the public.

They ran their tongue across the length of their mouth, lapping up the remains of sugary residue. “I understand. The details are not to leave his office.”

“You catch on quickly. No wonder why the Chief thinks so highly of your abilities.”

“Flattery’s a part of your tool kit as well, Trey?”

He raised his eyebrows. “… You’ve worked long enough with us to figure these things out. Nothing gets by you, it seems.”

“UGIGIGIGIGGGGHHHH!!”

The remainder of Yuu’s drink sloshed around in its cup, set into motion by the bloodcurdling scream.

A familiar man with orange waves erupted from the chief’s office, hurriedly slamming the door shut behind him. His typically relaxed features were arranged in panic, his hair frazzled.

“How did trying to calm him work out, Cater?” Trey inquired half-heartedly. It was a courtesy more than genuine curiosity.

“What do you think?” the senior officer groaned, sinking where he stood.

Yuu quickly finished their drink, tossing their trash—the evidence they had been there—away and then stood, adjusting their jacket. “That sounds like it’s my cue.”

“Yeah, it is.” Trey sighed, frowning. “He’s in a tough spot right. Be kind to him, will you? That’s all I ask.”

“You got it.” Yuu tipped their baseball cap as they passed the officer. “Thank you for the pick-me-up. I’ll be seeing you, then. Officer Diamond—get some rest.”

“Good luck.”

“You’ll need it, Yuu-chan! Brace yourself.”

The Police Chief was a small but serious man.

His character came through in his office space: books on law and order neatly arranged on shelves, papers and files alphabetically organized in their cabinets, and pens evenly spaced apart and arranged in rows. A crystal vase with deep red roses was poised beside his writing implements. A plate polished to a fine shine was propped up at his desk, reading: Riddle Rosehearts, Chief of Police.

Perched imposingly despite his short stature in his seat, he impatiently tapped a finger on an arm. Riddle’s face was a telltale red and veiny, proof of his earlier outburst, but was beginning to cool into a faint, smooth pink.

There was already another man in the office, sitting across from the Police Chief. He was pale and jittery in a suit the color of the night and sewn with blue sequins and glitter. A top hat rested upon his raven locks, the brim of it shading his hauntingly golden eyes.

Yuu removed their hat and, keeping it to their chest, gave a shallow bow as they entered. “Sir.”

One move out of line, one hair out of place, and they suspected he, in his volatile and vulnerable state, would explode anew.

“Welcome, Detective. I’m glad you could join us today.” Every word was a gruff puff of air, a leash with which to wrest control of his rage. Riddle gestured to the empty chair beside the nervous man. “Sit.”

Yuu obeyed, sinking into the seat offered. They casted a glance at the stranger adjacent to them, who was fiddling with his velvet-lined gloves.

“Mr. Crowley, this is the independent detective from Stray Cat Investigations that I had previously mentioned to you. The force has collaborated with them for a number of difficult cases in the past. Their wit and strategic skills have made them an invaluable asset. I thought it prudent to have them return to join us for your case as well.

“Yuu, meet Dire Crowley. He is the esteemed director and curator for the Sage’s Island Museum, and he’s come to us with his woes.”

“Hello, Mr. Crowley,” Yuu said politely. “It’s nice to meet you.”

He responded with a tired attempt at a smile. “Yes, you too.”

“Now that we’re all acquainted with one another...” Riddle produced a file from beneath his desk and placed it before himself. “Do you care to explain, or shall I?”

“I-I’ll elaborate!” Crowley crowed. He picked at a collection of keys belted to his waist, glistening gold under artificial lights. “The Sage’s Island Museum is planning a new exhibition on the Great Seven. As part of the exhibit, we are having many priceless artifacts flown in from all over Twisted Wonderland. We have donations from even Briar Valley’s royal family!!

“There will also be a great number of important VIP guests present for the grand opening of the exhibit. Royalty, wealthy benefactors, important diplomats, businessmen, celebrities... All individuals who wish to see their history on display! This is very important, you see!! M-My reputation--er, I mean, the museum’s reputation--is on the line here!!”

“Right.” Yuu nodded as they parsed through the information. “I’m following what you’re putting down. And where does your problem arise, Mr. Crowley?”

“Ah, now that,” Riddle smirked, “is the question of the hour.”

He opened his file, pulling out...

A single playing card, its back facing Yuu.

“I trust you’ve been keeping up with the news?”

“As any good detective would. There have been several robberies lately. Terrible, really.” Yuu’s expression clouded with concentration. “Hmm... but if it’s a potential robbery that you’re concerned about, Mr. Crowley... Doesn’t the Sage’s Island Museum boast a state-of-the-art security system from Olympus Corp.? I doubt the average thief would be able to bypass it.”

“That’s just the trouble,” Crowley loudly lamented.

“We are dealing with no ordinary thief,” Riddle clarified.

“It’s not?”

“No. Far from it.” The Police Chief exhaled sharply. “The string of robberies from before--they’re connected by a single thread, perpetuated by the same lone culprit. And now that scoundrel intends to continue his crime spree.”

“I’ve never heard of this before.”

“You shouldn’t have. It was a top-secret operation within my force since the first of its kind.”

“Why am I being told of it now?”

“Because, loathe as I am to admit it, the culprit has managed to outwit us and elude capture each and every time, He employs a bag of cheap parlor tricks and smoke and mirrors like the coward he is,” Riddle confessed begrudgingly. The blue-grey of his eyes were steely and stubborn. “A case as important as this needs the additional man—and brain—power, Detective.”

He placed the playing card down and slid it toward the detective. “This arrived in the morning at Mr. Crowley’s desk, the same as all the prior robberies. It gave him quite the fright. He rushed all the way to the station to beg for our assistance.”

“This is...” Yuu gingerly turned the card over, revealing a message scrawled on the other side in bright red gel ink. Each letter was big and bubbly, bursting with cheek and pomp.

Their heart jumped.

To the Old Crow that safeguards the Museum,

Heyo~

Your pockets look a lil’ heavy there, so I’ll help you out. (Aren’t I so kind?) Three days from now, I’ll claim one of your most prized treasures at the stroke of midnight.

Stand back and watch as I perform the greatest magic trick you’ll ever see... and make the portrait of the Queen of Hearts vanish before your very eyes. It’ll be a show-stopper!!

Until then,

Phantom Thief Knave of Hearts <3 ;3

P.S. Send the cops my regards, they can’t catch me lol (especially when their teapot tyrant’s patience is in SHORT supply geddit)

“They’re just flat-out announcing what their intentions are,” Yuu realized. They were half impressed, half shocked at the gall. “You said all of the victims received messages like this?”

“Calling cards, yes.” The fury had returned to Riddle’s features, causing his voice to spike and strain. “It’s infuriating!! What does he get off on, misappropriating magic as cheap parlor tricks for crime, writing notes in such a cocksure manner, taunting us to pursue him?!

“Not only is he poking fun at my height and committing a crime, but for mere SPORT?! For the THRILL of it?! He’s making a mockery of the good people of this island and of my men and our efforts to secure the peace!!”

The Police Chief slammed a fist down on his desk, rattling his glass vase and setting his perfectly straight pens askew. Crowley shrunk back in fear. “That Knave of Hearts...!! He must be stopped at all costs!!”

“Y-Yes, absolutely!!” Crowley chimed in. “For my--er, I mean, for the museum’s sake, this criminal must be put behind bars!! That’s why I’ve come to you, my good people!

“My taxpayer dollars help fund the police force, so I’ve come to collect on what its promise to protect and to serve the community!! Well, here’s the community at your doorstep asking you to protect and to serve!!”

“That’s why you want to put me on this case,” Yuu concluded, clasping the calling card to their racing heart. “To prevent this from going down tonight.”

“And furthermore,” Riddle added, “to investigate the identity of this so-called phantom thief once the museum is safely secured.”

“That’s a tall order, sir.”

“You’ll have access to our force’s resources, and to my officers. You will assist in overseeing this operation, with maps and outlines of the museum’s security detail from Mr. Crowley. We’ll cooperate to create a plan of attack to apprehend the Knave.”

“You misunderstand me. I never said I wouldn’t take the job,” Yuu coolly informed the Chief. Their mouth cocked upwards with confidence. “I’m always up for a challenge.”

“Oh, blessed day!! From the very bottom of my oh-so-generous heart, thank you very much!!” Crowley cried tearfully.

For the first time the entire briefing, Riddle smiled back at Yuu. “Hmph. That’s what I like to hear. Happy to be working with you again, Detective.”

“Likewise, Chief.”

The sun had already set when Yuu exited the station, the stars blinking into existence. Several hours had been spent picking the museum curator’s brain with a fine-toothed comb, looking over layouts, and memorizing security detail. The information had been well-stocked, and now came the time to let it marinate and bloom into plans.

Stuffing their hands in their pockets, Yuu shuffled down the sidewalk and past rows of parked vehicles. Ahead, neon lights flashed in and out, and the trains rattled on their well-worn tracks, buses and cars honking at each other, the chatter of street vendors filling the air.

And something different than the usual tonight.

The city never slept, always buzzed with energy. Yuu had become accustomed to its sights and sounds, finding them even comforting. Their best ideas were conceived against the hum of the cityscape. It was just soft enough to not fully distract, but just noticeable enough to tug at their thoughts for long enough to stray into new territories and concepts.

Light from lonely streetlamps created tears in the darkness, illuminating the path to their favorite downtown thinking spot: the Mostro Lounge. A good (albeit overpriced) drink would chase away their tiredness.

Yuu continued with that promise in mind, every step catlike. First quick, next slow, then quick, moderate, slow, quick, slow, quick, moderate. Their speed, ever alternating.

Their ears strained against the sounds of the city, slowly parsing through the individual elements.

Trains, buses, cars, chatter… and the soft footsteps masked by them. Footsteps which matched Yuu’s pace.

There was no mistaking it now.

I’m being followed.

They didn’t look to see who it was—the first rule of tailing a target was to never alert them to your awareness. Yuu would know (as oftentimes they were the one in the position of tailer).

They cast their eyes across the street, which was busy with bodies. Once Yuu merged with the crowd, they could easily shake off their stalker.

Their feet picked up their pace again, hurrying to the crosswalk. It was a glaring red, advising pedestrians to stop.

Shoot, Yuu cursed.

They felt a presence step up beside them. From the corner of their eye, they could make out a dark form--clothes. Yuu pretended to check the time on their phone, and glimpsed him in the reflection.

He was in a hoodie, with the hood pulled up and head down to conceal his features. His hands, too, were out of sight, a sea of baggy fabric hiding identifying features, save for his frame. Lanky, but reasonably packed with muscle to keep up with Yuu.

The man shifted, and his sight grazed theirs. His eyes were hard and icy, a silent threat.

Yuu quickly focused on the crosswalk light. Their heartbeat became as loud as the surrounding sounds. Screeching above the vehicles, shouting from the rooftops. THA-THUMP, THA-THUMP, THA-THUMP.

At last, the light turned from red to white.

Walk.

They started--and so did he.

“Excuse me.” A hand came upon their shoulder. The other pulled at something with a sinister glint. “Do you have a second?”

No walking, Yuu corrected themselves. Run!!

They sprinted down the crosswalk, jostling pedestrians with a hasty “sorry!” thrown back at them. As Yuu weaved through the crowd as fast as they could, they could not completely shunt out the man after them.

“Hey, please wait!! Where are you going?! C-Come back, I need to talk to you!”

His voice carried above the others. People jolted back, the crowd parting to make way for the man to charge forth. His volume swelled louder and louder as he gained on them.

Towering apartments seemed to bear down on Yuu. Their windows, glaring.

A shop. Find a shop and get inside!!

Yuu pumped their arms, pleaded for their legs to move more efficiently.

Again, a weight fell upon their shoulder. It was a clamp, fingers biting Yuu’s skin through their jacket as they dug in and held firm.

The other hand wielded the same shining object that it had before. Yuu looked more closely this time, and the unease in them dissipated. It was not the pointed tip of a knife, but the glint of a familiar officer’s badge wreathed in golden roses.

The man tore off his hood with a sigh--though Yuu noticed that he wasn’t one bit out of breath. Navy bangs fell across his forehead, his eyes a peacock green-blue, much friendlier under the streetlamps than the crosswalk signs.

He smiled at Yuu as though he were greeting an old friend. His grip turned into a tender squeeze. “I finally caught up with you!”

The detective awkwardly pulled away, confusion scrawled on their face. “Um... Sorry, who are you? I don’t believe we’ve met before.”

“Oh! Uh...” The man jumped, retracting his hand. “That’s because we haven’t! Er, not officially anyway, but I’ve heard a lot about you!!”

Yuu pointed to his badge. “That. You’re an officer?”

“Yessir!” The man offered the proof of his identity and stiffly saluted. “Officer Deuce Spade, sir!! I’m a new recruit...!! I just joined the force a few weeks ago!”

Yuu mustered a faint smile. The darned fool was going to give them away. “... Am I in trouble, officer?”

“Nossir! Not at all!” His entire face shone with eagerness, earnest, and a slightly nervous energy. Maybe Yuu would have found it adorable (in the same way that a child trying hard was adorable), were he not blasting your occupation to the public. “Why would you be in trouble, sir?! You’re working with...”

“Okaaay, that’s enough out of you!” Yuu slapped a hand over Deuce’s mouth, silencing him.

Curious onlookers murmured amongst themselves. Some had taken to halt and full-on gawk. Children pointed, adult narrowing their eyes with suspicion.

Yuu frowned, removing their hand to shoo pedestrians away. “Nothing to see here, folks. Just a misunderstanding. Move along, Wonder Boy and I can settle this ourselves.”

“Wonder Boy?” Deuce, in a daze, pointed to himself. “Is that... me?”

“Who else would I be talking about?” Yuu folded their arms. “I assume you’re free now?”

“I am, sir! I was just let off my shift a little while ago, sir!”

“First, drop the ‘sir’. It’s giving me a headache,” Yuu instructed. “Second, if you’re free, then you’ll be joining me for a drink and a chat. We have things to discuss--chief among them being why you were following me.”

Ring-a-ling!

A bell sounded as the door to the Mostro Lounge swung open. Deuce stepped into a new world, Yuu at his side.

The interior itself was dim, but glass lights fastened in the shape of jellyfish projected swimming incandescent lights in purple, blue, and pink. Velvet booths lined one half of the eatery, the other, a glossy bar with tall, narrow stools, the shelves behind it healthily stocked with bottles in jeweled tones. Strangers poised with drink took residence in most of the seats.

The entire back wall had been repurposed into a massive aquarium teeming with aquatic plants and exotic creatures. Seaweed and coral gently swayed to the rhythm of the smooth jazz floating through the lounge, fish frolicking among them.

“Whoooa,” Deuce gasped, craning his head to drink in every detail. “I’ve never been to a place as classy as this. It looks so expensive. You think my salary’s enough to cover at least an appetizer?”

“Hang on tight to your wallet,” Yuu warned. “This place will squeeze you for every thaumark you’re worth and then some—and they won’t feel a bit of remorse about it.”

The detective raised an arm, flagging a nearby waiter.

Their uniform was simple yet sleek: dark dress pants, a white bow tie, spotless gloves, and a cummerbund and suspenders over a lavender button-up shirt. It allowed for slight variation—one waiter skidded by with his shirt buttoned as low as food safety regulations deemed safe. Another jotted down orders with a jacket thrown over his shoulders and a pair of glasses tucked into the crevice of his buttons.

The waiter Yuu called out to approached like a shark fin cutting through still water, neatly bowing to greet their waiting customers. He was prim and proper compared to the other servers, not a button out of place.

When he raised his head, Deuce marveled at his mismatched olive and gold irises, the teal of his hair marred by a stripe of black. Three diamond-shaped scales dangled from his left ear, as sharp as his eyes.

“I bid you welcome to the Mostro Lounge, honored guests,” the waiter said smoothly. He gaze immediately cut to Deuce. “I see you’ve brought a friend with you, today, Yuu-san. How delightfully rare.”

“Acquaintance. We just met outside under… less than ideal circumstances.”

“Oya, how quick you were to seize on that chance encounter. I may even deem you a bigger opportunist than our dear manager.”

“… Is that a good thing or a bad thing?” Deuce inquired.

“Perhaps you will find the answer to your question, should you act as a patron at our establishment for long enough.”

“Quit toying with him, Jade. You know what we’re here for,” Yuu grumbled. “My usual.”

“If that is what you wish. And for this gentleman acquaintance of yours?”

“Just ice water is fine, sir!”

Jade maintained his polite smile. “Very well. One glass of ice cold water for you. I will bring you a menu as well, in case you begin to feel peckish late into the night.”

“Oh, thanks!”

“Right this way then.” Jade gestured for the two to follow him.

“He’s upselling you, you know,” Yuu pointed out under their breath. “Hoping that you’ll buy something when presented with the opportunity to spend.”

“E-Eh, he is?! I didn’t even realize…”

“Fufufu. Please, do not let your worries consume you. You have come to relax, correct? We at the Mostro Lounge ask that you put your fins and your feet up and enjoy yourself while the night is still young.”

They were escorted to two empty stools in a (relatively) quiet corner of the bar. The glass jellyfish lights were clustered in the center of the main dining area, leaving the corner like a slice of dark, uncharted waters. Jass music and conversation filtered into a muffled melody.

Yuu plopped down with relief, followed by an apprehensive Deuce. He slowly sank into the cushy seat.

“I will be right back with your drinks. If you will excuse me.” With another bow, Jade rounded the bar and rolled up his sleeves—the transition from waiter to bartender. Presenting his back to the duo, he set to plucking bottles off of the shelves.

Deuce blinked. He still hadn’t taken to fully processing his new surroundings. “Are we really going kick back and have drinks when there’s a serial thief on the loose?”

“We can’t talk about that in public, or risk blowing my cover. It’s safe to talk here,” Yuu reassured him. “What happens in the Mostro Lounge stays in the Mostro Lounge. Say what you want about the slimy staff, but they know how to keep their patrons’ secrets. Client confidentiality and all.”

The young officer brightened. “Ooooh, I get it!”

“… You’re not the sharpest tool in the shed,” Yuu remarked bluntly. They slipped off their baseball cap, letting loose their hair. “So? Let’s have it.”

“Have what?”

“Your reason for following me.”

“Oh!! That.” Deuce nervously scratched at the back of his neck. “That’s kind of…”

The detective drummed their fingers on the polished counter. Methodical, deliberate. “You mentioned that you recently joined the force. However, only senior officials in the police department and myself were privy to this operation. How did you come to learn about it?”

Deuce stiffened, thrown off his beat (if he had any to begin with). “Th-That’s…!”

“I’m asking you a question, Mr. Spade. Please answer me truthfully.”

“I… um… Truth is, I…” Deuce stared at his lap, unable to meet the detective’s eyes. “I might have eavesdropped when I returned from my patrol shift…”

“Go on,” Yuu coaxed.

“There was a report I had to submit to the Chief, but it sounded like he was busy in his office. It’s hard to not notice him when he raises his voice, sir. I decided to wait outside until he was done, and… well, I got curious.”

“Wasn’t Assistant Chief Clover also present? He just let you do that without a single protest?”

“Assistant Chief Clover was very nice to me! He laughed a little and said ‘make sure you don’t get caught with your hand in the cookie jar’!”

Darn it, Trey!! You could’ve been a LITTLE stricter with this guy…! Yuu groaned, massaging the bridge of their nose. “Okay, I think I’m starting to get a better picture of what went down. You followed me wanting to learn more about the operation.”

Like a curious child chasing after a white rabbit. Still immature, still wondering, and still way over their head.

“Yes, but that’s not all!” Deuce insisted. He abruptly stood from the table. “There’s an even more important reason than just satisfying my curiosity, sir!”

Yuu quirked an eyebrow. “And what’s that?”

“I had to talk to you—without the Chief around. I had to. That’s why I followed you in secret.” The officer nibbled his lower lip, as if biting back something harsh and bitter from coming up.

“Out with it, Mr. Spade.”

“Pardon the intrusion,” Jade coolly interjected. His tone was nonchalant but his bemused smile was a telltale sign that he was relishing in every second of the hot gossip. “Your beverages.”

He slid two glasses between Yuu and Deuce before departing. One was tall and slim—a highball—loaded with carbonated water and fruity gummies. Yellow for jeweled pineapples, red for ruby berries, green for frozen mint, black for floral cacao, and blue from pure azure salt. It was Yuu’s usual, the famed Mystery Drink. The other glass was, by comparison, an ordinary drink of water, a single large, clear cube of ice floating in it.

A bead of sweat ran down Deuce’s jawline. Condensation forming and racing on his glass of water.

Suddenly, the officer slapped both hands on the counter, slamming his face down upon its surface. His navy hair splayed, forehead touching the table in a display of humility.

Yuu almost spilled their drink. “What are you doing?”

“I’m begging you, sir!! P-Please put me on the mission!!” Deuce pleaded, his voice shaky but resolute. “I… I want to help catch the Knave of Hearts too!!”

“If that’s all you wanted, why ask me? Go through the proper channels to…”

“I can’t!! The Chief would never allow it.” His expression creased with shame. “He says rookies need to work their way up from meter maid to working on cases.”

“He’s right. You need to grow into these things, not rush in head-first in a burst of passion.” Yuu made to take a sip of their drink—but the officer’s fist collided with the counter, the liquid inside the glass sloshing overboard. Seltzer water splashed onto their pant leg, leaving a sticky wet spot on a thigh.

“P-Please reconsider! I know how to handle myself in a fight! I’m fast, I could easily catch up with him if it’s a race on foot!”

“Look,” the detective said irritably, “I don’t know what you’re hoping to accomplish here. Fact is, no matter how much you ask, I wouldn’t want to take you on for this case. You’re too green behind the ears—and sorry, but I just don’t see you as an asset.

“You may be strong and quick on your feet, but it’ll take more than strength and speed to catch the Knave of Hearts. There’s a reason he hasn’t been caught yet.” Yuu tapped at their temple. “It’s this. He’s got smarts, and we need to combat that with smarts of our own.”

“I-I can be smart!! I can try to, at least! Please, just let me try…!!”

Frustrated, Yuu scrutinized the young man again. Their eyes roaming, searching, for detail wrong, a hair out of place.

Years of sleuthing had built up a great amount of cynicism and distrust in the detective. How many times had they pulled back the curtain, revealing the ugly truths hidden out of plain sight? How many bruised egos--both clients and coworkers--had they encountered? People seeking status or to feed their own pride.

Yet when they looked at Deuce, none of that ugliness or ego came through. Here was someone who stubbornly stared right back at Yuu, unwilling to back down, even when his dignity lay in tatters on the floor the instant he prostrated himself.

Another selfish bid for recognition? They ventured, toying with the idea. Maybe personal ambition, looking to climb up in the world.

“... One reason,” Yuu said, holding up an index finger. “Give me one good reason why I should take you on. Convince me.”

Deuce recoiled--as though even he hadn’t expected to have made it this far, or to be taken seriously at all. His brows creased with effort as he racked the recesses of his mind to find the right phrasing.

A second later, he let out a piercing shout.

“GAAAAAAAAH!!”

With a grunt, Deuce grasped his cup of ice water and lifted it to his lips. He hammered the drink in a single swig, releasing a satisfied hoot. The liquid courage had revived the man, returning the spark to him.

In a voice as clear as the drink he had just downed, Deuce said, “It’s for my mom. She’s just about the sweetest, most hard-working person I know.”

He hung his head and slammed his empty cup down, shaking the entire table.

“She raised me as a single parent. Mom never once complained, only wanted the best life for me.” Deuce glared into his glass, speaking with scorn and anger--not at others, but for himself. “And how did I repay her? I... turned to delinquency.

“I acted out because I wasn’t man enough to do the mature thing and work on myself!! She blamed herself for my stupid decisions! I made mom worry for me so, so much...”

Plip, plip.

Deuce faltered, letting quiet tears dribble down his cheeks and landing on the cube of ice left in his glass. Once they made contact with the frozen block, it was impossible to tell what was water and what was salt.

“I swore to myself that I would turn my life around... to show mom that it’s not her fault, that she did all she could to raised someone who could contribute to society!! So I studied really hard at the police academy, and even though my grades were crappy, I managed to graduate...!!”

He choked up, a concoction of fiery passion infused in his stuttering words. “I can finally be that model officer and make a change in the community! But I haven’t done a damn thing...! I just play meter maid while bad guys are out there running free, when I could be out there making this city a safer place for mom and everyone that lives here...!!”

The noises of the lounge seemed to fade into a stoic silence around Deuce. His declaration reverberated loudly. “I have to do this. I need to do this.”

He bowed again, his forehead pressed hard against the surface of the table. The single word he uttered was hoarse, desperate.

“Please.”

Deuce pried himself up almost painfully. The eyes were aquamarine, wet with hot tears. Something shone through them in shades of blue and green, priceless as any treasure: an honesty that burned like an eternal flame.

Yuu startled, striken by a single, haunting revelation: He’s telling the truth.

“... I don’t think I’ve met someone like you before,” they said cryptically. “I don’t doubt your story—but as touching as it is, I don’t know if...”

Hesitation reared its head, and Yuu forced themselves to look away. Couldn’t bear to see him, that wide-eyed sincerity.

Emotion clashing with their sound logic. Two things that shouldn’t have belonged together colliding. 

Wait... things that don’t belong together? Things I didn’t expect, surprises and twists to the tale...

A ex-delinquent turned into a policeman. A selfishness turned selfless. An anticipated lie turned into a truth. Something there that hadn’t been before.

The detective’s mind raced, quickly outpacing the words leaving their mouth. A solution which subverted expectations, a trap laced with honey for a man with sticky fingers.

That’s it. We’ll pull a trick of our own.

“Okay, I’ve changed my mind,” Yuu abruptly announced. “You’re in on this operation, Mr. Spade.”

“R-Really?!” Deuce’s face nearly tore in half, his volume revving up like a motorcycle engine. “You mean it?!”

“I do.”

Yuu took a cool sip of their Mystery Drink. Flavors from all over Twisted Wonderland cascaded over their tongue—a triumphant, fleeting pleasure.

They set their glass down and bent over, gripping Deuce by the strings of his hoodie. Yuu tugged, bringing the policeman lurching forward.

His clammy forehead against theirs. Centimeters away, his eyes widened. A flushed heat climbed to his cheeks, his voice set in a stammer.

“S-Sir, what are we...”

“You’ll have to follow my instructions very carefully,” Yuu replied with a devious grin. “Listen up, rookie: cuz you’re going to be the star of this show. Here’s the plan...”

The ambience of the lounge drowned out Yuu’s whispers. From afar, their words could only be read through the shapes of their mouth, the increasingly confused and alarmed expressions that Deuce pulled.

Jade observed them patiently, chuckling to himself. “My, my, it seems like our genius detective has found yet another solution.”

CLATTER, CLATTER!!

A tray piled high with empty plates and dishes was slammed down. Jade’s twin peered around the stack, leaning lazily against the bar.

“Eeeh, but I bet against them this time.”

“Playing the contrarian runs its risks.” Jade picked up a glass, staring at his brother through it. The golden orb called his left eye was clear as a topaz. “As for myself, I’m excited to see how this plays out.”

PLAP.

A notepad came down on the table as a third waiter joined them.

“Both of you need to stop gossiping and get back to work,” their manager chided, sliding the notepad—scrawled with fresh orders—to Jade. “Leave the customers to tend to their own business. We’ll soon know the outcome.”

[To be continued...]

[rallamajoop]

On Mia Winters, misogyny, and abuse

As should be pretty obvious by now, I love Mia Winters. I honestly think she’s one of the most compelling characters in this whole damn franchise.

But let me make clear: you don’t have to love her. Mia’s canonically done a lot of shady shit in her time, and her relationship with Ethan has real problems. There are perfectly viable interpretations where the only thing really holding it together is his own denial. Only I never seem to get to read any of those takes, because the most common characterisations Mia gets in fic are an irredeemable monster, or a cardboard cutout who exists only to be written out as quickly as possible. And to write Mia out to that degree doesn’t just do her character a disservice, it does Ethan a disservice, and a big one.

The amount of Mia-bashing I see out there in this fandom turns my stomach. It’s not just the slash fans who’d rather ship Ethan with another dude. I have seen Mia loudly bashed in tags on het or gen fic in which she does not even appear. I have seen male fans reviewing these games on youtube who treat her the exact same way. But it’s never more frustrating than when that hate comes from the same fans who’ll turn around and talk about characters like Chris or even Lady Dimitrescu (she who canonically abuses her and murders her servants, and, y’know, eats people without a shred of remorse) like they’re perfectly forgivable and have done no real wrong. And don’t get me wrong: I love Lady D, but I love her because she’s magnificently evil. Mia? Mia’s a whole lot more complicated.

But to really explain why this hate makes me so uncomfortable, I’m going to have to start with the start of Resident Evil 7, and Mia’s very first scenes in this whole franchise.

Let me quickly summarise the opening of that game. A man whose wife disappeared without explanation suddenly gets a message about her whereabouts. He travels to an isolated location, breaks in, and finds her. She denies ever sending him that message, and seems incredibly distressed that he’s there at all. They fight. It ends with him sinking an axe into her neck and shooting her several times with a handgun. But see, he didn’t do anything wrong! It was all self-defence! She started it! She was acting crazy!

If you didn’t spot it, the whole opening of RE7 reads uncomfortably like a story about a woman escaping an abusive relationship, then being tracked down and murdered by her ex.

Obviously, I am not here to tell you Ethan’s abusive. He’s not, we’ve got no reason to imagine he is. He was legitimately acting in self-defence.

But the fact the first thing Ethan has to do in this game is find the balls to kill his own wife ‒ that a whole new era of Resi games has opened with a sequence so easily read as a sympathetic justification for how a man might perfectly innocently track down his missing spouse and "have" to kill her – that made those opening minutes into by far the most uncomfortable part of this whole franchise for me. Shit like this really happens. I mean it, I will track down the fucking statistics on women who are murdered after trying to leave an abusive partner if I have to.

What happens to ‘Mia’ in the opening to RE8 isn’t much better: it's as textbook a fridging as any I’ve ever seen. Yes, it’s a fridging that gets retconned away later when she turns up alive, but the fact that’s even possible speaks to just how awful and confusing her death is. The game opens with Mia’s violent murder at the hands of this series’ longest running ‘hero’, and the event is framed entirely in terms of how awful it is for her husband. That's as frigid as a fridging gets.

The eventual reveal that the real Mia was just trapped alone in a cell being experimented on by a madwoman for god knows how long doesn’t actually make it better. The horror Mia goes through in both these games is a footnote, barely explored.

I bring these events up not to condemn the RE franchise, not to say that including these sequences was unconscionable, or that violence against women can never be shown in a horror title. A quick glance at my tumblr should demonstrate how much I adore these games. Tropes like fridging become problems only because they’re so ubiquitous they can come to define almost the only roles women get to play, not because any individual example is necessarily grounds for outrage. If anything, there’s just as much to analyse in all the hate thrown at characters like Ethan Winters (or his predecessor, Jonathan Harker) as a archtypical examples of sexism against men – backlash against the very idea of a male character in the disempowered role of horror victim, usually reserved for women.

But with this context in mind, my god is it uncomfortable to see people talk about Mia as irredeemable monster who deserves to suffer more. People who will valorise the likes of Chris Redfield, who didn’t even bother to stop to tell Ethan that’s not Mia, yet talk about Mia like being shot to death in her own living room was only what she deserved. That is just a whole load of yikes.

And given that both games open with Mia being violently killed by a male protagonist (twice in RE7, with the player in control), it sure is convenient how so many people have managed to ‘find’ the evidence that proves she’s the real villain. You don’t have to think too hard about Chris Redfield as a violent maniac or Ethan Winters being forced to kill his own wife if it’s okay to inflict violence on this woman. “Yes, but she shouldn’t have done [X]…” or even “But what if she’s the real abuser” is a narrative that gets thrown at real women in abusive relationships all the time – especially when the man is a friend of whoever’s casting judgement, or even a celebrity. Real world examples of this shit in the wild run the gamut from wild fan-takes on The Shining ‘proving’ that actually the abused wife was the ‘real’ abuser all along, right up to the ongoing hate campaign against Amber Heard. People don’t want to have to think badly of someone they admire, and will take any excuse to shift the blame. The stakes are infinitely lower when we’re talking about fictional characters, but the same pattern plays out.

And look, I do get it. It’s easy to go into these games and come out with a negative opinion of Mia. She’s the one who lures you into danger in RE7, acts all innocent, and then comes at Ethan with a chainsaw – and when you finally find out her big secret at the end, it turns out she was working for the people who created Eveline from the start! You’re really not given a lot of reasons to invest in Ethan and Mia’s relationship before she’s suddenly coming at him with a knife, and the fact she never does get to come clean to him in canon leaves a bad taste in the mouth.

It’s really easy to go into RE8, note all the glaring signs that Ethan’s relationship with Mia isn’t healthy, and draw your own conclusions about a woman we don’t hardly even see again for most of the runtime of the game. Half this goddamn fandom still seems to think Heisenberg is actually a lycan, ffs – most of what people think they know about Mia is more meme than fact, and the rest is pretty surface level. Basic media literacy is not exactly high out there in the tumblrweeds (let alone the rest of the internet).

But as for the idea that Mia’s responsible for all the horrors Ethan went through, people seem to forget that Mia herself went through so much worse. Ethan spent a day in the Bakers’ property, and a day in the village. Mia spent years trapped in the Bakers’ property, and days at least imprisoned in Miranda’s lab, knowing exactly how much danger her family were in, helpless to save them. She’s no innocent herself, but ye gods has she already suffered for her crimes.

So with all that out of the way, well, what’s the actual ‘evidence’ that Mia herself was abusive? No-one's coming into this one without some bias, but let’s at least give it a fair shake.

Right upfront, I want to recognise that in both fiction and reality, women can be abusers, and men can be victims. Abuse in heterosexual relationships is far more likely to occur with the man as the abuser, but the reverse does happen, and the fact culture at large can be so eager to cast the woman as the villain doesn’t make it any easier for the real male victims of abuse to get recognition and help. Society as a whole is still just really shitty about enabling or excusing real abuse.

But the idea that Mia was abusive has very little to back it up. Whatever you make of “her” interactions with Ethan at the start of the game, the fact remains: that’s not Mia, and the fact she’s acting so strangely is meant to be our clue that something much bigger than a little marital strife is going on here. Knowing all this doesn’t really make the scene where she’s violently executed less disturbing, but you can’t miss the hints we don’t yet know the full story.

So the question becomes, is there any evidence that the real Mia was abusive? I’ve dug into this one a bit before in my post about trying to figure out the timeline of exactly when Mia was replaced, but there are no definitive answers as to how long Miranda's been living in their house. To summarise a long post (and a surprisingly lively timeline of events from the days before the game begins): the most likely intent seems to be that Miranda’s been posing as Mia for less than a week, though a lot of the vibes of the scene give me the impression it’s been several weeks at least. Ultimately, that’s going to come down to your own interpretation.

The Mia mentioned in Ethan’s diary who blew up at him at the hospital could be the real Mia, but more likely isn’t: you can’t really use her to argue anything definitive, one way or another. The Mia from the flashback where Ethan gets the call from Rose’s doctor is the real Mia, but if you think getting upset when your husband brushes off your obvious distress over your daughter’s health makes you abusive, then nothing I say here is going to convince you otherwise.

The only ‘real’ evidence that Mia might be a problem is one line you might hear from Ethan while taking Rose to bed, and it is admittedly a red flag: your mother’s scary when she’s angry.

And to anyone whose whole hatred of Mia has been built backwards from this one line – especially anyone who’s grown up in a dysfunctional household themselves – hell, I get it. It is one really yikes thing for Ethan to say about his wife.

But in Mia’s defence, I can only point out that, well, yes, canonically, she is scary when she’s angry.

Oh, did I say angry? I meant fucking possessed.

And if Ethan’s bringing up the spectre of that time, even subconsciously, maybe that should be an even bigger clue that the Mia in this house right now isn’t Mia.

But what really shows this line for what it is is that we’ve seen the real Mia angry. We’ve seen her cold fury at Eveline, daring to go right back to asking ‘can we be a family now?’ within hours forcing Mia to assault her own husband with a chainsaw. We’ve seen her frustration at Ethan’s own denial, and we’ve seen her stalk out of the room when he blows off an important conversation for a call from work. We’ve seen her advance on Chris after he shut her down, demanding, Where is my husband? Where is my daughter?!

We have never seen her angry without real justification. Her anger is neither violent nor disproportionate. It’s consistently purposeful, focused, and contained. There is nothing scary about the real Mia’s anger, unless you’re threatened by the very idea she might have something valid to be angry about.

There is evidence of tension in the Winters’ marriage from before Miranda’s arrival, but it takes a very different form – most evident in the flashback scene where Ethan receives the call from Rose’s doctor. Far from Miranda’s brusque, dismissive copy of her, the real Mia is anxious and depressed, scared of what Rose’s results might reveal. Here, Ethan’s the one brushing her concerns aside (“We talked about this […] Rose is fine!”) He recognises there seems to be something Mia’s not telling him, says they should talk about it, but then immediately brushes the conversation off when he gets a call from work, while Mia storms out of the room.

You can certainly read Mia as a hypocrite here, getting angry at Ethan for not knowing things she’s deliberately kept from him. But it’s Ethan who decides a call from work is more important than a conversation with his wife – someone who is obviously distressed, canonically still on a regime of drugs after the traumatic events of RE7, very likely suffering PTSD along with Ethan, and maybe even some form of postpartum depression. We don’t know anything about Ethan’s work, so there’s no point in speculating about how much he ‘needs’ to take that call. Mia’s no clear villain here – quite the opposite.

Personally, I tend towards taking this scene as evidence that Mia has tried to talk to Ethan about what really happened to him, but hasn’t managed to get him to face the truth. For all that Ethan supposedly wants to talk about the past, it’s a defining plot point that he’s badly in denial himself.

Or they could both be at some fault here: Ethan unwilling to face the truth, while Mia is reluctant to force him to face something she knows will hurt him and bring him distress. Even when Mia says outright that she ‘tried to keep this a secret, but…’ to Chris at the end of the game, the implication is as much that she’s tried to keep it a secret from people like Chris, who might decide Ethan is dangerous. She’s lied to protect him before, and if she’s still lying to him about her past with the Connections, then the fact that knowing the truth will hurt Ethan is obviously among her reasons. Protecting Ethan has always been among Mia’s top priorities ‒ even at her own expense.

The only other real hints we get about Mia’s inner life come from the glimpses of her we get in Donna’s domain. But I’m hesitant to read too much into these, given how unclear it is how much is just a manifestation of Ethan’s own anxieties. If anything, the ‘Mia’ in these scenes almost seems to have some far worse secret than simply having not told Ethan something he really ought to have put together on his own, and I’d kind of love to see that explored too – at least as long as that goes somewhere more interesting than round umpteen of ‘and that’s why Mia sucks’.

But my point here isn’t that you have to read any of these scenes the same way I do. I do think it’s important to recognise that nothing written for a game like RE is truly character-driven; scenes exist to serve the plot far more than to reflect consistent character motivations or hold up to fridge logic (which, let’s face it, is the real reason for most of Chris’ horrific behaviour in this game, let alone anyone else’s). The result is rarely super consistent, and leaves ample space for multiple interpretations of anyone’s motivations. Regardless, the idea there’s any hard evidence that Ethan and Mia’s relationship is dysfunctional, or that whatever’s wrong is Mia’s fault alone, is going to be incredibly hard to justify.

Any assertion that Ethan and Mia are somehow on the verge of divorce also needs to be weighed against the masses of evidence of how much they love each other – the number of times Mia has said she loves Ethan, up to and including (yes, I’m bringing this up again) how ready she is to die for him in RE7. Her speech to Chris at the end of RE8 states explicitly that being together with Ethan and Rose is the only thing that matters to her. “Mia, I’m sorry, I love you,” are some of the last words Ethan ever speaks – and I can’t help but read into how the moment he finally pushes Rose into Chris’ arms so they can get away with him weighing them down is right after he learns that Mia is alive, and thus implicitly that Rose won’t be alone if Ethan doesn’t make it. And good god does that scene break my heart every time.

It’s worth recognising that the fact Ethan and Mia love each other doesn’t inherently mean their relationship is healthy, or that you have to love them together as much as I do. Like I said up top, you don’t have to like Mia, and you don’t have to justify not liking her if you don’t. I would genuinely like to see fics where Mia and Ethan’s supposedly-necessary break up feels in character. Where Ethan loves her but just can’t deal with the resentment and the fallout over all the lies she told him, where he's been clinging to his 'happy ending' with Mia after surviving the Bakers so hard he can't face the fact things just aren't working, or where he’s having to face that their relationship only ever really worked because she was away so much. It will break my heart, but fiction is allowed to do that.

But god, it would be nice if people could just take the bashing below an eleven around this place. The number of times I’ve had to sigh and back-button out of reading something, because yet another author has decided to project their own hatred for Mia onto the husband who’s still reeling from watching her being violently murdered in front of him… it gets fucking old, y’know?

I would really like to think that in the year of our lord 2024, fandom would be a bit past this thing where they bash the canonical female love interest in the name of shipping the hero with another dude. People will bend over backwards to try and cast Heisenberg and Chris as guys who really care about consent and worry about Ethan getting hurt, because heaven forbid anyone be caught shipping something slightly problematic. And yet misogyny still somehow gets a pass.

You do not have to love Mia. You don’t even have to like her. But ye gods, the hate she gets is baseless and absurd.

Hasn't this poor woman suffered enough?

(And on that note, I promise I am finally done soapboxing in defence of Mia Winters, thank you for bearing with me for this long.)

[bimbolita]

I’m so glad everyone is having the same visceral reaction to episode 4 like I did. I thought I was being too sensitive but fucking no. It is painful. It is horrid. Knowing that this type of abuse actively happens to sex workers and those who are trafficked. It’s jarring because I didn’t expect to see this dark and explicit depiction in a cartoon that jokes about penises every 2 minutes. It’s like when light hearted coco melon shows start talking about death, it was just unexpected because I never took this show serious. I’m going to share more of my thoughts below! Trigger Warning: Mentions of SA ⚠️

I don’t think it’s my place to deny or confirm if the ‘poison’ scenes were fetishized, I personally believe it’s subjective. I know how I feel but I think no matter where you stand, you are right in your own way. Many things can be true at once. What we can all agree on, is that it was harsh. In a way, I hope the audience is able to understand how exploiting and non glamorous sex work is. There is nothing fun about having your body used multiple times a day by people you do not know and having said scenes recorded then plastered all over the media. Of course all forms of engaging in or creating adult content are different, I am specifically talking about sex workers who have no say or control over their bodies and finances. Like Angel. Let us put emphasis on WORK in sex work.

It is demanding. It is laborious It is scaring. Remember that and remember the unheard voices who must do this to simply survive.

There is a lot of criticism about angel’s personality and yes I agree it is annoying but you have to understand, it is a trauma response. Hypersexuality is a common trait among those who are sexually abused. Angel just outwardly expresses it all the time because it is all he knows. This thought process is the only way to tolerate his behavior. I say thought process because it is only an interpretation. It’s very obvious viv just adores writing sexed up characters with zero nuance or depth but let’s just pretend she can actually write male characters that think beyond their cock and balls. Let’s pretend that Angel Dust is a two dimensional character and not (grits teeth) fetish bait.

Now, let’s talk about Charlie. Alright great, she saw her friend being mistreated and was about to stand up to his abuser, ok good good. The victim (Angel) gets upset and wants her to leave because he was beaten. Yes, average response of someone who is an abusive relationship, he is afraid and wants to avoid more conflict between him and Val. The situation at hand couldn’t be more than obvious. How does Charlie respond? She cries. And not because she is frustratedly concerned for the safety of her friend. It is because he yelled and rejected all her poor attempts at helping. Charlie is weak as shit and I think that interaction was weirdly written. I wish she had the mental fortitude to understand how much danger Angel’s life was in at that moment. I cannot enjoy her ‘aggressive kindness’ cutie do no wrong baby girl type of character in a moment like that.

And I feel the same about Husk’s song. Out of all the responses you could’ve made, this is what made it to the final cut? Do better. I don’t care if I lack the mEdIa LiTeRaCy twitter keeps yapping about. It’s bad. You just showed a sexual assault montage and the rebuttal was basically “my uncle broke his neck tap dancing once :/“ lol we’re both losers and that’s ok, suck it up buttercup, I like you regardless. This was the best response to an SA victim? No degree in media literacy would ever help me think that was an acceptable response. I dunno about ya’ll but I major in common sense at the university of using my eyes and fucking ears. Now imagine, if that entire segment, when Husk and Angel are at the bar plus the musical number; imagine if all of that was placed BEFORE we see Angel and Val interact and then poison plays as the final song. It would be 10x more impactful because then the audience sees how deep and stuck Angel actually is. Trauma olympics is never acceptable but neither is trauma participation trophies. It is not right to make Husk’s issues be seen as the same as Angel’s issues. They are not the same and it is ok to acknowledge that Angel has it worst than Husk. It’d be more genuine if Husk were to just hug him in complete silence after dragging him out of the bar and have Angel tearfully embrace him back. The first non sexual and benevolent interaction between them. The first physical act of care with no ulterior motives of lust.

I grind my teeth at the wasted potential.

[dalishious]

Reclaiming Independence of the Dales

Before anything else, I’d just like to clarify that that vast majority of this is made of my own ideas, based on interpretation from the little canonical information provided, and a little inspired by my own people’s history and governing structure. Additionally, what I am presenting here is an ideal situation, not necessarily what I think is an immediately realistic outcome in the world-state established. So, please keep that in mind.

The Dales were established as a homeland for elves—a small piece of a continent that was once called their home in its entirety, before the humans colonized it—by Maferath in -165 Ancient. This was in reward for the eleven people’s participation in the fight against Ancient Tevinter. But in 2:10 Glory, Divine Renata I broke this treaty and declared an Exalted March against the Dales, ending in its annexation by Orlais.

[Related Post: All You Need to Know about the Exalted March of the Dales]

If Solas has very low approval with Inquisitor Lavellan, and Lavellan accuses him of not doing enough to help their people, he will say the following: “You could order Halamshiral returned to the Dalish, if you wished. But ultimately, you know that would fail. That even you cannot solve this.” I hate this with a burning passion. The reason I can’t do that, Solas, is because it’s not an option in the game! Why are you as a character angry at me, the player, for not doing something that is not an option for me to do? Why was this written? Just to push the point that it’s not worth it to try and fight back against oppression? Because if I refuse to accept hopelessness in real life, why would I in accept it in a video game where the story is made-up, and therefore anything is possible if the developers so wish it.

Regardless, according to Solas, the Inquisition has enough power to support the reclamation of an independent Dales. I imagine this would require a lot of political maneuvering within the Orlesian governance, and therefore I think the best opportunity to do this would be with Briala ruling through Gaspard. This would then later open the door for Briala to be the leader of the newly independent Dales, too. I would like to see Briala as ruler of the Dales not just because she is a favourite of mine, but because I genuinely believe she is the best established character fit for the job. She was trained in everything Celene was trained in, has first-hand experience in court, has extensive connections, and has demonstrated her ability and desire to utilize these skills and assets for the benefit of elven kind.

Briala’s blackmail on Gaspard may help prevent Orlais from invading again while under his rule, but to last longer, the Dales would need to establish itself as a strong, independent Nation with allies. This is why I believe it would also be important to have Leliana as Divine Victoria in such a world-state where this could happen. Leliana re-canonizes the Canticle of Shartan, and in making it available for the common person to understand, would ideally help sway the minds of the average Andrastian into supporting the Dales’s independence. The nobility would of course be much trickier, because they and the Chantry are the ones who actually benefitted from its annexation—but there is little they would be able to actually accomplish if they did not have the power of the people behind them.

As far as allies go, Ferelden could only gain from Orlais losing control of the Dales, because it would mean cutting Orlais off from a lot of Ferelden’s border, therefore reducing the threat of another invasion. Additionally, a leader with just plain good morals like say, Alistair, would easily accept the elven kingdom’s return. But even Anora is willing to grant part of the Korcari Wilds to the Dalish if Mahariel requests it, and while this sadly doesn’t last, it does show a positive sign into her potentially being open to the idea of an independent Dales as well.

I sincerely doubt that all Dalish clans would return to the Dales and re-settle down. After all, they have developed differentiating cultures over the years of wandering in separated groups, with different ideals and different ways of life that they might not want to give up. But many would return, and that would likely create conflict between the elves coming from the Dalish clans and the elves coming from the cities. We know that some prejudice exists against “flat-ears” as some Dalish call those from the city, and we know that city elves have adopted a lot of misinformation from humans into their views of the Dalish. It would take time and positive leadership to reconnect the people, without risking falling into some sort of hierarchy based on origin. This is why I do not believe one group or the other should single-handedly rule alone. Rather, I think there should be a Grand Council of High Keepers made up of those voted into the position each to represent a single district of the Dales. (I like the idea of there being seven High Keepers, not just because there are seven traditional districts of Mi’kma’ki, but because it works out that there seven of the Creators. So it makes sense that there would be seven High Keepers.) The Grand Council would meet and make decisions together, with one appointed leader at the head to act as the Council’s chair.

In terms of protection and order, the Emerald Knights should be reformed. This would include the Fade Hunters, to protect the people against demons and maleficarum, with there being no Circles or Templars.

Restoring the independence of the Dales would lead to a revival of elven culture in ways that could never happen before, because they would actually be free to pursue re-learning the language, re-discovering the history and culture, and sharing it all amongst each other. They would not have to fear arrest the crime of simply being an elf.  

But what of the other races presently living in the Dales? I see no reason why they would have to leave, so long as they would be willing to follow the Grand Council’s leadership. I imagine many nobility would flee to Orlais, simply because they would not stand for it. But for the average human or surface dwarf, their life wouldn’t really even change much; they’d still be managing their farms the same as always. Hell, it might even improve things for them, assuming the Grand Council gives fairer treatment than the nobility previously.

[accio-victuuri]

5/16/24 LRLG post + interpretations ❤️💛💚

so it’s not enough that we’ve been struggling for the past days, they really put meaning to the saying of “when it rains it pours”. at least they let people sleep and then released this in the morning. it is an unusual posting time cause it’s usually evening or even late like 1:00 AM but not this early.

original link from the rumor house is here. i will omit some parts and just explain what happens but i tried to preserve the integrity of the post. all of this is fake. if i missed some cpn related to this, feel free to comment or just reblog and add on. enjoy ^^

XZ: "Do I have to buy the flowers myself? I can't spend hundreds of dollars."

WYB: “You don’t need to buy it and use it at home. The bottle is also pretty.”

XZ: 🙄

WYB: “Your skills are really top-notch now.”

XZ: "Why don't you try to be more yin and yang?"

WYB: "Well done. Well done."

XZ: “Don’t let me go if you don’t have any symptoms”

WYB: "You know if I have a fart or not, I'm so awesome."

XZ: "gun"

WYB: 😘

XZ: "There is also gas in the mouth"

WYB: 🙄

XZ: "Hey, your skills are also top-notch."

WYB: “I can’t compare to you, but practice makes perfect”

XZ: “It’s boring.

WYB: “Come and play”

XZ: "If you don't want to play, you won't come from xx"

👧: "Looking for me, I won't delay the fun of you two"

WYB: "Then shall we leave?"

👧: “I also know that practice makes perfect”

WYB: “Excuse me”

XZ: "Whose number should I use?"

WYB: "I'll log in for you

Yibo really be buying useless stuff again. lol. I can only imagine him scrolling through shopping apps in between takes and ordering everything. Thank you ZZ for being the voice of reason. LOL. and them complementing each other’s skills in gaming, even the log-in, we think is for the game. && how they are trolling each other talking about gas/fart, it’s so them 😂😂😂😂

the part about the kiss emoji makes us think that wyb kissed xz but then xz had to comment like that lol and be a gremlin 😂😂😂

i saw one guess that the bottle/vase he is talking about where you can put flowers may be a souvenir from abroad that wyb gave him

WYB: XZ believes in Buddhism and doesn’t believe in anything.”

XZ: “Watch me assist”

WYB: "You are not playing support role."

XZ: "Okay, I won't go even if you call me daddy."

WYB: “Don’t help, you still have to help”

No but seriously i will pay good money to watch them livestream a game lol. to those who are not familiar of why XZ was saying “call me daddy”, it’s a common quip among people. kinda like saying “im your father” cause i’m helping you and more superior than you— nothing kinky okay?

WYB: “Where did the cat come from?”

WYB: "Can I not hear it when it’s meowing at me? "

WYB: "What to record"

WYB: “So where did the cat come from?”

WYB: “Questioning you on behalf of 🌰🌰”

WYB: “Oh, great shooting”

people are thinking it’s this chonky cat that xz got attached to

and all of us are cackling at how wyb is “asking for 🌰🌰” because his dad is being a traitor and looking at other cats! 😤😤😤 yibo is so loyal to their daughter lol

WYB : super cold, i’ll eat a fried egg for you in awhile

WYB: look closely, i’m going to eat one for you (fried egg = sun that just appeared ☀️)

WYB: i ate it too early, it’s not fully cooked yet

WYB: sure, i’ll wait for you to eat a cooked one

i swear their conversations don’t make sense unless you have some background. cpfs are saying here that it means, wyb gave xz a fried egg ☀️ and then xz ate a cooked egg, the way he did it in that milan vlog

and like, if we are talking about a literal egg, that was featured as well in the Milan vlog 🍳 so could that be a bit for bobo? a literal easter egg? lol.

next part is bobo asking xz why doesn’t it look the same to him and how xz hasn’t responded to the group chat. and how he will call him later 📲

them having a gc is not even a secret but just 🥹🥹 that must be one hell of a group chat to be in.

WYB: “How was the restaurant you ate at last time? Let's go there when Zhan ge comes."

🧔‍♂️: "Their ribs are amazing, but the chops are not as good as they should be. Why don't we order one for you tonight and try it?"

i won’t include this part anymore but it’s a conversation between yibo and members of his staff about food and what to eat. i love how wyb is always thinking about xz when he sees something that is good to eat. feeding xz is really his love language. i’m cackling how they are conscious about the carbs to eat. planning what and where to eat with your loved one seems so simple but really special too. there were talks about fruits, which we know what xz is fond of eating in CQL BTS. ( sorry for the screenshot lol xiao zhan i love youuuu. you have no bad angle! )

there was also a part that wyb was telling them to buy blueberries and the staff is like: "Just tell me what you want to eat and I'll give you whatever you want" but yibo was all "Let's see what he wants to eat" 🥹🥹🥹 it all depends on XZ.

and then this scene in the wedgwood ad. which is most likely a coincidence. but still 👀

WYB: “Look at this big pot”

XZ: Saw it

WYB: "I won't let you try the dishes in advance."

XZ: "If you want to eat, just say so and don't take the blame."

👧: Boss Xiao, we have already eaten it.”

XZ: "Grateful and thankful"

WYB: "Why are you so happy?"

XZ: You guys are going to have another meal in two days.

WYB: ☺️☺️🤭☺️🥰🥰🥰😍😍😍

XZ: "Eat quickly and fight again when you get back."

WYB: “🫡Received”

XZ: "Idiot, hang up, bye"

WYB: "Bye"

with this fake rumor i feel so soft cause having a meal together is something they look forward to. i especially loved this comment from a cpf which u think perfectly explain why this romantic: But I especially understand how dad feels. . . When you are in a long-distance relationship, if you already have a date for your next meeting, you will really feel like you don’t want to taste the delicious food you want to eat with you before meeting! Just like "I want to share the surprise of the first bite with you" is the real thing. I only want to taste one-fifth of the taste. I want to wrap this little bit of deliciousness with the anticipation of seeing you soon. I want to see you soon. I have been stuffed to the brim these last few days, so that the day I see you I will explode with happiness!” 🥹🥹🥹

next part is wyb talking to a staff about eating and then this one, yibo! give your assistant a vacation! and well the boss is not taking a vacation too sooooo….

👧: “When can I take a vacation?”

WYB: "Anytime, if you have anything to do, just take a break."

👧: “Want to take a big vacation”

WYB: “It’s early then”

👧: “This year’s Qingming Festival and May Day are all in vain”

WYB: "Have arrangements been made for May Day?"

and the final part of the rumor contribution:

WYB: "Where"

WYB: “Okay, be safe.”

WYB: "I don't have time to ask you to keep the fake house.

WYB: "good"

-END

[epiicaricacy-arts]

without the sour the sweet wouldn’t taste

why are you as a man eating another man’s ear after you failed to make him eat his ex girlfriend. 🤨🏳️‍🌈⁉️

im allowed a bit of toxic yaoi. as a treat

process discussion utc ⬇️

for those familiar with my work you’ll know that i like trying a lot of new styles and experimenting in order to achieve a certain vibe. usually those are heavy painterly styles such as the sunday art inspired by Yuming Li, which is what i’m familiar and comfortable with, both traditionally and digitally

what im NOT familiar with is watercolour. i’ve never had a good time with it 🥲 i just cant seem to wrap my head around the process since its requires me to work backwards (light to dark vs dark to light)

for this piece i just couldn’t imagine myself rendering it in my usual style. i needed to do something new so that i’d stay invested enough in the piece considering that it has two people, meaning double the work. for some reason i thought it’d be fun to do double the work with a style i am completely uncomfortable with but oh well!! i managed to do it 🤷‍♀️ i was specifically looking at the works of Ko Byung Jun, an artist i’ve seen all over my pinterest feed

while i didn’t end up really following the style super closely i still learned quite a lot just by looking at it while i drew. i tried my best to stick to watercolour brushes and an ink pen but as i was nearing the end i needed to make some alterations that i wasn’t bothered to try fixing with the watercolour brushes so i just went over it with my digital ones 🫡 i did my best that’s what matters!!!

i had to repaint rody a few times cause i just couldn’t get it right and the colours never ended up matching vincent. i painted them separately and i think i got possessed while painting vincent cause it happened in like. 40 minutes. and i couldn’t get it to happen again 😔 it didn’t really matter cause i ended up going ham with the curves tool as always but you know 🤷‍♀️

here’s the image without all the effects:

i find lately it’s been more and more common for me to be sketching several iterations of a concept for days, even weeks before i land on something i like. i have an entire separate canvas that i’ve spent 5 hours just doing thumbnails trying to figure out how i wanted to pose these two in a way that would showcase the characteristics that mattered in the story of this piece.

that’s my process for coming up with drawings: i find inspiration somewhere, i figure out the key concepts/characteristics/symbols etc i want highlighted, and i work around those. sometimes i have a composition in mind or just a general vibe i want to portray. for this one i wanted to make sure the towel, rody’s injured finger and vincent’s face could all be clearly seen, while also portraying the fight scene and the vibe i get from the reference song. almost all of my work revolves around a specific lyric from the song which drives the story of the piece. here i interpreted the line “without the sour the sweet wouldn’t taste” as a connection to all the little actions vince takes with rody that can be seen as “sweet.” drying rody’s hair, bandaging rody’s cut. i then asked myself how i could take those actions and make them “sour” or show them in a different light, in which vince is biting the finger he bandaged and pulling rody closer, preventing his escape with the towel he used to dry his hair. what im trying to communicate in this illustration is the idea of “if it weren’t for how i’m treating you now, you wouldn’t understand how kind i was to you then” in an attempt to illustrate the complexities of the way vincent acts towards rody.

i’m truly in love with the story telling of this game. it’s hard to really say anything about how the characters acted during the story because it’s so complex in how it’s done. it’s very hard to summarize their relationship because there’s so much about it i can’t explain without just quoting the game directly. i think it’s such a beautiful portrayal of obsession and just being fucking weird about someone. i wanted to ensure the elements i mentioned in the above paragraph because i didn’t want to be portraying vincent as solely a villain and rody as a victim. i wanted the storytelling of this one illustration to live up to my impression of this beautiful game and i hope i did it justice.

thank you for reading this if you’ve made it this far. i love rambling on all my art posts cause i think it’s so valuable for artists to expand on their work outside of the result alone. i hope what im saying is at most helpful to someone and at the very least a good read. i’m probably gonna take a bit of an art break after this since it took a lot out of me, plus im on the last days of my trip. thank you again for reading!

here’s my dog

[beauty-and-passion]

Why you should listen to Chonny's Charming Chaos Compendium

I didn't expect to truly write a post about this album.

Anons introduced me to its genesis, production and themes and they seemed interesting... but was there enough food for thought?

I had no idea. My expectations were positive, so I imagined I would listen to something good: I just didn't know if this album had enough for me to talk about and say something new - considering that the CCCC fans already did a great job analyzing every detail of the songs.

But when I listened to them (and read more theories/explanations), I noticed some interesting things. Things that stirred my brain and made me think. Things I wanted to talk about.

So here I am, writing a post about Chonny's Charming Chaos Compendium Volume 1. I am not pretending to explain the lore or the songs in detail and I don't want to bother you with an extremely long post. All I want is to give you some material to decide if CCCC is worth a try.

And, if you've never heard about it before, I hope my words will spark your interest, because this album deserves more attention.

One last thing: please be aware I will talk about all sorts of themes, from love to suicide, because those are also the themes of the album.

_______________________________

A simple plot

I can hear you, fans who have listened to the whole album: simple story?! It's complicated! It's open to interpretations!

And yes, you're right. But if we consider the core foundation on which the songs are built... well, that's quite straightforward. With this album, Chonny Jash is telling us about his struggles and how they led to a psychological split inside him into Mind, Heart and Soul. Then these three parts start fighting, until they find a way to reunite again.

And yes, we can also add that this is a time loop and things are destined to repeat themselves, but the structure is still simple, clear and concise. As clear as the tripartition of the album into Calamity, Cacophony and Concord, three parts that correspond to the story's three main points: the split, the fight, the reunion.

And this simplicity isn't a bad thing, oh absolutely not. This is perfect.

There's a common misconception that a good story should be complicated. The plot should be complex and convoluted and the more complex and convoluted it is, the better the story will be. I made this conceptual mistake too and it took me years to realize how wrong it was: the better stories are not the most complicated ones, but the simpler ones.

Why?, you may ask. Isn't a simple story proof of amateur writing - or even worse, lack of creativity?

Actually, it's quite the opposite and there are four reasons why:

If a story has a simple, clear foundation, it will be easier to build on it: a simple foundation is stable and strong, it won't break down too easily. You can add layers and metaphors and hide your plot points behind different interpretations, but your public won't get lost, because the foundation would still be clear: there are three figures, they fight, they reunite. Everyone can understand it.

If everyone can understand your foundation, your story is universal. Everyone can approach and experience it, from an old person to a child, and everyone will find something inside: a message, a feeling, a piece of advice, anything.

If your story is universal and the foundation clear, your vision is also clear. And if your vision is clear, you know what you're doing. And if you know what you're doing, your story will be much more organized too: there won't be dull/useless parts, filler, or moments in which you're just dilly-dallying, waiting for the right idea to strike.

Since your story will be more organized, the flow will be better too and the events will make sense, the public will be more prone to welcome the suspension of disbelief and immerse themselves in the story. People aren't stupid, they can subconsciously feel when an artist is confident and the story is strong. And once they feel it, you win. The public is yours now, you can guide it into your world and show your vision as you intended. And people will let you do it, because they know they're in good hands.

This is what I experienced too, the more I progressed with my listening. There was a lot of care behind every word, the lyrics kept explaining and expanding the plot and everything showed the confidence of an author who knows what he is doing and how to do it.

And there's nothing better for a story, than a confident author.

_______________________________

Clear elements despite the ambiguity

Even if the foundation of CCCC is very simple, the story is enriched by a ton of ambiguities and things purposely left very vague. They may be better explained when/if Volume 2 comes out in the future, they may be left open to interpretation forever. It doesn't really matter: having a full understanding is good, but leaving everything behind a veil of mystery is a good choice as well. It depends on Mr. Jash's choice - and if my previous point wasn't clear enough, I trust this guy's choices.

However, despite the ambiguity, I also really appreciated how there are a lot of extremely clear elements in this story, starting from some events, to specific details of the main characters involved.

Some examples?

Heart tried to shoot/kill/destroy Mind

Heart's breakdown is due to something love-related

The whole series of events is stuck in a loop

Mr. Jash threatens suicide if the parts of himself don't reconcile

Mr. Jash frequently talks about how he keeps making covers of songs others made before him

And what about the details? For example, we know that every character has a specific set of elements associated with them:

an object: a blindfold (Heart), a crown (Mind), a trident (Soul)

a name: Artemis/the moon/Juno (Heart), Apollo/the sun (Mind), Atlas (Soul)

a color: black+purple (Heart), blue+white (Mind), gray+red (Soul)

And those are all elements we get from the songs and they get stuck with you, while you progress with your listening.

Again, this is a very clever choice: considering everything is open to interpretation, having some clear elements serves as "anchor points" in a sea of ambiguities. By doing that, the listeners won't get lost in a maelstrom of possibilities, but they will keep being guided down a clear path - the one traced by the main points of the album (breakdown, fight, reunion).

Also, having some fixed elements keeps everyone's attention too: some people might like to get lost in pure ambiguity, but most lose interest in a too-vague story. Even if the author had a clear plan, if everything is too obscure, people will inevitably think: "It's incomprehensible, so the author had no idea what they were doing" and ditch the story entirely.

Mr. Jash handled the ambiguity aspect very well, by balancing the obscurities with the clear elements. And this proved, once again, how clear, strong and detailed his vision is.

_______________________________

Favorite character?

Ooof, that's hard.

Each character has a specific personality and that alone proves how carefully Mr. Jash planned every element related to them.

Heart is sad, desperate, apathetic, prone to self-pity, sick and tired of everything. But he's also strong enough to try and oppose Mind out of fear of what he could do. He tried to attack someone as powerful as him and take him down, just to preserve the Soul and save their vessel.

And that proves he's not weak at all: he's a lot more powerful than he seems. And, as he said, he's not a child: he felt Mind could've been a threat, so he took the matter into his own hands and tried to find a solution.

And it makes sense his solution was so drastic, because it was dictated by feelings. Because the Heart is influenced by feelings. It's perfectly coherent with the kind of character he is.

Same goes for Mind: he's cold, harsh, a threatening figure because of his design/nature. He takes control of the situation, he appoints himself as the new leader, he wants to react, do something, move forward and ignore the element he sees as the weak link.

And he definitely doesn't hold a grudge towards Heart, nope nope: my bro spent a whole song saying "Look at Heart, he's an idiot". And then, if this isn't enough, he ended his song, by calling Heart "akaryocyte": which is a cell without a nucleus. Hence, a virus.

I'll admit it: this sick burn is the sickest burn that ever burned and probably the most clever insult I've ever read and that made Mind top #1 best character of the album - sorry Heart, but Mind is too sick. (Also, I am a cold logical person too, so I ended up thinking the guy wasn't so bad after all.)

Last but not least, we have Soul. And Soul is basically shut down all the time by these two motherfuckers arguing, to the point he looks more like a shadow, rather than a real character... until he decides that you know what, time to show how confident he actually is:

You must be so arrogant to think that either of you Can control The Soul so wholly When to be one whole you can't hold solely

One song was enough to show Soul's true colors. He's stronger than the other two, he's more in control than them and he's the only one able to draw a line and make an actual threat: if they do not find a way to reunite, he will kill them both.

A couple words and Soul's picture got flipped: he's not just a background voice anymore, he's the leading figure now. And if he is sick and tired, then these three are facing the real shit.

But just like the other two, Soul isn't just that and we see it in The Bidding.

Here happens something incredibly beautiful: once Heart and Mind find a way to harmonize, Soul immediately rejoices: with the impatience of a child, he asks them to do it again, "One more time, go again/No, this can't be the end". Soul, this powerful figure who threatened suicide one second ago, begs them to try again, to do it "for me", because they can finally harmonize, because "I don't know how much more I can take".

Once again, with a couple sentences, we learn how heavy this whole situation has been on Soul and how eager he is to try again, once the other two find a possible harmony.

This doesn't just show how deeply Soul has been affected by the whole situation, but also (on a higher level) how strong hope is.

Soul was ready to commit suicide: a few verses before he said this was the day "we'll tie the rope". But one small step in the right direction, despite being flawed and made out of spite and resentment, was all he needed to change his mind and drop the idea of suicide entirely.

That also proves how human Soul is. Because this is what humans feel too, especially when they play with the idea of suicide. Most of the time, this idea is the result of desperation and inability to find a way out of a situation that seems impossible to overcome. But once these people find even a teeny tiny fragment of hope, the will to live overcomes desperation and people latch to said hope, no matter how small it is. And, just like Soul did here, they try to have it again, to repeat it, to feel that spark again.

Because the will to live is always much, much stronger than the desperation that leads to suicide.

_______________________________

The choice of a time loop

These three characters are stuck in a time loop: things are destined to repeat themselves. And believe it or not, but this is extremely human too - and a clever choice as well.

From a psychological perspective, Mr. Jash can "break" again anytime. Life is full of stuff and events, so... who knows? Maybe in the future, he will face another heartbreak and his Whole will break down into three once more. Or maybe it won't be because of a heartbreak: maybe something else will happen and lead to a new split, a new fight and a new reconciliation. Maybe even the lack of confidence that starts to shine in Concord is proof of a future split.

But if we think about it, the time loop works from another perspective too: a meta one.

Every time you listen to the whole album, every time to replay the songs, you are relieving the split. Every time you listen to them, Whole splits into Heart, Mind and Soul. Every time you trace their history, they split, fight and reconcile.

In other words: every replay is a new loop, a loop in which these characters are stuck - not just because of their humanity, but because they're characters and this is their story. They cannot escape from it, because that's their entire world.

I don't know if Mr. Jash thought about that while making this album... but he gave me this thought and that's just another proof of what I said at the beginning of this post: if a story is very well made, everyone can find a message inside it. And I'm sure you will find something too.

EDIT: You will find the whole analysis of CCCC Vol. 1 starting from HERE

(How about a coffee? ☕)

_______________________________

TAGLIST:

@royalprinceroman @mudpuddlenl @allmycrushesaredead @aquatedia @whatishappeningrightnow @effortiswhatmatters @bella-in-a-bag @doydoune @forever-third-wheeling @payte @hypnossanders​  @idontreallyknow24​  @imcrushedbyarainbowoffical @patton-cake​  @hereissananxiousmess​  @purplebronzeandblue​  @cynicalandsarcastic​ ​@lost-in-thought-20 @andtheyreonfire​ 

@riseofthewerewolf​ @rosesandlove44​​  @chewy-rubies @groaaaaan​ @arya-skywalker  @csi-baker-street-babes @queen-of-all-things-snuggly @reesiereads @dracayd-universe​ @starlightnyx​ @stubbornness-and-spite​ @averykedavra @joyrose-fandomer @mihaela-tbg @igonnatalknothing

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[myfandomrealitea]

I really wanted to ask you about this:

Do you have any advice of how to develop critical thinking and media literacy?

There are many, many ways you can practice critical thinking, evaluation and media literacy. At its most basic, you can access student resources for lower levels of education like earlier high school years and look at the examples and guidance given there. Rehashing this will often give you a good foundation to build off of and apply.

One of the main aspects of critical thinking involves discerning what is fact and what is opinion. A good portion of media analytics is opinion. What is 'bad' by one person's standards is 'sub-par' or even 'great' by another's. Similarly, the majority of fandom space is opinion-based. The main pitfall of fandom spaces is that everyone wants their opinion to be taken as fact, which is where critical thinking and even basic communication begin to fall away.

"I'm right and you're wrong" and "this is the way it should be, if you do it or think differently, you're wrong" are common roadblocks people run into when engaging with things like media analysis and even basic fandom activities like fanfiction.

'Mischaracterisation' is fanfiction is one popular topic, especially here on Tumblr. What people often fail to recognize is the true creative depth of fanfiction and using someone else's pre-existing characters. Characters as they are in the source material may not make the choices or behave in the ways necessary to activate or validate certain plot material or author intentions in fanfiction. Which is, inherently, one of the main points of fanfiction. Exploring the alternate.

While you might immediately recoil and say "he'd never do that!" you then have to sit back and recognise that that's exactly the point. That this iteration of that character is not meant to directly reflect the source material. Its a re-imagining, a re-interpretation. That doesn't mean its bad. Its simply different.

'Mischaracterisation' is only actually applicable in fandom spaces when someone is trying to insist as a blanket fact that a character would do something or behave in a way that blatantly contradicts their canon behavior, opinions, morals and perspective or deliberately interpreting an action in biased bad faith. It is not actually applicable to fanfiction where creative liberty dictates you can do whatever the fuck you want with a character because you're not trying to claim it as part of the source content.

Questions To Ask Yourself

Am I reacting to [media] emotionally instead of rationally? Is my emotional response to [media] blinding me to the rational or critical approach(es)?

Am I allowing my expectations to get in the way of me understanding [media] fully? Am I forming a biased negative opinion of [media] because it isn't meeting my expectations?

Even if I disagree with [media], do I actually understand it? Can I recognise the reasoning behind choices made or actions even if I don't agree with them?

Am I searching too hard to hidden meaning or purpose in absolutely everything? Can I recognise what is simply passive information/detail and what is active information/detail? (E.g; English tutors saying a character's curtains are blue because they're depressed when throughout the literature its passively reinforced that blue is the character's favorite color.)

Even though I disagree with the statement or opinion shown, is it necessary to argue against it? Is there any benefit to making my counter-opinion known or is it simply a no-end argument? Am I just using arguing as a means of release/fulfilment? Am I treating this person poorly because of their opinion/statement?

Resources

Critical Thinking Exercises & Explanations #1 The Critical Thinking Activity Workbook Early Stage Critical Thinking Games Five Media Literacy Activities Six Media Literacy Ideas

[max1461]

The meaning of an utterance is dependent on context and shared knowledge. This is true in a weak sense and in a strong sense. The weak sense has traditionally more interested philosophers, while the strong sense has more interested linguists.

The weak sense is this:

You and I both learned the words we know through exposure to them in context. Because our life experiences have been slightly different, the meanings we have picked up for these words will differ slightly. So, for instance, when I hear the word "tree", I picture in my mind a certain thing, and when you hear the word "tree", you picture a slightly different thing. And so when someone says "there's a tree outside", the image you get in your mind will be slightly different than the one I get in mine. This doesn't so much matter with "tree", but with subtler ideas like "responsibility" or "inherent" or "help" or so on, this can be a significant impediment to communication.

The strong sense is this:

Contained within the grammar of every human language are explicit references to context, which directly affect the semantics of sentences. The most obvious examples are deictics: words whose referent is contextually determined. English deictics include words like this, that, here, there, etc. The place to which "here" refers is not an absolute, it varies on a sentence-to-sentence basis in response to context. If I am in Munich and I say "this here is a lovely city", I am making a different claim than if I said the exact same words while standing in Paris. This is not a subtlety in the process of interpretation generally, it is an explicit element of English grammar. Every known language has deictics, and languages have subtler grammatical references to context, too.

Another place where this manifests is in the referent tracking of pronouns. Imagine the following exchange:

Alice: "I met my new neighbor yesterday. Interesting guy. And he a dog named Bertrand, which is kinda funny." Bob: "Yeah that is kinda funny. So what's he do, what's his job?"

In this exchange, "he" in the second sentence refers to the neighbor. Of course you can intentionally interpret it as referring to the dog instead, and this is a common way to make a joke:

Alice: "I met my new neighbor yesterday. Interesting guy. And he a dog named Bertrand, which is kinda funny." Bob: "Yeah that is kinda funny. So what's he do, what's his job?" Alice: "He's the world's first canine philosopher!"

Ba-dum-tss.

But this interpretation is not the default one. However, you can shift the default interpretation by changing the context a little, for instance like this:

Alice: "I love dogs with jobs—you know, guide dogs, sled dogs, that kinda thing. I think that's so cute. So anyway, I met my new neighbor yesterday. Interesting guy. And he a dog named Bertrand, which is kinda funny." Bob: "Yeah that is kinda funny. So what's he do, what's his job?"

These examples pull on shared context in different ways. The first exchange uses general knowledge about the world to disambiguate pronoun referents: people have jobs and dogs don't. In the third example, immediate conversational context overrides this general context: we're talking about dogs with jobs, so "he" probably refers to the dog here.

There are even subtler cases of interpretation determined by context in these examples that you might have missed. For instance:

Alice: "I met my new neighbor yesterday. Interesting guy. And he a dog named Bertrand, which is kinda funny."

What's funny? That your neighbor has a dog? No, that's not it. It's that the dog's name is Bertrand. Why? Because we know Bertrand isn't a common dog name. Someone from a culture where, say, dogs are usually kept in zoos rather than owned as pets, but where Bertrand is a perfectly common name for one, might interpret this sentence in the opposite way.

Language is absolutely rich with this kind of context dependent semantics. And I mean basic, everyday language, too—not just literature or poetry or places where metaphor and linguistic ambiguity are employed intentionally.

There are basically three points I want to make here:

For the linguists: world knowledge is part of linguistic competence, or is at least a load-bearing pillar on which linguistic competence depends. Much of language can be characterized formally, in a way that a computer can understand. Indeed, large fragments of the referent tracking of pronouns can be formally described. But there are places where these formal systems abdicate responsibility; they defer to the speaker's world-model and say "you figure it out". Modeling these situations is very hard.

For the historian or the reader of history: you're screwed. Ok, that's an exaggeration. But when the basic structure of a sentence can often only be disambiguated using contextual information, much less the subtleties of the meaning of words, parsing ancient texts whose contexts you lack can be a very fraught affair. This opens up the door both for misinterpretation and for bad-faith reinterpretation, where someone comes along and supplies spurious or spuriously-relevant "contextualization" that actually does not bring you closer to the intended meaning. Cf. the Sumerian bar joke that no one understands.

For those who treat language as basically transparent (that is to say, those who think they can be confident in what things mean without devoting any meta-thinking to the question): this will probably not be a consistently successful strategy.

[fandomfreakstudios]

Caine is a human and I will die on this hill (theory)

due to popular demand (losing the poll) I wanna post my Caine theory in proper depth.

My theory is essentially the idea that Caine is not an AI but is in fact a human trapped in the digital circus just as much as all the other players.

Sounds ridiculous, right?

good.

[LONG post incoming, be warned]

----------

To start, we need to understand the digital circus and its origins.

a place like the digital circus is very likely to be man-made as a place, a game, a computer program, whatever. This place did not appear out of nowhere. It is accessed through VR or some VR-esque technology, and takes on the appearance of a retro game (evidence given below)

Now, video games (unfortunately) don’t just code themselves, there has to be at the very least one person creating this game. Fortunately enough, we can deduce the name of the company from what is given within the show.

It is very common knowledge at this point that digital circus takes place within a computer in some sort of office building (as is implied by the ending scene in episode 1)

This computer is also seen at another point... namely when Pomni is running through the backrooms-like offices. She once again comes across this computer.

Now this implies that this area is at least SOMEWHAT a reflection of the real world, so analyzing this location isn't inherently pointless. Now one other interesting part of this office area is the logo on the wall, which reads "C & A" which people have unanimously agreed to mean Caine and Abel

The important thing about this is that Caine as a concept is somehow connected to the person who created this game, through the founder choosing to name Caine after the company, or vice versa. Now you could easily argue that the company was named after Caine, or Caine acts as a self insert for the creator, but I am here to argue that maybe Caine IS the creator.

More specifically, Caine is an original creator of the game (not necessarily the sole creator) aka the amazing digital circus, and in testing an incomplete game managed to get himself trapped, as does any other player who chooses to attempt to play.

----------

Looking back at episode 1 there is something interesting for us to think about. Caine attempting to create an exit door, but being unable to figure out what to put on the other side.

Now this could very easily be interpreted as Caine being unable, as an AI who's only knowledge is of what's within the game, to imagine anything outside of it, and therefore fumbling the task. This is a reasonable interpretation, this was MY first interpretation, and it honestly adds so much horror to the episode on a first watch through.

But in all honesty that still leaves a lot unexplained.

The question still remains why Caine, as a struggling AI, would choose to create something like what he did. From his perspective he has never seen anything as dreary as these office buildings, nor does this space make any semblance of sense as Caine's environments tend to do. It seems less like something a well-polished AI would create, and more like what a human would come up with when trying to create something from a distant memory.

That's something incredibly important to keep in mind going forward. If Caine is in fact human, he would have been trapped in the digital circus for a LONG time, with it becoming increasingly difficult to recall his human memories (something it is confirmed humans trapped in the circus can recall). at the very least, longer then Kinger, who is clearly very mentally effected by his time at the circus.

Caine would likely also be showing some level of insanity or mental instability if he had been trapped with no escape for this long (and yes I do believe that he also cannot leave, and I have some evidence later down the line that will explain this perspective), and he hasn't been seen to do this at all, right? Well, I think he is, but it manifests a little differently then Kinger, or anyone else for that matter. Keep this in mind as we go forward.

----------

Caine's purpose within the circus is fairly straightforward. He is the ringmaster, he creates daily adventures akin to ttrpg oneshots, and he exists to essentially guide the player through this video game world.

Now in the event that Caine was a human who was pulled into the game, why would he need to fill this role? Even as a dev he should still be playtesting as, well, a player. I believe that at the time of the dev's entrapment, the ringmaster AI had not been programmed into the game.

Y'see the Caine we know is a MAJOR perfectionist. He neeeever likes anyone seeing his unfinished work, kinda odd for an AI within a game to be embarrassed about. Yeah, he's a generative AI that creates locations, but creating something in multiple steps is something an AI cannot do. Furthermore, an AI should not feel "embarrassed" about it's work, AI by virtue is always 100% convinced what it generates is perfect, or else it wouldn't have generated it like that.

Also, if we're working under the assumption that the backrooms-esque offices were just an AI hallucination or bad generation, why would Caine KNOW it's not what his players are looking for? For a dev however, this makes sense.

Caine also has a lot of other actions that, as an AI require a bit if suspension of disbelief, but make tons more sense if he's actually a human, and furthermore a dev.

As mentioned, perfectionism, not wanting people to see incomplete or unpolished areas of the game

Realistic depictions of emotions (frustration, embarrassment, confusion)

Annoyance at Bubble for being a sucky AI (her swearing, interrupting him, inhuman and unrealistic speaking patterns and behaviors)

the need to "Reuse AI" which, if the characters are all AI created by other AI would be unnecessary because AI generating would take Caine no effort. Nor should a generative AI ever run out of ideas.

As mentioned, perfectionism, not wanting people to see incomplete or unpolished areas of the game

Realistic depictions of emotions (frustration, embarrassment, confusion)

Annoyance at Bubble for being a sucky AI (her swearing, interrupting him, inhuman and unrealistic speaking patterns and behaviors)

the need to "Reuse AI" which, if the characters are all AI created by other AI would be unnecessary because AI generating would take Caine no effort. Nor should a generative AI ever run out of ideas.

I wanna highlight that, while this is a joke post, I am enjoying the implication that Caine has a name (something only a human would have)

(top right is a particularly interesting example of him just acting super human and "dropping the act" so to speak. Getting distracted, stuttering, losing track of the conversation, all that. And bottom right is similar as he is nervously fidgeting).

Caine has all the fixings of a human dev, trapped in his now incomplete game. A game that had not had it's "ringmaster" character implemented at this point in development, likely with nothing more then some competed (albeit unpolished) locations for the game.

The idea Caine is actually a dev as opposed to an AI is further supported by Caine's ability to create and alter things from within the game. Creating areas without human prompt, deleting characters, he seems to have a level of autonomy and intelligence that no AI should EVER have.

----------

Furthermore, the man ACTS human, a weird ass human, but a human nonetheless. He's responsive, emotive, emotional, and he's not nearly as glitchy as the other AI. He never slips up and activates some sort of internal filter like bubble, or insists on weird mannerisms like the moon or the sun, he seems to just KNOW better somehow.

He acts like the more "immersive AI" from ep2 if anything, which he's clearly been around longer than. Someone needed to program that AI, and based on previous patterns is implied to be Caine. Once again, way out of his job description as another AI (plus how would this AI be MORE realistic if it was learning from another, older AI).

Not to mention the fact he's ALWAYS around somewhere, whether he's in his own realm he made, or just chilling around the circus (unlike bubble for example, who comes and goes at Caine's will).

It's clear he does this for his own comfort, but WHY would he be programmed to do that as opposed to only existing when necessary to prioritize memory or something.

----------

But one would be right to say he's slightly... off. He is a strange one, if he was a human. He's erratic, unpredictable, and often manic at times. This goes back to the point I made with Kinger, where I claimed Caine should also be exhibiting signs of mental illness

Under the assumption that Caine, in the act of playtesting the game, got trapped, a handful of things would happen (the finer details are negotiable, this is just my knee-jerk reaction):

He'd realize what happened and that he can't get out

He likely felt as though he was in his own personal hell, as he was trapped in a scuffed, incomplete skeleton of his own passion project

He likely found some sort of way to alter stuff, a backdoor that only he as the creator knew about, or some sort of privilege in being the first to enter the realm

He got his first or first few players. This was probably alarming to him as there was no ringmaster, no worlds, nothing. All the AI he had created thus far had been poorly made and could not function which such a difficult task. But then he realized... HE could be the ringmaster

This is probably around the time as well that he realized he could not remember his own name. But he remembered what he wanted to call the ringmaster... Caine

He takes on the identity of Caine, acting as ringmaster, polishing the game behind the scenes, and creating daily activities on an "as needed" basis

----------

Now this is where it gets interesting. I believe, at this point, Caine has taken on the identity of this AI generated ringmaster for so long that he's beginning to lose himself. He's beginning to lose memories of his life, he's becoming more detached from the side of himself that ISN'T Caine, and he's starting to catch himself believing he IS Caine, he IS an AI.... and he's scared

He's completely lost the ability to create any meaningful connections with others, as he needs to keep up the illusion of being an AI. He's lost his humanity, become detached from the way other humans think and feel, and its starting to make him become more AI then human if anything.

(left image does not crop nice, plz click to view the whole thing TvT)

He's probably seen at least a dozen people lose their mind in so many different ways. While he knows he's different then them, TECHNICALLY he's still a player, and can abstract all the same. This is why he seemed to freak the HELL out at the idea of an AI and a human getting mixed up.

----------

One last bit, and it's a simple one I promise. Caine has been described as the main antagonist outside of the show. This is interesting as up until now Caine hasn't done anything actively malicious (aside from Gummigoo, but he seemed to have solid reasoning for that, just not anything he chose to share with the audience).

[does ANYONE have the "weight of Caine's sins?" tumblr ask I am having no luck finding it again]

At this point, this would be shooting the messenger. He is simply a byproduct of the system that is keeping these folks trapped, right? Caine himself didn't put them there, he just takes care of them.

Unless... Caine was the one who made the AI. Then he would inarguably be the reason everyone else was trapped there. And goose is right, that wouldn't make him an AWFUL person either, but he does still have many sins weighing on his back, and many deaths on his hands. And there's nothing he can do about any of it, because he's just as helpless as they are.

----------

So yeah, TLDR: Caine was the creator of the circus. In attempting to playtest he got trapped in the game and eventually took the initiative to play the ringmaster within his own game, but he is slowly beginning to lose his mind, as happens to everyone.

Hope you all enjoyed the read! If anyone's still interested at this point I have a few more small bits of evidence (more from outside the show on Goose's socials and whatnot) which I could not fit in the bulk of the theory. I'll reblog with some extra bits so this post is still complete but I don't break the flow of my main ideas.

And if you get this far, thank you so much. I don't typically post long form theories like this but if this gets any sort of traction I definitely will begin too.

[alpaca-clouds]

I Dare You To Write Solarpunk Horror!

I will openly admit, that yes, Horror is much less everyone's kinda jam the way that Romance is. Horror - especially horror writing - is a small, if not outright tiny niche, especially outside of Stephen King.

However, I love Horror Writing, and especially horror short stories and novellas. (I usually tend to think that a lot of horror works better if it does not go on too long.) And I kinda think that Horror could be very fun to write a bit more for science fiction settings - including Solarpunk.

Here I go once again: I grew up more on Japanese Cyberpunk, than the western interpretation of the Genre. And Japanese Cyberpunk usually deals more with themes of transhumanism, than the other topics that we associate with Cyberpunk. As such, Body Horror and Psychological Horror are actually very, very common in Japanese Cyberpunk. Meanwhile western Cyberpunk usually does not show us much of this.

But the wonderful thing about horror is, that you can use horror to engage with all sorts of traumatic things. It is why I absolutely adore this genre. It is also the reason why horror is by far the most diverse genre there is.

Especially if you go with anything along the lines of paranormal horror you can easily make it happen in a Solarpunk setting. Ghosts and demons are not gonna give a shit how good the world has gotten, they are still going to haunt you. And other paranormal entities as well.

In fact, I can imagine that it could make for a very interesting story setting to have restless spirits in a setting where people barely can imagine whatever those spirits could have gone through, because by now it is so long ago and the world has changed so much.

So far, I have only written one paranormal story, though that one was less horror than just a bit of a chiller, based on the idea that the general trauma of capitalism is still haunting the Solarpunk trauma.

I am however thinking about writing a Solarpunk Horror story for Halloween this year. I am not sure if it fits into my busy schedule. But yeah, I think that would be quite interesting to do.

[birdmitosis]

Since you sometimes make a distinction between the two different versions of The Fury and The Wraith as well as the Beast and Witch versions of The Wild, would you care to discuss how you interpret the two versions that makes them worth distinguishing?

Oh, sure!

Honestly, I tend to differentiate the shared Chapter IIIs more often than not in my head, even if I don't always specify in writing. This is because I tend to think of all the Chapter IIIs as continuations of their Chapter IIs -- which is why I also find it increasingly hard to ship things like, say, Witch/Thorn and I find it harder to imagine Adversary & Eye of the Needle interacting, unless it's a case of two alternate universe versions meeting.

But I also make more of a distinction between Chapter IIIs that are, in my opinion, very different from one another in some key way. This is definitely most obvious with the Greys, who flat-out have names specifying which is which in fandom (Burned Grey and Drowned Grey are by far the most common in my experience)... But the two Furies and two Wilds also have very obviously different driving desires and motivations, in my opinion.

Adversary!Fury feels empty. She has lost you. If you make it through her torment, she makes it clear that's what she's so upset about. She had a moment of fleeting happiness with you she's clinging onto, she thought she understood something about you, and you left her feeling alone and empty.

On the other hand, if you make it through Tower!Fury's torment, she makes herself clear as well, and it's different. She was furious that you denied her, furious about what you did to her. And now she has broken your will, the way Tower wished, but she's found it to be hollow. It hasn't made her happy. "I am forever a piece unfinished," she says, "A song with no refrain." The song that she wished for, of you choosing to free her, release your goddess upon the world... That can never be. And she is in despair thinking that you will never be able to understand her.

With the two Furies, their differences are also more obvious in The Pristine Cut given the drastic differences between their routes. Yes, there are some similar endings you can get in their chapters (if you have the right voice with you in Adversary!Fury, that is). But it's only with Cold or Broken in Adversary!Fury that you can leave with her, or leave without her, or bury your blade in her heart. And Adversary!Fury's reaction if you defeat her with Contrarian is very different from Tower!Fury's reaction if you defeat her with Cold. And, notably, Broken and Cold only reach the stage of empathizing with Adversary!Fury.

The differences between the two Wilds are more subtle, but IMO are still a significantly different driving force. In Beast!Wild, if you look at what is in your now-shared heart, after she begs you not to make you remember what she was, you find your own fear. But in Witch!Wild, if you choose to look at that concealed thing, after she begs you not to make you remember what you both were... It's hatred. It's both of your hatred. Beast!Wild doesn't want to go back to "the fear and the hunger and the pain"; Witch!Wild doesn't want to go back to "the doubting and the hatred and the schemes." They are both avoiding different things, Beast!Wild seems to more be wanting to avoid thinking about what she had been while Witch!Wild wants to ignore what both of you had been, and while both Wilds feel like it's right to be a single being now, Beast!Wild is the one who specifically talks about having put things back how they were supposed to be. While Witch!Wild shouts about remembering herself, going back to hating and hurting you, before... "I wish I didn't have to."

In comparison, the two Wraiths aren't as blatantly different, but they still definitely have different dialogue before possessing you. It's also possible to get to them in... similar, if backwards, ways. While you can get Spectre!Wraith by just straight-up trying to slay her first thing every time you meet her, well... You can get to Spectre!Wraith by killing her ASAP and then trying to abandon her, and get to Nightmare!Wraith by trying to abandon her and then killing her ASAP. It's easy to just not bother differentiating between the two! But I think the fact that Spectre, even the harsher version of Spectre, has such a different personality and approach from Nightmare, means that Spectre!Wraith and Nightmare!Wraith are still definitely different people even with their strong similarities. They've become quite a bit like each other, though, after everything you have done to them.

...TL;DR honestly I always tend to make a distinction between the different versions in my head, since I think of them still as part of/an extension of their specific Chapter IIs. But some of the shared Chapter IIIs are very very different from each other, in a lot of ways or in a few key ways, and so I tend to differentiate more often with some of them than with others. Because it feels way weirder to talk about "the Fury" without saying which I mean than to do that with "the Wraith." (And I can't imagine doing it with "the Grey" at all.)

[amerricanartwork]

Quetzalli on Trafficlights and Birds

Well @toxictoxicities, it has been done! You gave me the chance for me to give my own interpretation on this matter, and I can’t resist chances to add some narrative significance! I decided to make a separate post on it because what I came up with ended up being long (as always with me), and in case anyone else would enjoy these thoughts.

However before I go in with this essay I've put together I have to give a very important note: These thoughts are gonna be primarily based around my personal interpretations and headcanons for Seven Red Suns and No Significant Harassment. I’m generally a person who needs to know exactly what I’m working with to do something well, and as such my ideas about metaphors, symbolism, and greater narrative significance typically depend a lot on me understanding the characters and ship not just in their general dynamic, but various other deeper elements — what their core desires/fears are, what their backstories/histories are, each of their main character traits and why they are that way, then from there what they see in each other and why their relationship benefits each other in-universe, and what other effect(s) the relationship has or could have on the characters in-universe as well as the greater narrative out-of-universe, with the additional optional knowledge of what the main plot of the story they come from is to possibly tie in important moments. Seeing as you probably aren’t going to explain your Trafficlights interpretation completely to this intense of a degree anytime soon (though I’d absolutely enjoy hearing it whenever it comes!), if I’m going to make some metaphors I think the best option is to just use my current character interpretations so I have this background familiarity, especially since I’ve actually been developing these things a whole lot for my own iterator off-the-string happy ending AU!

Also, I want to say to that if some of these idea sound familiar, it’s because I realized I can actually project some of my previous Lilypad ideas onto this Trafficlights portrayal as well. I feel my Suns and Moon are similar enough in their personality traits that many of the same dynamics and significance could reasonably apply. In fact Tox, I’m gonna admit I actually did take some inspiration for my Lilypad portrayal from seeing your particular Trafficlights and drawing my own conclusions about how that dynamic worked, and overall my depiction of Seven Red Suns is largely inspired by your own take on that character, which I found quite unique compared to the rest of the fandom for being the first one I saw to show Suns as being far less imposing and confident internally than they seem in public. So I guess I am once again coming full circle now!

I think this is already more than enough words, but I just felt the need to give those prefaces as context for all of these ideas. With that being said, I hope you like at least some of these!

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Option 1: Birds as Freedom

From what I’ve read, a common symbolism for birds is freedom, which to me is easy to see because of their signature flight ability. Flight can be considered the mode of travel with the greatest freedom because it’s not restricted by landmasses (or even planets, if you include space travel), and because flying is literally defying, or “freeing oneself” from gravity, one can easily associate it with weightlessness and thus being carefree and without worries or negativity.

With any off-the-string iterator story, it’s easy to give going off-the-string a positive significance because it’s literally the puppet “freeing itself” from the limited confines of their chamber, and by extent the limits imposed upon them by the Ancients. This is further supported by how some iterators in canon do appear to perceive their cans as a limitation or cage, as evidenced by the broadcast dialogue. In fact, I've heard No Significant Harassment is one of these very iterators, so I imagine he’d absolutely want to go off-the-string so long as he has a good incentive to. 

To relate this back to birds, you could very much use a caged songbird as a metaphor for the iterators; beautiful, brightly-colored creatures “raised” in captivity and trapped in boxes to serve other people, once “singing” out their ideas from within to those people, but now just giving those “songs” to each other. Thus, going off-the-string (perhaps to the Emergence facility in your AU) could be seen as these “birds” finally flying free to be with one another “in the wild”, finally able to fly and live their lives more fully as they were denied for so long. So regardless of any other symbolism, Trafficlights — and any other off-the-string iterator ship by extent — leaving their cans could be seen as them “flying free” together from the restraints forced upon them.

However, I’ve also recently realized another freedom symbolism besides freedom from the Ancients’ restrictions, and that’s freedom from their own. This is something more impactful to my Seven Red Suns, who like Moon, is also someone who hides a lot of his true personality for a more polite, proper, and dignified public persona, shoulders a lot of weight he isn’t always able to handle alone, and puts lots of limits on himself and what he’s “allowed” or “supposed” to do, albeit for entirely different reasons. Now contrast that with Sig, who although he also hides a lot of his true feelings and knows when to dial it down, is someone who is a master at breaking rules and going against convention. In fact, I like to imagine it’s literally in his nature (er, programming) to think outside the box, generating all sorts of different ideas to solve problems that don’t always totally follow outside rules or what’s “typical” for using a certain item. 

When you bring these two together, I imagine Sig could absolutely be the one to encourage Suns to let loose more, letting down his proper and and uptight persona to show more of his emotional side and explore things he didn’t allow himself to before (like I said, this is one of the ideas that works with Trafficlights as well as Lilypad)! It’s as if Suns is a bird too used to living in the cage and afraid to truly fly again, and Sig has to coax him out into embracing that freedom. You could even take this with the idea of iterators not being used to romance, a restriction Suns absolutely puts on himself and even others because he believes a “proper” iterator isn’t supposed to have such deep attachments, of which romantic love could be considered the worst because it’s both breaking Karma 3 of Companionship and can directly lead to Karma 2 of Sexual Intercourse, so it’s essentially a double-risk. But again, Sig is willing to explore these new feelings, and now that they’re off the string and can love each other more physically and directly than ever, what better time could there be for Suns to “spread his wings” and fly alongside him?

Option 2: Birds as Passion/Romance

To me, the second biggest symbolism that birds can have is that of passion and general romantic ideas. Technically all birds could have this association because feathers and wings in general are pretty showy, so spreading one’s wings could just as easily be a gesture of great emotion and expression as it could be preparing to be free. In addition though, whereas the previous point was more related to songbirds, this seems to correlate more with birds of paradise especially, who have the most colorful and varied plumage of the bird kingdom, thus making it easy to say they’re “showing their true colors” without fear. Some birds of paradise, particularly parrots/parakeets/macaws/etc. are very social creatures by nature, so it’s even easier to draw the connection between their vibrant plumage and social behavior with being expressive and outgoing.

As for the romance element, to me it seems birds are commonly used as such symbols already; there’s doves and swans being symbols of love often included in some way at weddings, words like “lovebirds” referring to lovers as well as one of my favorite words, “twitterpated”, which means to be very smitten and infatuated and also has a clear bird-based association and maybe even origin. But then there’s the idea of songbirds singing to each other, which I think is a particularly romantic idea which plays into one of my favorite shipping tropes I call, “answering the call”. So far, I like to describe it as when someone is looking for companionship and romance for a while, either openly or as a subconscious desire, but is eventually found and “answered” by someone willing to love with them. It’s such a romantic idea to me because it often includes so much loneliness and sometimes even tragedy before, making that moment where they finally find someone all the more sweet!

Okay, now to bring this back to Trafficlights. Starting with the first idea, I think it’s easy to associate Sig with these kinds of birds, especially macaws and such, seeing as I imagine he can be just as “colorful” both literally and personality-wise, and cares deeply about his relationships in a similar manner. But even then, like I mentioned before Sig can sometimes feel like he needs to hide those feelings because others don’t fully understand him and he doesn’t want to risk creating tension (although hiding his feelings like that kinda does anyway). 

To resolve this, I’ve decided to use what I imagine Sig would appreciate and value in Suns that would evolve the relationship past friendship to romance, that being that Suns was one of the first people besides Moon who believed that Sig’s ideas and his dedication to his friends could be something more, something better and used for good. My Suns is defined largely by his perfectionism and endless drive to make things the “best” versions of themselves. In my timeline of events he already helped Sig in that way during a pretty important moment, not to mention it’s just really inspiring how much Suns cares about trying to bring about the “best” for everyone. On Sig’s end, this is how they at least developed a friendship, and in this alternative what would cause that appreciation to evolve to romance eventually. In fact, in my headcanon it was the combined efforts of Moon first understanding Sig’s feelings and Suns helping to perfect his role in his group, with both of them working really hard to help him find new belonging with the Local Group, that was what got Sig out of his “rough patch”. Thus, in a way, Suns directly helped Sig make new connections, “spread his wings”, and “find a new flock”, which can easily be the main reason why Sig would fall for Suns.

Now, what about Suns? Relating him to birds and passion also hinges largely on another pretty crucial headcanon about my Seven Red Suns, which is that he is secretly a huge romantic with a passion for the fine arts. In addition to striving for an “ideal” world at all times, he appreciates art and the deeper symbolism within. However, because of what I said earlier about Suns placing a lot of high standards on himself, he doesn’t actually make art of his own, believing it’s “not an iterator’s place” to do such a thing themselves because it’s not in their purpose. But even then, he can’t help himself from seeing things artistically and drawing his own conclusions about things.

That being said, I imagine Suns could have a strong appreciation for birds in particular; their beauty, combined with their flight, makes them seem as though they’ve already “ascended” on some level above other animals. On top of that, I think Suns would come to see Sig as sort of a bird himself! Maybe a big green macaw with the most beautiful plumes who’s also far more intelligent than others think. But even more so, when it comes to what Suns appreciates in Sig that causes him to fall in love, I imagine it’s how Sig is the only person who sees through his facade for who he really is. Everyone else around him seems to either put him on a pedestal, with their own high expectations to follow, or is intimidated by his grandeur into avoiding much direct contact. Again, however, Sig naturally thinks outside the box and challenging people’s ideas, so it’d be pretty easy for him to break down some of Suns’s diplomacy to show that more emotional side (another idea that I use in Lilypad as well). No Significant Harassment is the one person Suns feels like he can be himself around, helping him realize that even those parts of him he hides make him “perfect” by virtue of being his real and unique self. It’s like Suns is a great eagle, looked up to and feared by other birds as a large bird of prey and thus lonely and pressured to soar above all else, and only the surprisingly smart macaw is able to lower his guard, helping him see he’s just as beautiful and inspiring on the ground as he is soaring high in the clouds. 

And then there’s the idea of “answering the call”. I’ve already seen your Trafficlights will probably play out as a slow burn, with Sig and Suns harboring growing feelings for each other for a while but only really acting on it once Emergence kicks in. In this case the dynamic would be mutual, with both of them longing for a deeper connection, but perhaps not realizing it until this timeline. I imagine Sig would be the one more conscious of this desire though, seeing as he openly seeks connection with others, so it’d be as if he’s a lonely songbird wanting to sing out but never getting an answer. And then of course, when Suns finally does respond it’s that much more poetic!

Trafficlights as Rio (spoilers, by the way)

OKAY HEAR ME OUT, I just have to include some words on this because this movie, this freaking movie is not only one of the two that kickstarted my love of birds but is what started this whole Trafficlights-as-birds-symbolism thing for me.

To give some context, if you don’t already know I am someone who not only loves making metaphors and symbolism with my ships, but loves finding associations between them and outside music or stories. I often look for connections to the old Disney animated fairytales, but I really end up doing it to all sorts of animated stories that I believe have pretty universal themes.

That being said, if there’s any association I’d make for Trafficlights as I currently see them, it’s to Blue Sky’s Rio and some of the scenes from that story. Firstly, Blu as a character already somewhat parallels my Suns in that he’s awkward and not the best at interacting with others. Not to mention his inability to fly, which came from him never getting a chance to embrace his emotions before being captured and taken from his home, could be paralleled to Suns’s bottling up his emotions, especially since flight in that film is directly related to feelings of happiness, love, and freedom, so Suns in a way is also “stunted” in his emotions. Meanwhile Sig on the other hand is more like Jewel, someone who at least understands his emotions a lot better and thus “knows how to fly”, and who resists others’ attempts to cage him and tries to get his partner to do the same. Like Blu Suns refuses at first, his logic and desire for a dignified self image getting the best of him being able to let loose in any environment where he isn’t surrounded by close friends. 

Then there’s the freaking “Hot Wings” scene, which takes the most responsibility for this association of mine. Largely because the two side-characters, Nico and Pedro, also seem to carry a dynamic with their lyrics that just reminds me of Suns and Sig, respectively, a lot (honestly I just thought about it on a whim one day and I can’t unsee it now…). Not to mention the entire scene is about pretty birds dancing, which given you’ve also made a decent number of drawings of Trafficlights dancing together, I think is just super fitting. And then Jewel’s singing once again brings back this idea of freedom and showing one’s emotions and love, with the remaining question being whether or not Blu can eventually unlock this feeling inside him despite his fears and fly up with her. This is something I think could work with Trafficlights, at least how I see them, for even if Suns can be more emotional around Sig and maybe his friends, he still has trouble doing so in public, not always liking the pressure of being “perfect” but not wanting to risk looking like a fool around everyone who looks up to him.

It works even better with one of the later scenes in the film when Blu and Jewel finally manage to cut the chain keeping them together, which causes Jewel to immediately lift into the sky with the pure joy and euphoria of once again being free to fly as she pleases. However, Blu is left looking up at her as she flies with their friends, and you can tell he’s both realizing again just how beautiful she is and longing so much to join her in the sky, yet still unable to fly. Once again I can’t help seeing Suns in Blu’s place, looking at Sig having fun and being so carefree, loving the feeling of being off-the-string, and him thinking Sig so beautiful and wanting to join him too. And eventually, just like Blu does in a true “answering the call fashion”, he is able to “spread his wings” and they finally can fly away together!

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Okay, I think that’s all I have to say for now on this topic. This essay, excluding the preface at the beginning, is 2498 words! I think that might be a little bit more than my Lilypad essay! I really hope it delivered!

But even then, this was so fun to do! Even though Trafficlights isn’t my main ship and isn’t going to happen in my own AU, I’ve recently been looking to better figure out Sig and Suns’s relationship anyway to understand why they’re at least friends with each other. Of course there are some other factors in their relationship, some of which I’ve edited out for the sake of these ideas because it throws a bit of tension in the dynamic that could compromise its ability to work as a ship, but this was still an important aspect and I’m glad to have gotten a chance to develop it! And then of course, a reason to think about ships as well as shamelessly plug one of my favorite movies ever is also very nice!

This may all sound super silly and maybe none of it works with your Emergence Trafficlights, but regardless this was seriously such a fun opportunity, and I’m glad you gave me a reason to do this! I would love to hear your thoughts on or additions to all this, if you can!