#personally I feel betrayed by this design decision but what can you do….

[fkapple]

Emily and Shane on winter attire

[luxlightly]

Thoughts on Omeluum vs the Emperor

I love that Omeluum exists as a character for many reasons. It's a fantastic character, even given the very small role it plays in the story. It gives us a context that sets up the reveal of the Emperor later, the idea an illithid can (and would likely want to) escape from the Grand Design. It's also just a good person who genuinely wants to help people and cares deeply about his research (and implied possibly romantic) partner, Blurg. But, unlike the Emperor, it is very distinctly illithid. It doesn't behave in a human manner. It doesn't speak in a human manner, it doesn't emote in a human manner. It doesn't feel in a human manner. But it is a good person. It doesn't need to be at all human to be a good person. It is undeniably illithid in everything about it, but it defies the social structure that Elder Brains impose on illithid and therefore does not reflect the values we might expect from an illithid. It's not manipulative. It's not dishonest. It never hides who or what it is or what its intentions are. It's not selfish. In fact, it will try to convince you to save Duke Ravengard in the Iron Throne, at the expense of its own life, because it knows the Duke has more of a capacity to help people than it does. But it never becomes more "human". It doesn't need to. Because it doesn't have to be human to be a good person. Compare that to the Emperor, who constantly insists how different he is from other mind flayers, who constantly compares himself and the player character. He speaks, emotes, and acts very human. He still considers himself to be the same person he was before his ceremorphosis. But he is a bad person. He is manipulative. He is dishonest. He lies to the player character constantly, never giving them the whole truth and, when lies don't work, he resorts to threats, then outright violence. And he is, more than anything, selfish. He cares more about preserving his own life than anything and will betray even those closest to him in order to do so. He kills first and rationalizes it afterwards. Despite not being a slave to an Elder Brain, he is everything the Grand Design desires that illithid should be, save for obedient, though he's more than willing to submit to the Absolute the second he feels like his life could be in danger from not doing so. It gives great insight to him as a character and the way that, in basically all things, he acts the way that benefits him, then finds a way to justify it afterwards, both to others and to himself. He didn't tell you he was a mind flayer because you would have killed him. Except that, from your interaction with Omeluum, he could have clearly seen you wouldn't have. He insists that his constant manipulation is just his nature, yet we clearly see with Omeluum that that nature is not set in stone and does not have to be manipulative to the point of maliciousness. It's not being a mind flayer that made Balduran this way, it was his own personality. Which is why he desperately wants the player to make the same choices he did, to agree that they are the same. He's convinced himself he was forced into every horrible decision of his life or that it was inevitable. Which is why he gets so upset when you deviate from the path he himself took. Because you, like Omeluum, prove that it wasn't nature that made the Emperor, it was conscious choices that he tries to retroactively justify. Ironically, if you don't buy into his lies, he eventually tells you he'll resort to force to make you "accept your potential". He needs so badly to believe you would make his mistakes that he'd force you to.

[lxmelle]

Thoughts/Ponderings/Musings on ch 236. About Gojo reaching Sukuna, his death, his relationships, etc.

I know there are people who really dislike the characterisation here, expressing that Gojo is likely far more kind and caring for his students, etc.

Gege and his infinite wisdom over his creation seems to like encouraging headcanon kaisen, lol. He certainly keeps things quite true to life and allows the reader to make their own conclusions.

It is not my place as a casual reader to judge his writing, and I will defend it inasmuch as I also had hoped for more: Just because it isn’t explicitly said, doesn’t mean those things we have seen about Gojo aren’t true. I agree that it is also a shame that more wasn’t or couldn’t be included in this chapter to either dispel or confirm, but that’s masterful writing in itself, I guess.

I take small refuge in my interpretation that this is a glimpse of a conversation; as in real life, we ease into conversations. I enjoyed the dynamics and overall tone. I like to remember that each expression was a decision made, and these details can hold a lot of weight in meaning.

So we see that Gojo prefaces with something else and was responding rather specifically to Geto’s question regarding his fight, his end.

Geto, a natural conversationalist, who is said to be good at being at Gojo’s level, enquires about his fight - entering into neutral territory after Gojo expressed frustration and being stunned after his sudden arrival there.

Geto reads him / the atmosphere well and responds to tune the conversation to a level he can reach Gojo, despite possibly having a lot to say and catch up on himself. (Like, we never hear him talk about his family aside from confirming they escaped.)

He is showing respect for his friend. What do they have to rush for, anyway? I don’t think there is a specific afterlife if they chose to go south. Time may be infinite?

—

A lot more under the cut. Feel free to skim and apologies in advance for tangents. I hope it makes sense overall. I tried to make it as cohesive as possible despite being lengthy.

:: Beware the Word Vomit, overall reaching, meta, interpretations, some satosugu shipping, and general weaving and stringing of themes. ::

Disclaimer: I’m fully aware I may be wrong, as I am with many things, and you’re welcome to drop me any comments or thoughts.

One of the glaring issues was the “Sukuna glazing” as some fans called it. To see Gojo having regard for Sukuna’s strength doesn’t take anything away from Gojo imho, but I get it. What was all this reaching that Gojo was expressing? Surely that doesn’t that precedence? Of all things, is this what he’s regretting in what is possibly his last significant scene in the manga?

A part of me relates to this outrage, but then I try to bring myself down, because we are often kept out of what intimacies are exchanged between Gojo and significant ones (Geto, students, etc.) and we aren’t / haven’t been privy to many deep and elaborate reflections of Gojo or Geto. All we get are ellipses “...” and depictions of longing stares that don’t quite betray their honest thoughts.

So, within the context of the above, Geto asks directly and Gojo describes. Of course he’d want to know how Gojo experienced it. He’s always been the one who cared about how Gojo actually feels or experiences things. He might join in a bit of friendly ribbing, but Geto and Gojo communicate on another level with banter, etc. there’s a reason they’re each other’s best friend.

I also see an interpretation where it cycles back to love is the most twisted curse: it can save people, but it may hold you back from being the strongest. Love has been a theme since the origin story in jjk 0. Gojo’s love for his students and Megumi may or may not have affected their chances of success, but he nevertheless cares and bets on the future (students).

Geto has always been shown to be Gojo’s significant person - a safe person, if you will. Thematically, their designs are two parts of a whole. Their fates intertwine in so many ways, only to be separated ultimately to death.

Since, he’s described not feeling lonely anymore, through love for this students (his legacy and will) and even more now (for himself) that he was wrong about dying alone. He had wanted to find a way to bring Geto home (to jujutsu high [Geto’s theme song “come back home” given by Gege is all about this after all]) but despite all that’s happened, he is with him at the airport, and Gojo is satisfied enough with that, but won’t waste time not bridging gaps any longer -

Gojo is so very forthcoming with Geto in his adult years. Given the opportunity in jjk 0, he not only asks for his last wishes, but conveys his as well. He then speaks his heart in his conversation with Geto; he is candid, yet serious.

I’d like to think it’s infused with more emotion than he ever did in their early days. He confirms his feelings to Geto and confesses his desire to have had him there to send him off. More on this later.

In the original version of the manga, Gojo momentarily reverts back to the use of “ore” just once, before it becomes “boku” again - a shift had taken place in him due to what Geto said in the past. To demonstrate that in a few short panels is quite something too. People change; we evolve through the influence of significant others.

Gojo knows loneliness as he has learnt about love in its different forms. To really know it is perchance what Sukuna doesn’t, despite saying he does.

From this point of view, he says he is sorry for him, as he’s got empathy for Sukuna; that Sukuna couldn’t learn what he had wanted to convey, but perhaps the emphasis was more of a pity for him than feeling disappointed.

In a typical Gojo fashion, he captures it clumsily and makes it about strength in his speech, as if punches and skills thrown at each other could convey that it doesn’t have to be lonely and that they could understand each other - that having a peer would be interesting / satisfying - perhaps also seeking a sense of validation himself in Sukuna. It’s possibly also what prompts people like Nanami to call him out on the extreme emphasis on strength. But maybe that’s Gojo’s defence mechanism too, who knows. If Gojo had a love language, would it be fighting talk? Ha ha.

This reminds me of how Gojo was perhaps unintentionally condescending to Geto at the KFC breakup scene - it was the final nail in the coffin for Geto and he shut down completely, remarking the now infamous, “Are you Gojo Satoru because you’re the strongest or are you the strongest because you are Gojo Satoru?” But that’s by the by I guess. It wasn’t as if Sukuna was going in for therapy / love intervention with anyone, lol. Fighting was the conversation.

So moving on, what is Sukuna’s perspective and what could it be that Gojo wanted to convey, and presumably died trying? Looking at the next fight, he is asked directly about his perspective as the strongest in history who stands above the rest.

Sukuna. The pinnacle; the epitome of strength, solitude, and one who has cast away everything - seemingly peacefully - in favour of being formidable at the top. Revered and feared in equal measure.

He is so strong yet he doesn’t need anything the others facing off with him seem to yearn. The all want to reach him for their own reasons. Maybe like disciples chasing the Buddha. What is his message? Can I understand him, and he, me? And then, ourselves?

This fight was supposedly for himself too - but what was he yearning? Gojo at first glance appears to wish to defend himself, everyone, and save megumi. Mourn Geto too. From what we understand, he's been lonely, despite this improving over the past year (through his admission to Geto later on in the airport scene).

The mark of The Strongest has been left: As soon as Gojo became strong, Geto left. Geto didn’t love him for his strength - he had to leave; in part, because feeling out of place and left behind in the a shadow of a person who is now living by “the strongest, alone” hurt, making the ills of the world unbearable, as it tipped the balance greatly for him. He could not see beyond Gojo’s apparent selfless selfishness, and he did the same with his own version of it. He had to pave his own way and build another family & world - even if it was a shell of what he had with Gojo.

But I digress. Gojo had strength but it wasn’t enough to reach Geto. He has been using his Strength as a teacher to foster a new generation, allies, in a bid to change the Jujutsu world in a different way to Geto. Yes, they shared a dream. (I hope this comes back into the picture with Geto's side fighting Sukuna too.)

He sees this curse taking shape - first with Yuji and then Megumi. I can’t imagine the outrage, and how it’s internalised by Gojo. He possibly dissociates to some degree, as one wouldn’t be able to function if they carried the weight of the world (in information and in sensation overload) all the time. He’s trained himself to be selective. So, nevertheless, there is a call to defend his title; he is also bored, wants to be a good example, and plays his part to assist with defeating Sukuna - tries to reach him but maybe it just wasn’t his message to relay. Gojo’s job was done here. He got what he wanted - a satisfying fight. More on this later.

We see the futility this far in reaching Sukuna across chapters. Responding to “love”… Harming those along the way carelessly, as he wanders simply proving his existence, as if that alone is enough to justify and bring it purpose. As a calamity or curse, he doesn’t need to consider what he is.

This is the extreme of what strength is - of what Gojo could have become. Perhaps if he wasn't so deeply touched by having someone complete him, so he could be a brat in his youth and actually trust someone to fall back on. And had he not suffered loss through Geto leaving, would've meant he never had to question himself or experience doubt or longing in his life, as he was gifted, was he not? Or was it actually a curse?

Is it meaningful to be the only one at the top of the mountain where nobody can even reach? What good does the embodiment of strength bring, if there is nobody to recognise that it is, no one to yield the power for to give it meaning, and no use for the sheer magnitude of what you can do to give it purpose?

Sukuna says he knows love and cast it away, finding it worthless, that he responds to others’ strength with love through besting them in a fight. He gets his “kicks” like Gojo did to some degree like in the theme song for Gojo by Aviccii:

(Oh, my, my) That's what I get for lovin' you

(Lie, lie, lie) You know I can't live without you

(Why, why, why?) And all the things you put me through

(Cry, cry, cry) 'Cause I'll get my kicks without you

Life must be pretty monochromatic as The Strongest. Rinse repeat until no one is left.

Following the loss of love, Gojo tried to find meaning and pass the time in ways befitting of him too. Everyone has to find a way to move on, right? But it doesn’t mean everyone feels fulfilled or healed. He drilled skills into his tempered body throughout the years of his existence; he wanted to showcase it all to Sukuna - the reason he fought and battled and trained and developed his incredible sense - his spirit that does so for himself (yes he does get kicks from it) but also for others - because Gojo is an evolved form of The Strongest. Maybe The Strongest 2.0 and Yuta is version 3.0. You get my drift.

Gojo is representing the sorcerers of the modern world. Whilst Gege likes to poke fun and say he is devoid of a personality; I’d say that isn’t it quite natural when your role in life has already been partially determined for you at birth? Further, as a “victim” of circumstance due to the setting, trauma and heavy reliance on Gojo to fulfil all sorcerer duties from a young age (esp after Geto left) can certainly leave you in a state of emotional arrested development.

To reiterate, Gojo, unlike Sukuna, DOES find meaning and purpose in his students. He wised up and found the sense in what he and Geto discussed, learning from the past and adopting certain philosophies that suited him.

But still, as the strongest, Gojo was lonely with the line drawn - as a human being (self/identity) hiding behind a living creature (of strength/facade); Gojo seemed to be saying through the blooming lotuses (flowers growing out of literal muddy waters - rich in religious and cultural sumbolism) that he loves everyone but despite that they couldn’t understand him, and him, them. This is the main interpretation that makes sense as Gojo is talking about himself, his allies (esp Megumi), even possibly Geto, but he is also talking about reaching Sukuna.

Considering the possible interpretations for who the lotuses symbolise... he less common one from my readings thus far would be Sukuna; but it kinda makes sense: Sukuna, who was born to unfavourable circumstances, and similar to Hakari who described the strong looking down at others as if they were dirt. And achieving so much like a rising from the ashes. We also see him glorified as the strongest of all time now.

And it reinforces the “unreachability” (made up a word here) and how it was an impossible task in the first place.

The message being: How can Gojo reach someone who does not want to be reached? This cycles back to what he said to Yaga when Geto left. He cannot save anyone who does not want to be saved by others.

If Sukuna was the lotus, and was a beautiful flower in strength that defied odds to bloom in the murky depths of dirt - he certainly isn’t pure as the flower symbolises, but he certainly is some kind of divinity. But I really don’t want to glorify Sukuna.

I prefer the interpretation of the lotus being Gojo or those around him, but narratively, it is simply possible he is describing several people’s parallels here with how solitude accompanies being strong. Sukuna is like the unreachable Enlightened One. Yet, he strangely doesn’t seem to have a solid sense of identity - there is no “I am the strongest” that Gojo embraces, not that this is anything to hinge one’s identity upon, as it is part of Gojo’s problem.

And yet this still brings us to what Gojo wanted to reach Sukuna with aside from a demonstration of his skills. Does Yuta have anything to add to this, as the next Gojo Satoru?

Yuta, if we can appeal to his character for parallels in messages, and if we can consider him The Strongest 3.0 asked Uro - don’t you have a lover or friends? Implying that if one fights so desperately for their own sake, it reaches a dead end fairly quickly. Just WHO are you fighting for, and doesn’t fighting for yourself get a little old after decades?

Even Toji (without his soul when ressurected) instinctively ended his rampage at the sight of what his reason for living was, his son, albeit he cared for Megumi in a very dodgy roundabout way, fearing his closeness would ruin / stain his son. I’m reminded here of how Geto’s body reacted to Gojo’s voice; momentarily seizing Kenjaku by the throat.

Somehow the bond between Gojo and Geto is marking its significance again, isn’t it? They all had reasons they fought for, and through the many evidences of these, we are allowed insight into recurring ones that may hold more significance than others. You know, like: my students are watching, let’s schedule it on the 24th of December.

These are important things to gojo, he is also showing Sukuna what he doesn’t have. He didn’t need to live like a cursed object for decades, etc and his significance doesn’t die when he does. Yes, a big part of Gojo had craved this “all out” but as he lives his life and engages in the battle, all the pieces of WHY, WHO, and WHAT he is wielding power for start to surface.

As the reader we are finding these Easter eggs along with him, because the narrator and Gojo don’t disclose this openly. Gojo has people modelling this for him throughout his short life, and he seems to be quick on the uptake, despite preaching about strength. Maybe he isn’t terribly aware, but he knows more than he lets on - Gojo had a persona.

We probably can say the same about the “I’d win” scene that pretty much foreshadowed his defeat. That kind of a Champion enters the ring without fighting talk?

The scene depicting him reflecting upon his first ever defeat showed him to be chasing a “high” of satisfaction from going all out and fulfilling the itch of Boredom and Loneliness that plagues the unimaginably strong. Pursuing and honing his skill, getting stronger and stronger, drew him further and further away from anything meaningful - ending up in a state where he never really gets the satisfying release he craves.

Like a runner who is only allowed to run at 5kmph for a short distance; an artist who isn’t able to paint their desired masterpiece; a singer whose voice can only whispered to an audience; the strongest weightlifter who can only utilise 20% of his max strength... How terribly dissatisfying.

How stifling it is to have such a limitation. And yes, his skill is limitless. How ironic indeed - the repression, the impotence strength imposes.

And while we are on skill/technique names, others have pointed out before - unlimited void? What a perfect description of what felt meaninglessness / existential emptiness is.

The underside of this however was how it also alluded to the possibility that he was going to experience another enlightenment - but of a final kind of his physical form. It implies he was tired from his isolation or that there was at least no remedy for it, and therefore his present sense of fulfilment was to engage in battle and enjoy it - although he recognised signs of defeat - it would be satisfying as he could go all out or die trying.

It would fulfill the purpose of his existence as The Strongest contender anyway. He, could be the victor, or the pawn, who plays his part in the universe. His reigning time as the champion needed to be defended with dignity anyway. It reminds me of his conversation with Megumi about death and being selfish.

I mean, that's just imbued with meaning there. A whole post needs to be dedicated to It, and I'm not the subject matter expert by a long mile. Gojo’s bottom line was that strength did define him; he was born with it.

Watching Megumi possibly minimise his worth and clip his wings without pursuing / living up to his potential may be a waste, as a person who inherited the skills that took their ancestors down. However, the selfish path may not be for everyone.

Other writers’ meta I’ve read seem to touch on this too - that Gojo unwittingly became a form of the old Jujutsu world himself due to being a product of it himself, but he did do his best by his students to inspire change. This, to me, speaks volumes about him entrusting them to live out their paths upon his passing - what could he do in death, anyway? He taught them the importance of accountability and his own version of the truth - that power and strength - living to your potential is certainly one way of living, and they can expect to die alone, so make the most of their youth!

We witnessed Gojo making preparations for the match, following setting the date on 24th December. How romantic of Geto, to try and either seek Rika in jjk 0 or die to Gojo’s hand - and then now, Gojo, who may mourn Geto again, or die trying on the same day. It begs the question: was he also secretly at peace with the possibility of dying to Sukuna? At not being the strongest? It seems that him being a pragmatist (or “resignation man” as Gege apparently once put it) he would find some peace, especially since he was Geto in the afterlife and could see that his soul wasn’t trapped in his physical body or something - their corpses could be left to the living and Shoko, which seems to be the faithful stance they both take in trusting the living to “carry on” their respective teachings.

Nevertheless, Gojo is trying to reach Megumi here. But as the incredibly gifted, talented, and strongest - albeit as cursed as it is to be afflicted with it all, Gojo may not empathise with the struggles of the weaker. It is reminiscent of how he approaches the battle with Sukuna in the first place. He was challenged and he accepted.

A sport. That's not to say he lost sight of the bigger picture - we saw Gojo making preparations for a possible reality where he does not return.

Unfortunately, his skills also lend towards fighting alone, unless they were back-to-back with him. (I still hold onto the belief he and Geto could be a dynamic duo). Which Sukuna also used against him in their match in order to not get hit. Gojo has never learnt what it would be like to fight with others and it's old-fashioned egoist rules about matches when viewing it as a sport rather than of survival. But, Gojo had changed enough to feel he could reach Sukuna and had desired to impart something - maybe to have significance or be regarded by an equal - once again - for this would be of utmost satisfaction for him to receive.

He had learnt a whole lot about things in his short life. He did well. In a final battle of 3 vs 1? Against Sukuna in the body of Megumi and the 10 shadows that his ancestors had died to? That’s already unprecedented. But strength aside, Gojo had reached many people and it’s time for him to pass on the baton and be where he wants to be, in the version of himself where he is the happiest.

Gojo admits to being wrong about dying alone, further listening to how Nanami and Haibara reflected on the former's death betting on the future seemed to solidify some kind of understanding for him.

That he didn’t have regrets either. He, too, fought for a purpose beyond seeing satisfaction of being strong; it just became evident as it surfaced to his awareness. With his six eyes, he couldn’t see everything. With limitless, he couldn’t reach it all either. Even if you have everything, you can’t do anything. It is not enough to just be strong. And Gojo wasn’t just strong in the end.

He may or may not have reached Sukuna, but maybe, just maybe, in being wrong about dying alone, the necessity for everyone to be both selfless and selfish, was enough for Gojo. To reach and arrive at: Acceptance.

Seems pretty good to me, to be at peace.

—

“The absolute strongest, the loneliness that follows, the one who will teach you about love is... “

Yorozu’s haunting words.

Gojo is not the strongest anymore

Gojo didn’t feel lonely anymore

The one who will teach has taught him about love is...

You, Geto Suguru. It started with you, and it ends with you.

—

Yes, sound the alarm! It's satosugu brainrot headcanon.

Gojo seems to be saying, and I’ll phrase this as if he were speaking to Geto in his mind’s voice:

Yes, I was undeniably the strongest; until I wasn't. It was a fun fight. My students are my legacy; I trust them to take it from here too. They know they have the permission to be selfish. I trust that they have their own wisdom to know the difference; it is up to them now. I did my best to change the world that let us down in our youth; and fostered and shielded those under my care as best as I could with what I had. I think they had some good memories; I sought to give them a flavour of what we had, preserving the treasure that it was for us. I was never the teacher type, but I wanted to do something and clung onto a dream you and I shared.

I responded to others who loved me and surrounded me for my strength (living creature); but for me as a human, I am undeniably greedy and longed, pined for you (the only one who saw me: Satoru). You held the space as my one and only. I let you go back then in Shinjuku, and couldn’t let your body go when you died, and you came back as a puppet... I didn’t get to mourn you, but here we are: dying on the same date a year apart. Others still don’t quite get me (like Nanami and Haibara) but they understand the creature that is a part of me. They accept me; in itself, it’s enough, for a part of it is true.

As for the rest of me: you complete me with your understanding of me; parts of me that I don’t see or have forgotten. Just as unchanging as it was before, I’ve only ever needed you to satisfy me (and ease my solitude) ; no matter who filled the space around me, your absence spoke the loudest, because your presence alone would have been the most profound - I’d have felt satisfied / complete.

And yes, I am 100% romanticising here. Unashamedly!

—

A more pragmatic take would be:

He could be quite simply implying that he carried a guilt for the longest time and the one thing he couldn't achieve was to bring his best friend back home to Jujutsu High. I mean I adore Teacher AU and I'm totally open to this more shonen interpretation too.

The finale was as he entered the other land, in a dreamlike state, he sees Geto, remembers he’s tasked Shoko to tell Megumi, demonstrating he has infinite faith in the next generation to survive, and it’s sufficient, it seems, to have a death without regret.

We see Sukuna offering recognition of his skill and existence after he is slashed, laying on the floor, as it begins to snow. A small smirk appears that seems to also mirror the same on his expression in the cover of volume 26. Satisfaction. Gojo might’ve been a worthy opponent and reached Sukuna in that regard after all; maybe love was not his lesson to teach Sukuna. He has died a noble death befitting of a warrior to be surrounded by camellias.

Gojo Satoru passes onto the afterlife and heads south.

—

It’s controversial somehow; it is both enough, and leaves me wanting more. Here’s to hoping it’s not the last of Gojo (or Geto).

Maybe I did just want to dream a little. Thanks for reading if you made it this far. My tapestries tend to get quite complicated, and I wouldn’t blame anyone if they bailed!

[slavonicrhapsody]

thoughts on demigod daddy issues

I’m avoiding my responsibilities and my poll is proving controversial, so I thought I’d do my own writeup on each candidate:

Morgott: His dad presumably abandoned him in a sewer. Given Godfrey’s association with the crucible, I doubt it was Godfrey’s decision to confine the omen twins to the sewers and I have no doubt that he loved them, seeing Godfrey’s tender moment holding Morgott’s body. However, the twins ended up in that sewer nonetheless. Either Godfrey opposed this but didn’t fight for them hard enough, or he concluded it was for their own good. Still, Morgott defends the Erdtree like his father before him. Certified daddy issues

Mohg: Same backstory as Morgott, except we don’t get that poignant moment that we do with Godfrey and Morgott in the game. He seems to have abandoned everything Godfrey stood for anyway. Daddy issues present but not to the same extent as his brother

Miquella: For a while, he was daddy’s ultimate special golden boy. They crafted golden order fundamentalist incantations together as gifts for each other (and it’s never mentioned that Radagon did anything like this with his other children). He tried his very hardest to use the Golden Order’s teachings to heal his sister’s afflictions, but they ultimately could not save her and he turned his back on his father’s order. We don’t know how Radagon reacted, but based on his zealotry combined with his previous relationship with his son, there must have been a serious fallout. Certified daddy issues

Malenia: There aren’t any textual hints to her and Radagon’s relationship, but we can speculate. Her father’s order couldn’t heal her afflictions… did she feel like her father didn’t try hard enough for her? That he chose his own faith over her wellbeing? Subtextual daddy issues

Ranni: She probably despises her father for abandoning her mother and leaving her a broken husk; her mother, who was her greatest teacher and role model, who she protects and whose legacy and memory she continues to defend. On top of that, she despises her empyreanhood and wants no part of the Two Fingers’ designs. I wouldn’t be surprised if she blamed her father for the fingers’ hold on her fate, too. Certified daddy issues; however, she doesn’t seem to revel in any hatred for him and just does what needs to be done to realize her vision

Rykard: Mr. “Lord of Blasphemy,” son of Mr. “leal hound of the Golden Order.” You don’t dedicate your entire life to opposing everything your own father stands for, fight the “most appalling battle in the entirety of the Shattering,” feed yourself to the embodiment of treason against the Erdtree, or make it your goal to “devour the very gods” (god being your father’s counterpart), and not have some kind of daddy issues complex. There’s a potent and multifaceted dynamic here. The red feathers on the Gelmir knight helms might indicate a reverence for his father’s legacy. He worked alongside his father in enforcing the Golden Order’s rule of law. Yet he doesn’t seen to have ever held any personal loyalty to his father’s order, having planned to betray it long before he actually committed treason. He demonstrates affection for his mother, brother, and sister, but not his father. He lusts for his own power and independent authority, but echoes the violence carried out by his father in his own practices. What does his father mean to him? Is he a role model, or a tyrant, something to be destroyed and replaced? Or is he both? Certified implied daddy issues

Radahn: He inherited his famous red lion’s mane from Radagon, who was said to have hated his own red hair. He admires his father and his “heroic” legacy. Yet he walks around in Godfrey cosplay, seeking to emulate Godfrey’s legendary example on the battlefield. He doesn’t seem to have inherited Radagon’s love of the Erdtree, either. “I was born a champion’s cub. Now, I am the lord of the battlefield’s lion.” Though he admires his father’s strength, there seems to be a distance between them, a distance that has deepened his obsession with Godfrey as a role model. Did he feel under-appreciated by Radagon? self-conscious? abandoned? Certified daddy issues

Godwyn: We have no idea what his relationship to his father was. It is interesting that he takes a more reconciliatory approach to conflict than Godfrey, though.

Godrick: I don’t think we technically know who his direct father is; I think it’s likely he’s further down the line of Marika’s descendants rather than being a direct son of someone like Godwyn. But that doesn’t mean he doesn’t have some of the most potent issues with the legacy of his forebears in the game. He’s obsessed with living up to the legacy of the golden lineage, so much so that he steals other people’s limbs to make himself stronger. He constantly references Godfrey; his axe is an homage to him. “Great Godfrey, didst thou witness?” Everything he does is to make himself into what he believes to be more worthy of his lineage. Certified “daddy” issues. yes this still counts to me

[coraniaid]

I'm not suggesting that Buffy and Faith were secretly dating (or at least making out between patrols) before the events of Revelations.  Even if Buffy joked about “seeing someone tonight” when her friends asked her if she was dating somebody, before putting her arms around Faith and insisting that they were really “just good friends”.  Even if Faith’s reaction to finding out about Angel – “Buffy knew … I can’t believe her” – is very easy to read as romantic or sexual jealousy.  Even if Gwendolyn Post’s last attempt to manipulate Faith (the accusation that Buffy was “blinded by love” for Angel) seems specifically designed to play on this jealousy.  Even if Faith’s decision at the end of the episode that “you can’t trust people” implies she’s been betrayed by more than one person; even if Buffy’s “you can trust me” is met with a disbelieving smirk.

I don’t really think that’s how the writers intended the show to be viewed.  More importantly, I don’t think that Buffy – even if she was emotionally self-aware enough to acknowledge her own feelings – would be ready to have that sort of relationship so soon after Scott Hope, let alone be able to keep it a secret.  

But what I am saying is that, in a world where that actually was the explicit plot of Revelations, you really wouldn't have to change any of the dialogue in the opening scene of The Wish at all. 

This is a scene in which Buffy’s lament that she  “couldn’t reach [Faith] … again” segues straight into her commiserating with Xander over the fact he’s had “no luck reaching Cordelia”.  Cordelia of course, is Xander’s ex-girlfriend who refused to speak to him the last time he went to see her, after Xander was seen secretly kissing Willow, and hasn’t been seen with him since. Cordelia's furious because she was just starting to tell herself that she was in love with Xander and he betrayed her.  Faith, on the other hand, is Buffy’s [redacted] who refused to speak to her the last time she went to see her, after Buffy was seen secretly kissing Angel, and hasn’t been seen with her since.  Faith's furious because she was just [redacted].

Meanwhile Willow tells Buffy she’s looking forward to seeing Oz again so she can “beg for forgiveness”, and Buffy – fresh from visiting Faith’s motel to do “damage control”, to apologize for keeping secrets and to promise her that she’s on her side, and who just finished telling her friends that she’s sad Faith hasn’t been hanging out with her lately  – tells her that that works too, and she “knows the feeling” Willow is going through.

The one line I might cut is the one that doesn’t make much sense even in isolation.  Xander decides that Buffy can relate to what he and Willow are going through because she “went through it with Angel”.  Only … well, yes, it’s true in a very broad  sense that Buffy has already experienced some sort of heartbreak with Angel, but the comparison doesn’t really work beyond that, does it?  Angel didn’t break up with Buffy because she was unfaithful. (Sort of the opposite, really.)  Buffy never had to apologize to Angel for kissing somebody else. She's carrying a lot of Angel-related guilt, but it's not particularly similar to the guilt that Willow or Xander should be feeling (Buffy blamed herself for Angel losing his soul in Innocence and for sending him to hell in Becoming, but she had no way to know the first would happen and was forced to do the latter to save the world). As of the last episode, if anything it’s Buffy who broke things off with Angel.  As parallels go it just feels a little forced.

Again, this is the first time Angel’s been brought up in the conversation.   And yet, Buffy has been talking about somebody she hurt and deliberately lied to and wishes she could make things right with, hasn’t she?

But, like I said, I’m not suggesting that  Buffy and Faith were secretly dating before Revelations.  I’m not.

Obviously that didn’t happen until Bad Girls.

[thatonebirdwrites]

Korrasami is Canon

I literally do not understand when people trashtalk or write really cruel things about Korrasami shipping, especially when they make claims that aren't supported by the show itself.

I honestly wonder sometimes if folks who hate on Korrasami don't understand what a healthy relationship can look like? (Or is there unconscious bias influencing their hatred of it?)

Because Korrasami is a healthy relationship; it's relationship goals honestly. This doesn't make it a boring relationship either, as healthy relationships can have their joys, sorrows, pain, struggles, healing moments, etc. The important aspects that keep the relationship healthy is how the two respond to those situations together. To explain, I'll cover why Makorra is NOT healthy.

Majority of Makorra shippers' arguments cherry-pick random scenes that are incredibly brief with scant evidence of Makorra being "good" for Mako and Korra (it isn't). (P.S. Makorra shippers please stop using homophobic language and slurs when you talk about Korrasami shipping, it's a really bad look, okay? Thanks.)

All arguments ignore the huge amount of evidence that the Makorra relationship was severely harming both Mako and Korra. As well as the evidence that both are happier just being friends.

Mako and Korra fight all the time in screaming matches to the point they break things around one another. This is really not healthy.

They can't get through a conversation without one of them being furious at the other.

Mako fails to support Korra's decisions, critiques her decisions,and, does not give his thoughts when asked but instead parrots other people which isn't what Korra had asked at all.

Mako is indecisive about his feelings to the point of hurting both Asami and Korra.

Mako is too protective of Korra and does not respect her independence or her abilities.

Mako fails to support her emotionally due to often not listening to the core of her words, yet he expects her to support him emotionally regardless and is angry when she doesn't.

Mako's personality when he's with Korra becomes: bland dude with no thoughts of his own or screaming fury of a person. He's actually a much better person and kinder overall when he's NOT in a relationship with Korra.

Mako betrays Korra's trust TWICE.

Mako lies to Korra.

When Mako and Korra are just friends, they relate to one another better and don't scream as much at each other. Mako is also more respectful of Korra when they are just friends and NOT together.

All arguments ignore the plenty of evidence that Asami and Korra flirted with one another since Book 1. They tend to forget the brothers entirely in scenes with one another. Book 3 is literally the Asami-and-Korra-flirt-arc, like all they do is flirt in that book. Book 4 had an arc that contrasts how well Korra and Asami work together, and how horrifically critical of them Mako is during that arc.

All arguments ignore the buildup of Korrasami: Asami literally built Korra a whole dang park, designed and gifted her an airship, supports Korra no matter what, calls Korra amazing constantly, always follows through with helping Korra, painted her car blue in honor of Korra, and spends most of her time flirting and pinning after Korra since BOOK 1. Even at the end of Book 2, the first name she says when asking if the Krew is okay is Korra, and then she adds the others as an afterthought. This is all pretty blatant stuff that Asami does, and Korra responds in turn with her own flirting and pinning. Korra literally only writes Asami while she's gone for three years and admits that she feels like Asami is the only one who understands her. She even blushes for Asami in Book 4. Why does Korrasami work so well?

Korra and Asami have mutual respect for their abilities, strengths, weaknesses, and independence.

They support each other no matter what.

Asami is literally the first person to say yes to whatever Korra needs help on pretty much constantly, and she always follows through.

They talk through their arguments, and have never had a screaming match. In fact, the one time they do argue, Korra deescalates, and they talk it out and/or come to an acceptance relatively quick.

They are honest about their feelings with one another.

Asami is pretty much the only one that consistently asks Korra how she is, sits and listens to her talk through her troubles, and offers emotional support. (Mako fails to do so.)

Asami never, ever doubts Korra. (Mako does many a time.)

Asami never lies to Korra. (Mako does many a time.)

Asami reminds Korra she's awesome and amazing since Book 1 (even after she finds out Korra liked Mako too).

Asami never blames Korra for her failed relationship with Mako, instead she puts the responsibility on Mako who had lied to both of them and hurt them both with his indecision. Asami is never mad at Korra about this either, and her anger is only at Mako.

They are so seamless in their fighting styles that they can predict the other's moves, and so act in wonderful synchronicity. (Mako fails to ever do this with either of them and instead critiques them endlessly).

Asami and Korra never critique one another's actions. Instead, they talk through what happened and support each other's decisions. Asami ALWAYS supports Korra, and always sides with Korra, and is able to talk through hard issues with Korra. She shares her thoughts with Korra, and Korra respects her for that. (Mako fails to support Korra's decisions, often trying to stay in this weird neutral area, and gets angry that Korra doesn't like that he won't actually share what he thinks nor show support for her.)

Asami never betrayed Korra. (Mako does in Book 2).

Asami and Korra respect one another's boundaries.

Korra shares that she feels that Asami is the only one that really 'gets her' and understands her, and Asami feels the same about Korra.

I could go on and on.

Honestly.

Anyway, thanks for reading.

P.S. if Makorra shipper tries to shit on my post with unfounded vitriol and bad faith arguments, be advised that I don't have the energy or time for it. Blocks are very useful tools. Have a great day!

[odd-lee]

My take on Watcher that nobody asked for

I see a lot of people kissing up to Watcher Entertainment and I see even more people trying to burn Steven at the stake, so here are my two cents on the whole situation (even though I have like no relevance in anything I just want to get my thoughts out)

I honestly don't know if I've ever been this emotional about a company making a decision like this, I don't usually get into the parasocial bullshit usually, but I think a lot of people feel a similar way. I feel like Watcher's misstep here is they're launching this like it is a big company launching some sort of product or new feature. I think they're forgetting how personal their work is. A lot of it was designed to kind of feel like banter between friends. It's a pretty personal feeling model compared to other formats. I think that's why they thrived so much, because people kind of felt included. Plus, especially Shane had always been someone who felt like a real, down to earth guy. That was his whole persona. Eat the rich, get up to mischief, just do shit for the hell of it. So overall, it was really jarring and upsetting for people to suddenly feel like they're taking a huge step back into corporate hell. It's not their brand. I don't think they understand that this is going to shift the entire feel of their content. I watch them even though i know a lot of their theories are bogus because they're fun. If I wanted to watch a bunch of psuedoscientists scramble around without the chemistry and with all the jump cuts and cheap out cliffhangers, I'd start watching the History Channel again. They're moving away from being those weird guys in the back of your class you started to talk to because they're funny and moving into Ancient Aliens Corporate Late Night TV show bullshit.

It's super upsetting to me, I know I expected this least of all from them and it kind of feels like a betrayal of their values and brand rather than just a shift into a different stage of creation, which I think is partially why they're receiving such severe backlash. I see a bunch of people talking about the economic implications, and sure, it's definitely a slap in the face for them to claim that everyone can afford 70 USD a year and for Steven to make that kind of ridiculous instagram post where he guilts followers who cannot afford to follow them behind the wall by saying they don't want to follow them behind the wall, but we've seen people do this before. It's almost expected in the corporate world we have going on. But it's just such a fundimental betrayal of everything they branded themselves as that it feels like everything they had before was a lie.

That being said, i've seen a lot of vitriol on the internet towards them. I feel almost personally betrayed and lied to, but I think we should keep in mind that these guys aren't our friends. They're a company. Completely lambasting Steven isn't going to do anything and it isn't really fair. I never really liked him much, he kind of got on my nerves, but the Ghoul Boys are just as responsible for this as Steven is. They're the face of the company, if one of them backed out, Watcher would collapse (as it is now), so I don't think anyone really had any sort of leverage over them to hold them at gunpoint. I don't know who made the decision and pulled the trigger, but we really cannot know how any of them felt about it, and we cannot make excuses for any of them either.

But we shouldn't really have to make excuses either. This isn't a moral issue. It's just a business decision. A bad one that people have the right to be upset about, but it's not like they're spitting on our faces, they're just making some really out of touch decisions as a company. Nobody's a bad person because they're doing this. I'm upset, and we should tell them we're upset, because that sort of feedback is what they're going to listen to. But insulting and villainizing them and claiming this is some sort of moral downfall is just going to want to make them dig their heels in. It'll create hostility between them and us, and they'll no longer regard us as their fans, so they'll no longer listen to us. It's just a company, in the end. We should try to treat them like one instead of like some sort of estranged friend. EVen though it really does feel like a personal betrayal, eugh.

TLDR: I think it was a poor idea, not just because it's kind of financially out of touch but mostly because they rely on a closeness to their community that the paywall will destroy and it makes us viewers feel lied to. But, we should really stop trying to roast them on a spit, they're a company and we should treat them calmly and firmly as such.

[undiscovered-horizon]

Unwanted Guests: Crescendo | Morpheus x Reader

[WARNING: kidnapping, spoilers for 'Season of Mists']

['Unwanted Guests' - Morpheus's guests seem to be suspiciously interested in his wife]

{'Unwanted Guests: Diminuendo' - No longer in possession fo the key to Hell, Morpheus must think of another way to get you back.}

@padsfirewhisky was worried something else would have happend, so I'm doing just that hihi

SUMMARY: You had left to take care of a few things in the Waking World shortly before Morpheus reluctantly welcomes various envoys interested in the key to Hell. He doesn't think much of your absence - that is until Azazel reveals a vital detail.

WORDCOUNT: ~ 1k

Missing someone was not an unfamiliar sensation to Dream. In fact, there were a lot of people he missed, although one might wonder whether he didn't actually miss how serene life appeared when they were next to him. The case of you was only marginally different - your absence made Dreaming feel unbearably empty on top of this well-known loneliness weighing him down once more.

Morpheus thought that for the time being, making his palace smaller would cure the sorrow of his heart even slightly but no matter how closely the white walls came towards one another, it was still so... empty. The castle had been gradually shrunk to maybe 1/3 of its original size and yet his steps echoed throughout the long halls as though his own home betrayed him to constantly accentuate your absence. With a defeated sigh, he had to accept that it wasn't the vacancy of the palace that bothered him but the unfillable hole in his heart left by a vital piece you had taken the day you left for the Waking World.

'I'll be back before you can even notice' you told him with a smile on your face. But even on a warm summer day, a poorly fitted window lets draft enter the house, making the dwellers cold. And Morpheus was freezing.

Then, the envoys came and the heart of Dreaming filled with wonderful creatures. Morpheus, however, kept wondering if there was a limit to the loneliness he could feel. Among such dignified company, he found himself slowly drowning in his sorrowful thoughts. Truth be told, he was never quite fond of having guests. On most occasions he could rely on you holding his hand or a passing peck of reassurance but not that time - not on the night he had to make a decision that was undoubtedly going to influence a lot more than just Hell.

As though they could read the king's mind, sail the seas of lovesick sentiments, the demons began conferring:

"You really think this is going to work?" Choronzon asked Azazel. Countless sets of teeth grinned inside the rift to the seemingly endless void.

"I don't think, you dimwit. I know it's going to get us the key to Hell. Either that or Dream of the Endless is writing off the only person that gives a shit about him," the Prince of Hell stated before adding in a mocking snicker: "Again."

The three demons cackled, already tasting victory and glory on their wretched tongues. While the other guests appeared tense, realizing the fierceness of the competition, they simply sat back, awaiting the obvious outcome. None other could offer what they had.

Entire aeons seemed to have passed before Morpheus summoned Azazel to speak with him. Strangely enough, the Prince of Hell was not impatient, not this time. For impatience was a distant relative of uncertainty and Azazel was awfully confident.

The room was generally dark, lit only by candles placed on the throne of questionable design. On top of the said seat was Morpheus himself, with his head propped up on his hand. To him, the night had been going on forever and it was nowhere near close to ending. In the dimmed room, with exhaustion and longing painted on his bony face, he appeared uncharacteristically ancient. Even his skin seemed to turn from white into some sickly-looking shade of grey.

Azazel felt excited, finally finding himself in the climax of the story. But he was playing a long game and that meant he had to hold his card close just a few minutes longer:

"I present to you, Choronzon." Morpheus looked at the cocooned demon with disinterest. It wasn't the strangest gift he had been offered but definitely the least appealing so far. "He challenged you and promptly lost. Now powerless, he's all yours."

"I understand," Morpheus nodded. "And the other thing?"

"Oh, nothing much," Azazel said in a strangely dismissive tone. If he had hands, he'd surely wave them for a dramatic effect. "Just a mortal woman made into a goddess to marry the king of hopes and fears. She was visiting someone among humans but between you and me, I think she was just taking a break from her old man."

Suddenly, Dream scrambled to his feet. His shade distorted into a shapeless, angered creature that slowly devoured the room. In some kind of magic trick, the animated obscurity extinguished all candlelight, seething at the presence of anything but darkness. "You dare-"

"Nu-uh. I don't dare anything, per se, Dream of the Endless," Azazel cut him off. "I'm only making a reasonable offer. The key in exchange for the mortal. A small price to pay for someone you worthlessly claim to love, no?"

Morpheus fell silent, pondering his options in a quiet panic. He hated the thought of giving in to the demon but you... You deserved none of this. His hand curled into a tight fist as his thoughts played out more and more pessimistic scenarios of your well-being. On the other hand, placing the key to Hell back in demons' hands in good faith that they'll give you to him unscathed was reckless even for him. How does one choose between misery and woe? Morpheus knew he couldn't give in so easily, so he managed a vague response in a constrained voice:

"I will consider your offer, Azazel."

"Heard him, little lady?" The Prince of Hell chimed as though he was expecting you to answer. In a boldly slow manner, he strolled back towards his chamber but did not leave the small throne room before rubbing some more salt into the wound: "He will consider having you back. Wonderful husband, isn't he?"

Morpheus fell back down onto his throne, angry tears dwelling in his eyes as he's clenching his jaw tight enough to make his entire body tremble nervously. There, in the darkness, he's lonelier than ever.

[snowmist-hashira]

So, I've been thinking at how Yuichiro would always be skeptical around the reader when it comes to Muichiro.

I was wondering if you can make a scene wherein the reader is in love with Yuichiro but she couldn't approach him directly so she approaches the younger sibling instead for advices. Yuichiro also likes the reader but hadn't confessed because he always sees her with his twin so he thought the reader liked Muichiro.

So, it's a Yuichiro x Reader. Please take your time with this and don't worry about rejecting this one if it's not for your comfort! Have a wonderful day/ night!

[Chapter title: Envy and Affection]

[Requested] Yuichiro Tokitou x Reader

Wattpad:(One shots) Tokito Muichiro x Reader Archive:Kimetsu No Yaiba: Tokitou Muichiro x Reader Details: ♠ Information ♠ Master list: ♠ Yuichirou Tokitou ♠ Word count: 1,685

Artist: 真人

Link; novel.prcm

Trial HAHA. I definitely need feedback on this Yuichiro x Reader story. I hope I was able to meet your request to your satisfaction, Cascading~ I would love to hear your thoughts on the story as well. Your reviews will greatly influence my decision on whether to open this for further requests.

As of now, I have officially opened requests for Yuichiro x Reader. However, there have been a few changes regarding the request process. For more information, please refer to my pinned post.

Yuichiro Tokito, with his cold exterior and sharp tongue, was often perceived as arrogant and stuck-up by those around him. In contrast, his younger twin, Muichiro, displayed a gentler and caring nature towards others, despite also treating them coldly. Yuichiro's stern and firm demeanor made it difficult for other demon slayers to approach him, further isolating him from his peers.

Deep down, Yuichiro couldn't help but feel envious of his younger twin. In his thoughts, Muichiro seemed to be the "chosen one" because he had a natural ability to connect with others on a deeper level. This ability allowed Muichiro to form stronger bonds and relationships, and it bothered Yuichiro that he himself struggled in that aspect.

What intensified Yuichiro's envy was witnessing Muichiro's connection with Y/n. Seeing his younger twin form a close bond with someone, especially someone that Yuichiro had feelings for, it stirred up complex emotions within him. He longed to experience the same depth of connection and closeness with Y/n but found it difficult due to his own personality traits and the walls he had built around himself.

One day, after completing his designated mission, Yuichiro returned to the familiar grounds of their estate and saw Y/n and Muichiro engaged in lighthearted conversation, their laughter filling the air. It was a sight that both warmed his heart and fueled his envy. He stood there for a moment, his ears seemingly blocking out all other sounds except for Y/n's laughter, which echoed in his mind.

Muichiro caught sight of his twin standing in the distance, a warm smile gracing his lips. "Welcome back, Nii-san," he greeted.

Caught off guard by Muichiro's greeting, Yuichiro snapped back to reality and managed a faint smile in response. He stepped closer, trying to conceal the mixed emotions swirling within him. "Thanks," he replied, his voice betraying a hint of his usual aloofness. "How was your day, Muichiro?"

Muichiro's smile widened, his eyes reflecting genuine warmth. "It was good," he said.

“Hi, Yuichiro-kun.” Y/n greeted him with a warm smile and a friendly wave, Yuichiro felt a flutter in his heart. It was the first time he would engage in a conversation with Y/n, and he couldn't help but feel a mix of excitement and nervousness.

“Hey, what are you even doing here?” However, when Yuichiro spoke, his words came out straight and firm, unintentionally carrying a tone that he feared might have come off as stern. He slightly frowned his brows, a sign of his self-criticism. Internally, he cursed himself for potentially making Y/n uncomfortable with his brusque manner.

But when he looked at Y/n, her smile remained intact, seemingly unfazed by his initial tone. It puzzled him, but at the same time, it sparked a sense of curiosity within him. Could it be that Y/n saw beyond his cold exterior and understood his underlying intentions?

“Oh, nothing. I was just asking Mui something.” Y/n replied, scratching the back of her head, a touch of embarrassment evident in her actions.

The pang of jealousy gripped Yuichiro's chest tightly, intensifying the envy he felt towards his younger twin. It was clear to him now that Y/n and Muichiro shared a close bond, evident by the familiarity they had developed, even down to using a nickname.

The jealousy gnawed at him, creating a bitter taste in his mouth, but he fought to suppress those negative emotions.

Taking a deep breath, Yuichiro mustered a small smile, despite the envy still lingering within him. "I see," he replied, his voice betraying a hint of disappointment that he hoped went unnoticed. "Well, it's good to see the two of you getting along so well." His voice laced with bittersweet tone.

"I'll rest for now." Feeling the weight of his emotions, Yuichiro excused himself, retreating back to their estate.

Muichiro couldn't help but notice the underlying disappointment in the tone of his older twin, a glint of recognition in his orbs. However, Muichiro chose not to address it.

Y/n, on the other hand, seemed oblivious to the subtle shift in Yuichiro's demeanor, unaware of the jealousy that brewed within him. As Yuichiro made his way back to the estate, he couldn't shake off the lingering feeling of longing and envy that had intensified during their interaction.

Little did he know, Y/n had prepared a delightful surprise for him. Several days later, as Yuichiro made his way back to their estate, he spotted Y/n sitting alone on the estate porch.

The sight of her immediately brought a mix of anticipation and curiosity. He had not expected to find her there, and he wondered what could have prompted her to stay there.

“Y/n.” He called out her name, Y/n turned towards him, her surprise evident on her face. Yet, her smile remained, radiating warmth that reached deep within Yuichiro's heart.

Closing the distance between them, Yuichiro approached Y/n, his gaze fixated on her. "What brings you here?" he asked, his voice softer than usual. There was a flicker of curiosity in his eyes, eager to discover the reason behind Y/n's unexpected presence.

His disappointment was palpable as he immediately answered his own question, assuming. "Ah, were you waiting for Muichiro?" He chided himself internally for allowing his expectations to rise.

Y/n's smile faltered slightly, and she shook her head. "No, actually," she replied softly, her gaze meeting Yuichiro's. "I was waiting for you."

Surprised by her response, he asked. "Me?" His voice tinged with a hint of uncertainty. He couldn't help but wonder why Y/n would choose to wait for him when she seemed to have a closer connection with Muichiro.

Y/n's smile regained its full strength, reassuring Yuichiro of her sincerity. "Yes, you," she affirmed, her voice gentle and warm.

Yuichiro's heart swelled with a blend of surprise and gratitude, and he nodded as he took a seat beside her. He didn't want to raise his hopes too high so he mustered the courage to inquire a bold question.

"Y/n, do you like Muichiro?" Yuichiro's question hung in the air, the vulnerability and curiosity in his eyes bared for Y/n to see.

"What makes you say that?" Y/n's raised eyebrow and her probing stare indicated her surprise at his question. It was clear that she hadn't anticipated such a direct inquiry.

"Well," Yuichiro began, his voice steady but tinged with a touch of hesitation, "I've noticed how close you and Muichiro have become. The way you laugh together, the ease in your conversations... It made me wonder if there's something more between you two."

Y/n blinked, processing his words, before bursting into laughter. Her sudden outburst took Yuichiro aback for a moment. Her unexpected reaction left him questioning his own words and intentions, uncertain of what he had missed or misunderstood.

Y/n managed to stifle her laughter; her smile lingering as she composed herself. She looked at Yuichiro with a playful glimmer in her eyes. "I'm sorry," she said, still chuckling softly. "It's just... what you said, about me and Muichiro, it's not what it looked like at all."

Yuichiro's eyebrows furrowed as he tried to make sense of Y/n's words. "Then what did it look like?" he asked, his tone a mix of confusion and curiosity.

“I was asking advices!” Y/n finally said in between her laughs.

“Advices on what?” He questioned.

“On you.”

Yuichiro blinked, his confusion deepening at Y/n's words. He couldn't fathom why Y/n would seek advice about him from Muichiro, and it only added to his growing perplexity.

"On me?" Yuichiro repeated, his voice laced with surprise. "Why would you ask Muichiro for advice about me?"

Y/n's laughter subsided, and she regarded Yuichiro with a gentle expression. "It's because I like you," she explained, "that's why I wanted to learn how to interact with you better."

Yuichiro's breath caught in his throat as Y/n's words hung in the air. The weight of her admission, coupled with the sincerity in her eyes, caused his heart to race. It was a revelation he hadn't anticipated, and it left him momentarily speechless.

The world seemed to stand still for a moment as he absorbed the weight and meaning behind her confession.

As Y/n's kasugai crow landed and interrupted their heartfelt moment, assigning her to a mission, Yuichiro found himself watching her as she stood up, her gaze meeting his, and he couldn't help but feel a tinge of embarrassment at the situation. His cheeks flushed with color, a stark contrast to his usual composed demeanor.

Y/n couldn't help but giggle at the sight of Yuichiro's embarrassed expression. It was a side of him that she hadn't seen before, and it brought a lightheartedness to the moment. She had unintentionally surprised him, which Muichiro had mentioned before as something that froze him in place.

As an idea popped into Y/n's head, she made a mental note to apologize to him for this surprise once she returned. Swiftly leaning towards Yuichiro, she tucked a strand of hair behind her ear, her heart racing with anticipation. In a moment of boldness, she pressed a gentle kiss onto his cheek.

Yuichiro froze, his eyes widening in surprise and his cheeks reddening even further. The soft touch of Y/n's lips on his skin sent a jolt through his entire being, his mind momentarily blank as his heart raced in his chest. It was an unexpected gesture, one that caught him completely off guard.

'Pfft. I broke him.' Y/n thought to herself, she couldn't help but find his reaction amusing. She stifled a laugh, a playful smile tugging at the corners of her lips. Seeing Yuichiro, typically composed and guarded, rendered speechless and motionless.

“I’ll see you later, Yuichiro~” Y/n playfully remarked, leaving him in that state of bewilderment.

As Yuichiro sat there, his cheeks flushed with a maddening blush and a delighted grin threatening to break through, he couldn't help but feel a surge of happiness and anticipation. He covered his mouth, suppressing his giddy reaction, but his eyes sparkled with an undeniable joy.

Still caught in the aftermath of their interaction, Yuichiro whispered to himself, "I'll see you later too, Y/n. And I can't wait."

[littlealeta]

Abigail Review (Spoilers)

LONG BLOG! IF YOU DON'T WANT TO READ THIS BLOG, SCROLL DOWN TO THE OVERALL SECTION FOR A TL;DR and ALETA REWRITES

We haven’t had an evil child film since uh… Annabelle Creation? So, I was excited to see how this movie would play out.

Unfortunately, it’s like every other evil child film.

So… the positives?

The actors are excellent. They fit seamlessly into their roles. Their comedic timing and wits are great. Abigail’s actress is adorably sweet and innocent and portrays her manipulative split personality naturally. Everyone looked like they were having fun and were really into their roles, which was always entertaining to see.

Some of the scenes are entertainingly quirky. Like Abigail using Sammy as a puppet, while cliched, was humorous and fun with the intercut shots while this wildly unfitting song is playing. The scene is melodramatic but it somehow comes off as ironically humorous (in a good way). Abigail dancing to classical music with Dean’s beheaded body is another moment of good creepiness. And the entire scene with Puppet Frank was interestingly disturbing and sometimes funny. It was crazy.

Rickle was a likeable character who the film, unfortunately, had the misfortune to kill off early on because… I guess they didn’t know what to do with his character.

And… that’s about it.

Story

Like I said, the story, besides a few scenes, doesn’t really do anything special with its concept. It had a good concept (ballerina who just wants to play and can turn people into her slaves), but it never really goes that far with it. Instead, it’s just another horror film where a group of people are being chased by a monster.

The ending is a total wtf mess. Joey gets her heart stabbed and twisted and somehow survives because the protagonist's gotta have plot armor. Abigail turns a 180 and starts protecting Joey for some reason. Lazaar appears and…we don’t know what he’s about, besides the fact that he’s creepy. He and Abigail let Joey out because the movie has to end.

Characters

The cast is an entire mixed bag. The only one I liked was Rickle because he seemed like the most decent in the cast. But instead, they write him off, leaving us with a group of ignorant scumbags for the rest of the hour. We don’t even really get much time to know Rickle because he was killed off so soon. I feel Dean had more personality than him. I don’t remember much about Rickle other than he was the nice guy. And Dean has the same problem. The film fucks him over too early so we don’t have time to find a reason why we should care about these two characters.

Besides Rickle, the cast are all unsympathetic people. Luckily, some of their actors are good enough to make them appealing. And they DO have their moments where they are funny and badass, but when they’re being serious and/or trying to make a decision, they’re just your average dumb horror movie character. Some of the dialogue that they make is on the nose, notably right before they die, they do the cliche “I will always be there for you” kind of shit. 

Joey (seemingly our protagonist) is revealed to have been a deadbeat mother who dabbled in drugs and a life of crime. One poor decision she made was betraying the group over killing Abigail despite knowing she was Valdez! She is also apparently psychic (as she can read other people), but is never said to be so because the film is too lazy to. Dean is the dumb horror character who somehow just has no brains. Implicitly, he seems to be on drugs, but they don’t do anything to make his character likeable, nor do I believe it was stated that he WAS on drugs.

Sammy is my least favorite. Not only do I hate the way her character is designed, but she’s just a total whiny bitch who often has something annoyingly smug to say. Or she just gets pissed off for no fucking reason, like when she finds Dean’s body.

Peter and Frank? They’re on the more likeable side, but they’re not too great either. Peter, for example, makes the dumb decision to kill Abigail before knowing she was Valdez and almost released her from her cage at the expense of his group. Frank is the only sane man, I probably tolerated him the most, considering he was the only one with a brain. However, he can often be harsh and insensitive (like about Joey's troubled life) and, he too, threatens Abigail, screaming at her when for all he knew at the time, she was just an innocent little girl. And then, he just turns completely against the group because the writers LOVE making these characters impossible to care about. He has a similar past to Joey because the writers couldn’t come up with something different.

Last but not least is the titular character Abigail, who apparently has some dark past, but still manages to be a bland villain. She’s your typical horror movie character out for revenge and to kill the main characters. Her ballerina moves can hardly make up for it. Despite having a backstory, her development still feels shallow. There’s a whole slow ass scene where she monologues about how everyone came to be the way that they are. Number 1. How do you know who anyone is? Number 2. SHOW DON’T TELL, MOVIE.

Overall

Abigail gets 3.4 bells out of 10

Actors feel natural in their roles and are hilarious with their humor. The concept is a tad quirky, and there are some scenes where they run with that, but they are few and far in between. Plot feels mostly like your average horror film and is slow at some parts, especially at the beginning. Characters tend to make some horrible and appallingly dumb decisions with Rickle being the only nice guy in the group. If the characters are not horrible, they are shallow, like unfortunately our almost one-note villain. Dialogue sometimes feel so obvious, it’s unnatural. Ending feels very lazy due to the shallowness of the characters and their development.

Aleta Rewrites: I would make Abigail a playfully eerie child, like a Chucky kind of situation. Like, obviously, I think the movie tried to make her out to be this playful, quirky ballerina kid. So, I would lean into that more. So, it doesn’t seem like she’s just some generic character hell bent on revenge, but rather a lunatic with a morbid fascination with gore and death. So, the only reason she’s bodying people is so that she can play and mess with them, like in the scene where she’s dancing with Dean’s beheaded body. Maybe she can kill her victims while she’s dancing/playing, that would be funny. Lean in more into the horror comedy instead of making it a gritty drama about corrupt people.

I would also develop Lazaar more. Maybe make him the final boss of the film. Or preferably, do a twist where it shows that HE was the one possessing Abigail and everyone in the film, so when he's killed off or his magic is wrecked, Abigail will be free and THEN will team up to fight Valdez.

[temporalhiccup]

Rae pls indulge and go into AK breakdowns I would SO love to read it!!!

Ok! Here we go! Breakdown Time!

The Betrayed is a playbook I'm working on that's inspired by Ghost Rider, the Spectre, and Doctor Fate. Specifically you wrestle with an entity within you that demands vengeance, as it wears down what remains of your humanity.

For this breakdown I'm going over two Moves. These Moves may change by the time the final version of the Betrayed rolls around (all the playbooks are currently in the final refinement stage). But anyway today we're looking at I Am Vengeance. In the next part I'll go over The Weakness Of My Heart.

Let's get into it!

The following is my personal and general approach to writing a Move for the Powered by the Apocalypse engine. This refers to the Moves were you need to roll dice or make an important decision.

Moves should be relatively easy to trigger. If a set up is required, it shouldn't be too much work to justify the narrative circumstances or fictional requirements. I like seeing moves used!

A Move is a moment for the character to step into the spotlight. Normally in the conversation of a game (player describes what their character says or does, other players and GM responds, back and forth, back and forth) a Move doesn't have to be triggered most of the time. When it's time for a Move (the circumstances warrant it, things seem uncertain or dire, the player has set things up to trigger a specific move, etc) then time stops at the table, right? Everyone slows down and goes through the mechanics and structure of the Move. To me, I want to justify this slowdown as a way to spotlight the character, to make this moment meaningful. I write Moves so that everyone at the table gets used to the idea and thinks, "Oh heck yes, let's slow down and enjoy this. What are they going to do? What awesomeness are we going to bear witness to?"

The end of a Move should significantly shift the fiction, circumstances, narrative positioning, or emotional state. I write Moves so there's a distinct before and after state. Sometimes if I'm feeling particularly bold, there's a quick inciting thing that happens when the move is triggered, to give this burst that better sets up the after. If the narrative positioning or fiction trajectory remain roughly the same after a Move is done, what was the point of slowing down the game for it? I also want players to feel like they have significant narrative pull in the story being told at the table. My favorite moments as a GM is when my players shock and surprise me, it inspires me and revs me up!!!

There are some specific things I keep in mind when designing a Move for Apocalypse Keys (compared to my other Powered by the Apocalypse games), but mostly it's along the lines of: CAN I MAKE THIS AS BIG AND EXCITING AND EMOTIONAL AND SUPERNATURAL AS POSSIBLE LET'S GO WHOOOOOO YEAAAAAAAH or something similar.

Okay, the Starting Move for the Betrayed is:

I Am Vengeance

The entity within you can always sense those nearby who bear the scars of trespass and the burden of regret. When you merge with the entity and deepen your senses to see the full weight of a soul, describe what you find there. Spend Darkness Tokens and roll.

On an 8-10 the entity within you tempers justice with mercy, choose two:

Their greatest trespass is revealed by the darkness, create a Power of Darkness that you have access to, for now.

Declare how they must make amends to appease justice, gain one Bond with them.

Your souls burn and resonate together, inflict two Conditions on them, but take one in return.

The soul you peer into cannot hide the truth from you. Ask the Keeper any question, they will answer it honestly and with great detail.

On an 11+ the entity within you demands retribution and horror, choose one:

The vengeance you deliver eclipses the trespass. Describe how you go too far and the suffering you cause. The Keeper will tell you what supernatural beings of power take notice and their response.

The entity within you would claim a new soul to strengthen itself. Gain a new Power of Darkness that reflects the screaming soul within you, trapped for eternity.

On a 7- the entity reshapes another part of your soul and replaces it with what may better serve horrific vengeance. The Keeper will tell you what happens next.

So for I Am Vengeance, I needed a Starting Move that embodied who the Betrayed is. I knew I had to make a version of Ghost Rider's penance stare ability, since it's such an iconic aspect of the character. In the instances when I have a specific character and/or their super power in mind when I make a Move, I try to deconstruct it along the following questions:

What narrative permissions are granted to this character or through this ability?

How can I break this down in a way that it's open to different creative interpretations and character concepts?

How can I connect the thematic concept to the mechanical, narrative, and emotional components of this moment and the game in general?

This Move comes with a built in ability that is constant, and doesn't need to be triggered. The Betrayed will always be able to sense those nearby who bear the scars of trespass and the burden of regret. This is part of that deconstruction, this is not a ability that's present in the inspiring characters. But from a TTRPG approach, I wanted to give the player a unique and interesting perspective. It also communicates an important thematic element of the playbook: this is a character who can see the worst in others, their regrets, how does his affect the character? How do they treat their own trespasses and regrets in response?

The trigger here is: When you merge with the entity and deepen your senses to see the full weight of a soul, describe what you find there.

Okay, so! A huge amount of TTRPG design is just...obsessing over word choice, hah. Here I wanted to ensure a few things: this Starting Move starts off with the idea that you merge with the entity. In other Moves for the Betrayed I experiment with other ideas (like in another move it's "when you become vengeance incarnate," which communicates a different action entirely!) I wanted a soft set up here: what does it mean when a character merges with the entity within them? I also wanted to give players an opportunity to change what that merging could look like each time they triggered this move.

in addition, it's easy to trigger this Move. The character just needs to decide to merge with the entity. As for narrative set up, the player decides when they want to risk looking deep into someone's soul, because...we'll, shit could definitely go down and get out of hand.

I also used "deepen your senses" to further support the idea that the player can just always sense the trespass and regret around them. This move is then a moment when things come into sharp focus. Having a player decide what that means for their character is cool and fun!

So remember earlier when I said there's a before and after state? The before state here is "the Betrayed can always sense something others cannot". The after is "the Betrayed and the entity of vengeance within them will act on a specific character's trespass". Ah, but I also mentioned that sometimes I have a quick inciting thing. This Move has it, in the "describe what you find there".

This is an exciting moment for the player. They get to narrate and decide what they see, when they take the full measure of someone's soul. What kind of trespass or regret are we talking about here? How deplorable or evil a person is the NPC? Or were they once a good person who made a terrible mistake? The player gets to decide!

This felt great in playtesting, I really enjoyed the pressure, the freedom and responsibility that came with declaring such a thing. As a Starting Move it also primes the player to be creative, spontaneous, and intuitive. Many mechanics and the general flow of the game really flourish when a player hones these aspects of their play.

So, now we roll the dice and see what happens. In case you're not aware, Apocalypse Keys doesn't use stats. Instead, as inspired by Libreté, you roleplay to gather tokens. Each token adds +1 to the roll. So you're aiming to roll to hit that perfect hit: 8-10, you're still in control. On an 11+, it's a disastrous success, you've gone too far and the monster within you is unleashed.

I experimented with what a perfect hit and a disastrous success looks like across the Moves and playbooks. In I Am Vengeance there's a distinct difference between the 8-10 result and the 11+, there is no overlap. For this Move, I wanted it the perfect hit and disastrous success to feel distinct from each other, to show the extremes available to the character.

In the 8-10 result I'm still finalizing whether or not the player gets to choose two options or just the one. Two choices feels great in play and meta-wise it supports the ides that the character is more "in control". But it can also slow down the moment further. I'm still weighing this, I have to roughly feel out how often a player can use this move (the less often, the more likely I'll stick to two options). If I do switch to the one choice, I'll probably shift things slightly and beef up the options a bit.

In Apocalypse Keys, a Move always pushes the narrative forward in significant ways. In many Moves, there's a blending of the narrative and the mechanical. I could have just stuck in the mechanical options (or just the narrative!), but you can feel how distinct it feels that I merged the two here, right?

So for example, one of the options is: Your souls burn and resonate together, inflict two Conditions on them, but take one in return. This is easily the combat-focused RAR I'M HERE TO BEAT UP PEOPLE option. This can easily force an antagonist to stand down, or soften him up significantly for someone else to take the final blow. If I had just stuck with the mechanical option, it would communicate "wow the entity of vengeance is violent and strong". Which is cool!

But! I wanted to add the narrative implication, where does this violence and strength come from? I decided it comes from the fact that the souls resonate with each other. A player or Keeper can decide to express specifically what that means, but even if they don't, it leaves this implication hanging in the air. How are the Betrayed and the target of their wrath similar to each other? What does it mean when souls resonate? Every option in the 8-10 result offers an implication in the blending of the mechanical and the narrative. It makes the choice feel that much more significant!

Any combination of the 8-10 result can easily map to what it looks like when Ghost Rider performs a Penance Stare, but it's still open enough to interpretation that any type of character can express themselves well.

Now let's look at the 11+ result. In this one I decided to go with one of the regular treatments of a disastrous success: limiting the options, but feeling more powerful. This reflects how the character has less control over the situation. They go too far, and they can only reign it in so much! But also, the options are more powerful than a perfect hit! What a double edged blade this is.

In this Move I really wanted the disastrous success to feel like "You know, my dude, there is like...an entity of vengeance inside of you, and it is absolutely not human."

The first option, has the player "Describe how you go too far and the suffering you cause" I wanted this to reflect those moments where Ghost Rider, The Spectre, and Doctor Fate would go all out, and punish the wicked without mercy. This is an excuse for the character to go all out, to not hold back! Then the Keeper gets to describe the "supernatural beings" and their response. This is reminiscent of the forces that push and pull at these iconic characters that inspired this playbook.

The second option has to be my favorite though. It's also the one I chose the first time I playtested the move! "Gain a new Power of Darkness that reflects the screaming soul within you, trapped for eternity."

It was honestly a really hilarious moment, I had just declared that the oil conglomerate Executive had helped the fae perform a wretched and murderous ritual to ensure the smooth purchase of mines. I didn't want to have supernatural beings notice what I was up to, but it also meant I had to have this slimey soul of a human next to my soul for all eternity. "Oh my god, why did I write this?!" I asked out loud while the other players laughed. (That, to me, is a good sign that I wrote the disastrous success options well, hah!)

"What does it look like when you take his soul?" Lowell asked me, as the GM. So a second before I was lamenting what I was forced to do, and now here I was, throwing myself into it. "You see me pull out his soul through his mouth, my skull wreathed in flames. His soul looks like a gargantuan slug, wailing and writhing, and I swallow it whole as his screams echo through the mines."

It was also fun coming up with a Power of Darkness that reflected this horrible human and what he is now. (I went with Emotional Manipulation, to reflect the greasy corpo scum he was)

Finally, we have the miss, what happens on a roll of 7 or lower. Not every PbtA game has moves with specific misses, it's usually just an open invitation for the GM to do something. (Which is actually my personal preference, I often find the misses are too uninteresting for my tastes, even in some of my favorite games!)

With Apocalypse Keys, it was a long conversation with Sean Nittner (project manager and development editor) over why it felt necessary for Apocalypse Keys to always have a specific miss. The long and short of it is: Apocalypse Keys is a game that happens on a huge scale, and the monstrous PCs don't fail in as much as things go horribly wrong because they are monsters. So I try to write a miss that supports that truth.

In this case, I wanted to highlight how the Betrayed is at the mercy of the entity within them. Their soul will be reshaped to better serve vengeance. This can be a harrowing and quiet moment, or it can create explosive consequences, or something in between. What does it mean to reshape a soul? I can't wait to hear the stories about this!

Phew, that's our first Apocalypse Keys breakdown! I hope this was useful to you!

Powered by the Apocalypse is a system I love, and I feel like we're still exploring what the system is capable of and where it can go next. The structure of PbtA is an opportunity for designers to structure a game to reflect their design goals and play philosophy in very big and bold ways.

I worked on Apocalypse Keys for years, and with the help of a lot of people, made a game that reflects what I love about TTRPGs 😤❤️🔥✨

We'll be looking at The Weakness Of My Heart next time, which offers an intimate (and potentially tragic!) narrative opportunity for the Betrayed 👀

[mbat]

every day i wonder what happened during the design process of equestria girls for them to all come out the way they did. i can see where the skirts thing came from cause they wanted them to be undeniably girly i guess or whatever but. every other weird decision is just confusing

like fluttershys whole outfit, the shortish skirt but especially the tank top. maybe its meant to indicate that shes outdoors a lot with animals, but it completely betrays her shyness and tendency to try and hide herself

they kinda messed up big mac and shining armor? mostly shining armor. his jaw could slice metal. why he look like that

also i only realized while looking at the characters that. okay i was just going to say 'lol cheerilees hair is stupid its like 1 foot taller than her head, why didnt they just give her normal bangs wtf' and i still mean that but then i realized... they swapped her mane and fur colors for her human counterpart ??? so now her usually darker coat and light hair became dark hair and light skin ??

which leads me to the point about the skin colors being weird. like. i dont like how they lightened them up, i dont like how aj and big mac have human skin colors (i have to assume maybe they thought for them that the colors looked bad, or possibly even close to caricature territory, especially with big mac), and the way they outright lightened up the colors of at least 2 normally darker ponies? like i said, cheerilee, but also

luna. even back when i first saw the movie and adored it, i DID NOT like the princesses designs. how did they fuck up some of the best characters in the show, especially the ones that are the prettiest (imo).

i would say that of the 3, cadence is the most okay design (i know we dont see her in the first movie just roll with me here). its clearly her, she looks like her and has her vibe (visually), all around not bad. not necessarily my favorite, theres still something slightly off? but it doesnt rub me the wrong way

celestia... i dont like her vibe. who is she. shes light pink and she has hair spikeys that are meant to look like a crown but just made it look like she didnt brush her hair properly. she has celestias hair but her face does not read like celestia to me. she looks like an imposter. where is my mother

and finally. the pinnacle of the issues with the designs. luna.

WHO IS SHE. THAT OUTFIT? NOT LUNA. THAT HAIR? YOU WOULDVE BEEN BETTER OFF JUST DOING A GRADIENT. OR PUTTING IN LITTLE STAR HAIR CLIPS. THAT FACE? THATS SOMEONES WINE MOM WHO SINGS EXTRA LOUD AT CHURCH. same critique about the hair spikeys as before. AND THE SKIN??? HELLO??? THE PRINCESS OF THE NIGHT GOT TURNED INTO PRINCESS OF MIDDAY. WHY.

the design of the show vs the movies is, i guess now literally, night and day. pony luna is so inspired and pretty and meant to invoke such regality, its very clear what her theme is, and she very much sticks out amongst the others, both in shape and details!

but the human version feels generic, she could easily be a background character (and she basically was), she feels unfinished, the colors on their own arent the worst but moreso feel insulting when compared to the original (i like the addition of pink/pinkish purple to the palette, but not so much to luna as a character. it just isnt her imo), she doesnt even look like an authority figure aside from obviously looking older than the other characters, let alone being someone meant to be somewhat equivalent to royalty. also again she was a minor character here but its like... her pony version has such a stone strong personality, both when shes freshly back from the moon and later on when shes more grounded and princess-like. human luna is just... generic teacher person. did human luna even ever experience significant isolation and feeling completely unseen by everyone she cared about? doubt it.

and yeah, they significantly lightened her skin ?? why ?? theres literally no reason to do that? she wouldnt look like a caricature unless you somehow chose the wrong colors (how possibly would you), and its not exactly impossible to draw characters with darker skin, again her pony form literally has a dark coat !! but also plenty of people have redesigned her human form to have the right skin color and they look great!! and in general obviously theres plenty of characters with dark skin, like... what was the reason they did that. it just feels gross.

dont cross me when it comes to luna dude i love her so much

anyway yeah its been over 10 years since EG first aired and i loved it back then and i still love it but i think a lot more about character designs now. mlp g4 is known for having these really pleasant and well put together designs with lovely colors (for the most part), its so weird how that gets easily messed up, like in g5, but also still in g4 itself(in the spinoffs and the main show lol)? wish i had the motivation to redesign them all lol, i probably will someday. please go look at redesigns theyre very lovely

[katyspersonal]

Soulsborne bingo about Lady Maria!😎

Ohhhh yeah, her!!

I have written plenty of headcanons on her so far, and she was one of the first Bloodborne characters I got invested in - and one of the first characters I've drawn! She is amongst my most elaborate Bloodborne portrayals in terms of headcanons, analysis and story! Fun fact - she is also my second most posted character, after Mico! Not to mention her frequient appearance in my dreams, too? Again, it is a little... odd, how I do not express all that much passion about her, despite having a VERY elaborate map of her in my head. Do you know how sometimes you really care about the character, but for some reason you need an extra stimul to actually bring up your thoughts and feelings? I am like this about her. Unassuming externally, but having a lot of things to say internally! I also would like to link some headcanons about her that I've written for another ask meme for her: ( x ).

Her design is really good, I love everything about it! Her face is so beautiful, and is more unique than you might assume! Her hair is not regular blonde but that paler, 'ashy' color, her eyes are not blue but mint green, her eyebrows are WHITE (Pthumerian blood much? :p) and the circles under her eyes (again - Pthumerian blood much??). And her eyelashes are very notably pale, too:

When I draw her, I always get stuck just looking at her. And her hunter outfit is really great variant of the Knight clothes! Her wearing normal fancy Knight outfit, full of red and gemstones would just not feel the same. More modest yet more elegant look is PERFECT.

There is a lot going on about this character, too. I obsess over the fact that she could not bear the heartbreak after Fishing Hamlet and discarded the hunt as a concept, instead opting out for being a caretaker for the patients. And how she parallels Djura who also quit the hunt! But Djura survived for such a long time, comfortable in his purpose, yet Maria gave up and killed herself. I mean, there is a merit in the cut content idea that Simon ended her life in reality, but I think her suicide works better. (And how much you want to bet it was Adeline's death that was the last straw for Maria?..) She is a knight that was willing to help the humanity and protect it, but ended up losing her own, which is a tragedy consistent for Bloodborne it seems.

I also feel like she did have some weakness, meekness even, to her personality in the end, which is why despite having abandoned her clan and distasting blood she was powerless to protect Adeline from falling into their questionable antics. And chose passive role of caretaker for Church's (questionable!!!) business and keep their secret, despite having regretted ever taking part in the massacre. And could not go on, unlike Djura. She is a strong and stoic person, indeed, and a very skilled warrior, but also there is just... something. You know? She will kill a scary monster without problem, but when it comes to putting up a fight of the character, like resisting an intimidating authority - I feel she can't do that. Not even to protect someone dear, like Adeline. That, or Laurence sucks in people's courage like a black hole, wouldn't put it past the bastard either She will act very decisively in life and death situation on the battlefield, but will be an absolute coward about confessing her feelings or something...? Like unrealised trauma that has been a 'crack' in her soul. But she still would rise up despite it to do what she believed was right. It feels like doing sport despite a physical trauma that might betray you any time, but mentally so.

Alright, you see what I mean? Any attempt to discuss Maria's personality makes me dive into one of the corners of her character. And she has several! I think if I was to write a devoted character analysis for her that is not spread across several posts, it would actually take a few days to put together!

We also can only be sure about her dynamics with Adeline and Gehrman, but there is otherwise a lot of potential for her knowing other characters, too! I love what we got, however! A lot to speculate on, both have good fundament for very elaborate story!

________________

In general, I love her character. You are not from the Western fandom but you will find that some fans will simplify her very unpleasantly. On the one hand, some drooling horny dudes that simply see her as a sexy female knight (that needs a makeover as if she is not attractive enough already...? wtf...). On the other hand, toxic adult babies that think her whole character will crumble and lose appeal if she likes not only women but men too, or if she has not only masculine sides to her character, but feminine ones too. I say, whatever character trait you pick on about her, she is always more than that. Exploring her beyond just being a badass, powerful, skilled hunter expands and complicates her character, but some people will call it "reducing" her because for them being strong and being "feminine" (?) are mutually exclusive traits for some reason. I'd also make a point that the fact she not only discarded the hunt, but her becoming a hunter again as a punishment in literal Hell is a BIG evidence against 'her TRUE self is a mean murderous warrior and Gehrman disrespected it' flex. But you already understand by now that in Western fandoms, based fans are in the trenches every day xD

All in all, Maria is probably the most interesting character in Bloodborne that can offer a lot to think about for everyone. There are always many ways to interpret her none of which is "absolute" and none of which "robs" any demographic off anything. This is what happens when a character is written like a person, and not like a 'statement'! ...and I say all this when she barely has any dialogue, and we as lore people are left to grasp at item descriptions, nonverbal narrative, actions of other characters, Dolls look in relation with Gehrman having feelings so warm it made Doll cry tears of joy, Doll wearing Maria's ribbon shoes and pendant, cut content, their spiritual connection, Cainhurst context......

Thank you for the ask!

[andmaybegayer]

Project “Let’s watch every single Fast & Furious movie”

This was. A very, very stupid movie. Easily the most influential one we've done so far but it is NOT good.

The Fast and the Furious: Tokyo Drift (2006)

This movie starts at a high school so we're already off to a bad start. Sean, the most American human alive, gets into a petty street race and to avoid going to jail is sent to live with his dad in Japan. He immediately starts getting into street racing somehow involving not the Yakuza, but a guy whose uncle is Yakuza. I bet his other uncle works for Nintendo too. The most American man alive is constantly bewildered by this strange oriental wonderland but not so bewildered that he does not Americanly barge into situations and make high stakes bets that he has zero idea how to pull off.

His ass is not 17!

You simply cannot efficiently blend "The actual Yakuza are here moving tens of thousands of dollars" and "17 year olds getting into fights over MP3 players".

Sean here has the most impossibly American accent, every time he opens his mouth you're like what in the goddamn was that, where did that come from. I have no idea if that's just how the actor talks or if he's affecting it.

This movie trades very highly in flash, exoticism and admittedly well shot driving scenes. The first race in Japan is stupendous car gore, absolutely wrecking a very fancy Nissan Silvia that feels like it was designed to make everyone cringe. Drifting is just implicitly cool, even if the bizzare chase-drifting used in some of the action scenes looks extremely silly.

There once again is an absolutely banal plot! Sean gets into debt with Han, one of the Drift King's lieutenants who is also secretly betraying the Drift King. Han is extremely gracious about letting Sean pay off his debts because... I guess because a brazen American is the only person who is willing to get into races with the Drift King. It's not entirely clear. There's a good run of training montages as Sean learns to drift, which is pretty much the core that holds this movie together, everything else is wild.

I'm not sure if this just feels bad because it's in comparison to the pretty solid movie that was 2 Fast 2 Furious but I feel like it's also bad when taken in isolation.

The rapper they put in this movie is Bow Wow who plays another 17 year old nicknamed "Twinkie" who is just called Twink by everyone all the time. It's. Certainly a writing decision you could make.

Tokyo Drift culturally was Initial D for the masses, it introduced the concept of drifting to a much, much wider audience, and you can see those effects take hold almost immediately. Need for Speed Carbon came out later the same year and introduced drifting as a major mechanic, you started seeing a lot more drift demos at car shows, and two years later Red Bull would have the 2008 Drifting Championship.

There's so many plot threads that just never resolve ever in this thing. Sean moves in with his estranged dad who is a navy man. He alludes to "his mistakes" and there's all kinds of setup for them to go back and forth and resolve their separation but it doesn't happen ever. There's a love interest who mostly serves as a source of friction between Sean and the Drift King but whose complicated history is kind of just smoothed over in a single scene. I think they tried to fit a good story and cool race scenes and realized they could only fit one, and went with race scenes. A lot more minutes of the movie are dedicated to driving shots than before.

I must once again stress that in theory this cast is mostly teenagers. It's not even that they look like 26 year olds, they are also constantly out driving at high speed surrounded by adults who don't seem to care that they're teens so it's like. What was the point. Why did we do this? Was it just to appeal to The Teens? You could fabricate any reason for an American driver to run away to Japan and have to learn how to drift, making him a teen was absolutely not necessary, and they don't do jack shit about them being teenagers! They all just act like adults who sometimes have to go to school for some reason! Bizzare choice.

There's no screenshots here because the only interesting scenes are driving, which are really meant to be seen in motion. That's basically the verdict. 3/10 good driving scenes.

[sociallyanxiouscryptid-writings]

Sacrifice Part 2

And the winner of which can I get done first while dealing with the bullshit of my life is Sacrifice Part 2! Congratulations, I hope you are proud of yourself. 

Part 1 

Summary of part 1: Villain has proposed a deal, they will leave the city alone, for good, in exchange for Hero. Hero isn’t as on board with the idea as everyone else is. 

CW: Imprisonment, mentions of different types of whump, the decision paralysis of a sadistic maniac, betrayal, constraints, collar, muzzle, leash. 

~

Villain had thought about, dreamt about what they would do once they had Hero. For weeks, months. They had come up with so many ideas they couldn’t even remember all of them, and yet, the list felt endless.

But now they were here, everything they wanted in their hands, and they had no idea what to do. There were simply too many options and the excitement of it all coiled inside of them sharp but alight, a burning joy so intense it hurt. They had to walk away from Hero, leaving them sat in their shiny new cell, a picture of utter defeat and betrayal.

Villain had a cage too, a pretty bird cage equipped with everything a pet could ever need. They also had a nice bedroom, designed after Hero’s own, but all slightly off, tainted with Villains image and presence. There was the basement too, dark and damp and devoid of dignity, nothing but echoing chambers of pain and misery.

But again, Villain hadn’t been able to decide, so they ended up choosing a neutral option. Something familiar, but an everlasting reminder of Hero’s new situation. It would do, for now. Until Villain could get over whatever decision paralysis that was clouding their mind.

They should just get started, they’d find their path along the way. But what if it was the wrong path? What if they choose something and found it dissatisfying? It’s not like they have a time limit, not like anyone would come and save Hero.

Villain delighted as that memory returned, so vivid and strong.

Hero’s own people, betraying them. Handing them over to the absolute worst person knowing full well what the meant for Hero.

And here Villain was, pathetically unable to decided.

The scene kept replaying in their mind, zooming closer and closer on Hero’s face until all that was played was the war of emotion in Hero’s eyes.

How it must have felt, the thoughts they must have been feeling. Villain’s heart fluttered. Would they come to terms with being a sacrifice? Would they logic it out to themself, hold on to the idea of the greater good. Realise his own people, his own friends were doing the right thing?

Or would they hate their friends? Come to despise them?

Villain felt a spark inside of them. It spread, slowly, then quickly as they followed the train of thought. The spark ran along the coils tightened inside of them, going round and round, burning everything in its path until Villain was clear of mind. Until one idea remained.

Would Hero want revenge? Could Hero want revenge?

They know how strong Hero’s morals are, how much they love their city and their people. But could that be broken? Could that be twisted? The seed was already there.

Villain sat on it overnight. Let the ideas swirl and grow consuming everything else in their mind.

They awoke the next day with a fresh mind and a grinning face.

~

Hero barely slept. Between the blaring lights, the horrid dread and the looping display of the day’s events in their head, it was near impossible. But if they closed their eyes long enough, they could ignore the bite of the cuffs on their rest, and if they focussed hard enough, they could see only the darkness behind their eyes. Eventually, they did drift off, but it didn’t feel like very long.  

They weren’t sure what woke them at first, the room was still irritatingly bright, and they were still on the thin uncomfortable mattress. It wasn’t until they moved their arm that they saw Villain perched on the edge of the bed, so close that when Hero jerked back Villain leant on the leash holding Hero in place.

“Morning sleepy head,��� Villain smiled.

Hero’s hand moved to the collar.

“Ah, ah, don’t play with that. You might hurt yourself.”

Villain took Hero’s hand, the Villain’s skin like a heater compared to Hero’s.

“My dear you are freezing,” Villain said, “I must remember to give you better blankets tonight. I forget how cold these parts can get.” Villain turned the Hero’s hand over, rubbing a thumb against the back.

Hero didn’t even try to pull it back. They just stared, the stupid muzzle holding back the mountain of words that had built on their tongue.

“Here,” Villain said, “let me take that off for you.”

Like Hero had a choice.

Villain reached behind Hero’s head, leaning too close to Hero as they undid the latch at the back. But when they did, the relief made it bearable. Hero opened their mouth, jaw both protesting and relishing the motion.

“Better?”

Hero said nothing.

“Really? I give you the chance to talk and you have nothing to say to me? Not even a thank you?”

Hero forced themself to look at Villain. They licked their lips, remembered how to work their tongue.

“What are you really getting out of this?” They hadn’t expected their voice to be so quiet. So defeated.  “All of your plans and grand schemes can’t have been for nothing.”

Villain’s eyes creased as they smiled.

“Oh, you underestimate your own value my hero,” Villain said.

“No, I don’t,” hero said dropping their, “I really don’t, not to you.”

The smile widened to a grin, and they reached a hand forward.

“I’m glad, you-”

“But that still doesn’t explain why you would agree to stop everything.” Hero said looking back up. Villain’s hand faltered. “Your pursuit for me is and has always been nothing but a hobby to you. I know your real plans, your real goals.” Villain let go of Hero’s hand, leant back a little but didn’t free them.

“You are one of the few privy, yes.”

“So why give it up?”

Villain cocked their head, gaze drifting across Hero’s face, taking in every ounce of emotion, of fear no matter how hard Hero tried to hide it. And in return Hero could see the curiosity, the interest in such a question. Hero was always full of surprises.  

“Why do you assume I have given it up?”

Hero’s face twisted in confused and shock.

“Because that’s what you promised.”

Villain laughed, “yes, that is what I promised, and I am a person of my word. But just imagine what the fallout of this will be.”

“The… fallout?”

“A group of people have just sacrificed their most beloved protector. A friend, a colleague, they willingly put them to a sentence worse than death. In our modern times there are few whose hearts can handle that. They will try and cover it up at first, but it will get out, one way or another. And then the public will know, they will be horrified, they will question what it all means, how their protectors really value them. And when the bad things don’t stop happening, because my dear I am not the only rotten apple in this world, they will revolt and declare that their protectors do not actually know how to protect them. Just imagine that world, the fear, the chaos. I may not be the direct hand guiding it anymore, but I have planted a seed that will blossom and bloom beautifully.”

Hero could see it unfolding, the faces of friends who had no idea, the people who looked up to them, the kids who idolised them. Hero shook their head.

“They… they will understand. You had to be stopped.”

“I did, didn’t I?” Villain’s hand moved to Hero’s cheek and though they tried, there was no room to move away. “But even you don’t believe I will, do you?”

Villain grabbed Hero’s chin as they tried looking away and forced their gaze.

“No,” Hero whispered.

Villain studied them, smiled. Let them go.

“That is where you are wrong,” Villain stood, “why would I want to do anything else while I am so eloquently entertained?”

Hero said nothing.

“I told them what I would do, you know,” Villain said moving to Hero’s other side. “I told them everything I wanted to do to you, the life they were condemning you to. I told them, and still they gave you over.” They placed a hand on Hero’s shoulder, squeezed, leant down to Hero’s ear. “Everything that comes next, is all because of them, I want you to remember that. They gave you to me, knowing what was coming.”

Hero stared at the ground, jaw tight, a slight tremble finding its way into their hands. They clenched their fists. Grief, pain squeezed their heart, pushing against any attempts at reason or logic. It was because they cared they did this. Because they wanted the best for the city. This was justified.

The collar lurched as Villain pulled on the leash and without free movement of their arms Hero tumbled out onto their knees, held up by the pull of the leash.

Villain kept pulling. Hero stumbling until they could get their footing and struggled to stand, then to keep up with Villain’s much taller pace.

“Where are we going?” Hero choked.

“Wherever I want to,” Villain said.

~

This was a challenge for me because I struggle to write this kind of evil character, as I find it hard to understand their motives and desires. But it was asked for so  I gave it a shot. I don’t know if there will be more in the future but who knows! I never thought I would do a part 2 in the first place.

Tag list:

@halloiambored

[wildwren]

!!! Spoilers for 1899 !!!

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Whoops, I’ve got some more rambling, unhinged 1899 meta to share, this time about character arcs and fatal flaws. Sorry in advance. 

So, thinking about Singleton’s speech in Episode 7: 

“Every time, they make the same mistakes. And every time, they die. Because they can’t get rid of their emotions. But that’s what makes them weak. It’s human nature’s ultimate flaw. One shouldn’t base a choice on love, anger, hate. They’re just silly feelings that cloud the mind.” 

So, there’s a lot of different ways to interpret what’s going on in the simulation, and how involved Singleton, Maura, Daniel, Elliot, Ciaran, etc. are in its execution. For the purposes of this meta, and given the implications of the quote above, I am going to be working off the idea that the simulation is a test of sorts — one that can, hypothetically, be passed, if the characters make the right choices. In this case, the “right” choices are presumably logical decisions unaffected by their own emotions. However, they are continuously failing to overcome their traumas, their desires, their clouded minds: “Every time, they make the same mistakes. And every time, they die.” 

If the simulation is a test of sorts, then it’s one the characters are being set up to fail. They have all been given some sort of motivating instruction that pushes them into the drama — a letter or document that gives them the need to get on that ship, but which also embeds them with painful memories and strong emotional impulses — my brother lives in Brooklyn, the doctor who could save my life is in New York, the person I killed is in Hong Kong or Spain, the man who betrayed me is in that cabin, etc. etc. Additionally, we know at least some of them are being actively triggered, forced to re-live these traumas. Their fatal mistakes aren’t really failures, just human responses to emotional pain. 

So: what are their mistakes? How is the simulation testing them and how are they failing? And what does this reveal about the characters and their relationships? 

A couple other notes: for the purpose of this, I’m going to be focusing more on the secondary characters. The primaries: Daniel, Maura, Elliot, (and to a lesser extent, Eyk) have more mobility within the simulation — they are crawling around in tunnels in its understructure while everyone else is mostly just acting it out. For this reason, they are a little more complicated to grapple with, so I’m going to just set them to the side for now. 

It’s also unclear to me which beats in the disaster we see unfold are designed into the simulation and which are hacks executed by Daniel. How different is this loop from the ones before it? (“We’ve never gotten this far before”). Is Daniel a worm in the apple or just part of it? I don't think I can answer that question, so for the purpose of this meta, I’m going to assume that things are supposed to go wrong in the simulation, and that Daniel is sometimes altering the simulation’s design and sometimes just triggering its beats so he can move through the story more efficiently. I’m not going to spend a lot of energy trying to determine which is which. 

OKAY WOOF, damn you showrunners for making me word vomit about sci-fi babble when all I want to do is talk about CHARACTERS. 

So, I think the first big test point of the simulation comes when the coordinates are received from the Prometheus. Eyk is immediately drawn in by this message and changes course to hunt it down, thereby triggering the rest of the events that lead to the failed loop. Of course, Maura is also hunting the Prometheus, and it perhaps its their mutual (and mutually supporting) motivation that triggers the disaster. Still, Eyk has more power in the ship’s structure, and he lets his own trauma, his desire to hunt down his own ghosts, and perhaps his allegiance to Maura motivate his decision — at the expense of the interests of everyone else on that ship.

Eyk’s obsession with the Prometheus, in combination with the death of Ada, the mystery of the Boy, and the spreading “plague” on the ship, eventually leads to the mutiny. The mutiny is another big moment where we can see character motivations and triggers play out, on both sides of the conflict, and for this reason can be viewed as a test point that the characters are “failing”. Franz is an interesting character, because he isn’t really presented as one of our mains, and he doesn’t appear to be in one of the pods in the final scene, nor do we have evidence that he’s receiving trauma triggers like most of the others. Despite this, he survives long into into the disaster and makes many pivotal choices which drive forward the narrative. Namely, showing Ada’s body to Tove, arming the steerage passengers (thereby enabling the mutiny) and eventually, dying to save Tove. I’m interested in that dynamic, but don’t really have more to say than that he seems to be emotionally motivated by Tove and eventually fails the simulation in part because of some allegiance he has to her. 

It’s easy to frame the characters who side with Eyk as being more “good” or “just,” but their actions also contribute towards escalating the conflict to deadly levels. Here too, the characters are being motivated by their own personal dramas. Throughout the entire mutiny, Jérôme is being triggered by his traumatic memories with Lucien — another time when someone claimed power and status by force and tossed him aside as collateral — and he’s not willing to let that happen again. It’s less about Eyk or the Boy then about getting to re-do this painful moment and achieve a just end this time. Ramiro warns Eyk, but one gets this sense this is at least partly motivated by his desire to punish Ángel for Ángel’s mistreatment of him. Olek — oh, Olek — seems to me to simply have a self-sacrificial nature. We don’t really have the context on this, as we never see the full scope of his trauma memory, but whatever happened seems to be motivating him to invest his care in others at the expense of his own interests. This will also be his ultimate “failure.” 

The character who most pivotally escalates the violence on the side of the mutineers is Krester. His choice to tell Iben about the boy and to support her search for him seems to come from a self-hatred he cannot unlearn — the idea that he’s being punished for his own nature and must try to negate it. This self-destruction is consummated when he is one of the first to throw himself overboard during the calling,which is, I think, another test of the simulation — which characters are motivated enough to resist it and which are not? Who “fails” the call? 

(Again, I mean “failing” in the logic of the simulation — their failures are that they are humans who are not allowed to move on from their pain. This is a rigged test.) 

Our notable characters who fall victim to the calling are Krester, Yuk Je, Iben (she needs to be tied up but is clearly in zombie-mode) and Virginia, who only escapes in the knick of time because of Daniel’s override. Krester, as discussed above, is perhaps susceptible because of his own self-resentment. We know that Yuk Je never wanted to be on the ship in the first place, that she was dragged unwillingly by her daughter and regretted it vocally ever since. Iben is clearly susceptible to all sorts of callings, benevolent or not, and Virginia is fascinating, because her failure here seems to be her own isolation. Aside from her oppressive dynamic with Ling Yi and Yuk Je, she is quite solitary in the narrative. She prefers to control and manipulate those around her rather than getting close to them or relying on them for support. She clearly resisted the call for a while but ultimately fell prey simply because she had no one to tie her up. She was alone! This fatal flaw continues after she touches the virus and conceals the way it’s corrupting her presence in the simulation. 

By the time the storm comes around, the characters are left scrambling to save whatever individuals they can, even at the expense of the so-called “greater good.” Olek is the poster boy of this: he abandons the ship’s wheel to protect Ling Yi, and he succeeds, but at the cost of his own life and perhaps others. Anker falls prey to his own fatal flaw — his inability to walk away from Iben — and they die together. Lucien has spent the narrative pushing everyone away from him, driven by paranoia over his illness and his own deceits. But even so, Jérôme and Clémence futilely work try to save him, leaving the furnaces to do so. Ángel and Ramiro are able to set aside their conflict and trade honest affection, but not in time to save Ángel or turn the course on any other part of the disaster. 

Of course, we know it’s all useless: the simulation has already been deemed a failure, there’s nothing they can do either way, and therein lies the tragedy. They’ve actually overcome so much. They’ve set aside some of their own pain to better help each other. But this emotional catharsis was never the point! The simulation isn’t requiring them to heal their trauma, it’s requiring them to be inhuman!  

The biggest question that remains for me is what distinguishes the final survivors of the simulation: Jérôme, Clémence, Virginia, Ramiro, Ling Yi, and Tove. (And Maura, of course). By episode 8, the simulation is so corrupted that it’s hard to say how similar this is to previous runs re: final survivors. Did the same group make it to the end in the previous loop? What wiped them out in that simulation? How did Daniel’s hacks give them an advantage this time around? *massive shrugging gesture* Hey I never promised to have coherent theories here, I just wanted to ramble about characters!

Anyway, there are obviously a lot more “test points” to pull out from the story, nor did I touch on every character, but this already took me fucking days to write as is,,,, so. I hope it was interesting! I’d loveeee to hear peoples’ thoughts, piggy-backs, counter ideas, etc.