#so it's just a Draw. no further analysis. what do others Get from that?

[lightbulb-warning]

so has anyone figured out WHY there is the Need To Share our Artworks™ or is it just the vibes and our Soul apparently

[room-surprise]

Analysis of Laios and how he hugs/interacts with people, pre and post-manga.

Reading body language in real life is basically pseudo-science most of the time, however, these aren't candid photographs of real people I'm analyzing, they are drawings purposefully made by Ryoko Kui to tell us something about Laios and his relationships with other characters.

These illustrations are designed on purpose to communicate information. So what do I think they say?

Here's the illustration of how things are at the start of the manga:

NAMARI AND CHILCHUCK

They're both rough towards Laios, expressing displeasure with him, using violent physical touch to get his attention or punish him for something.

TOSHIRO

His reaction to Laios is totally passive. He isn't turned towards Laios, but he isn't turning away either. He's staring up into space with a look of discomfort, suggesting he wishes Laios would leave him alone... But that he is too polite to openly reject him.

We know this is partially a cultural issue: because Toshiro is Japanese, he considers it catastrophically rude to tell someone "no" in a blunt way. He is trying to communicate his discomfort and disinterest to Laios, but Laios isn't understanding Toshiro's signals.

Meanwhile, Laios is turning his whole body towards Toshiro, his eyes are wide open, he's smiling. He's very eager to interact, in a way that he isn't with any other character on this page except Falin.

MARCILLE

They are having a neutral interaction. Neither of them seems excited or interested in each other, but they are talking seriously. Marcille is gesturing at Laios in a way that seems scolding, they are standing at a polite distance, and Laios is standing at his full height, perhaps even leaning/straining away from Marcille slightly. There is a physical object (Marcille's staff) acting as a barrier, and it's physically pushing Laios away from her.

But it is worth noting that he has his hand on the staff, suggesting that he's not letting himself be pushed away any further, that he's having a reciprocal interaction with Marcille, not a passive one where he just stands there and gets lectured. Laios is participating and engaged.

FALIN AND SENSHI

The only people having unambiguously positive interactions with Laios on this page, which makes sense since they are the two people who are the most friendly towards him at the start of the manga.

Laios and Falin are touching hands, smiling and their bodies are turned towards each other, showing enthusiasm and a mutual interest. This is less intense than the hug in the post-manga illustrations, which maybe suggests that there's something distant and unresolved between them here, like resentment and guilt.

Laios and Senshi are closer to each other than Laios and Marcille. Laios is sitting or crouched down to get closer to Senshi's height, and they are both smiling and turned towards each other. Senshi may even be laughing!

Here's the "post-manga" image...

What a huge difference!

All of these interactions are basically positive, so I'll just go left to right, top to bottom. Also for some of these, we can't see Laios' friends full reactions, so I'll focus on what we can see, and how Laios is behaving.

SENSHI

They share a gentle hug. They both have their arms wrapped around each other, so the desire to touch is mutual. Laios bends to reach Senshi, and has a calm, content smile on his face while they hug. Laios rests his head on top of Senshi's head, showing trust and intimacy and a desire to be physically even closer to Senshi than just hugging. Senshi isn't pulling away, so I think that's a good indicator that he doesn't mind it, and possibly even likes it!

Which is a big change from how he felt violated by Laios touching his chest earlier in the manga, even though Laios was trying to heal him... I think Senshi isn't someone that easily lets others touch him, so this is a big improvement.

CHILCHUCK

The size difference makes this hug awkward, but that's not the only reason! Laios has both hands on Chilchuck and he is bending down in order to reach him, suggesting that he wants to embrace his friend, however Chilchuck is not straining to reach Laios, and he is only using one hand to touch him, suggesting that Chilchuck doesn't want to embrace too closely. Chilchuck is willing to allow a hug, and he is willing to touch Laios back, but he doesn't want it as much as Laios does.

I think Laios is aware of this, because he isn't trying to push the hug to a higher level of intensity. He's holding back to the level he thinks Chilchuck is comfortable with.

MARCILLE

They share a happy, but not overly intimate hug. Their chests and bodies are pressed together, but they are turning their heads away from each other.

Laios' hands are resting side by side on Marcille's back, and it seems like she is hugging him back in a similarly loose way. His arms are not overlapping, and they aren't squeezing or grabbing each other, just holding on lightly while pressing their chests together.

TOSHIRO

What a fascinating set of drawings!

I'm going to assume that the color drawing is what happens first, and the black and white line drawing is what happens afterwards, solely because if the black and white drawing is meant to just be Laios' fantasy of hugging Toshiro, then surely he would imagine Toshiro hugging him back enthusiastically, and not a more passive reaction like Kui drew.

Kui wrote a note here to remind readers that hugging is not considered normal in "the East", where Toshiro is from, to give context to why the character seems so uncomfortable.

Laios is approaching Toshiro at high speed, arms open and reaching for Toshiro, eyes wide, with a happy expression. He clearly wants to wrap Toshiro up in a big, enthusiastic hug.

Toshiro is sweating with discomfort, and he has a hand pressed against Laios' chest, attempting to stop him… However, the arm is not extended and his elbow is bent at an acute angle, and it looks as if no force is being applied. Toshiro perhaps feels a need to offer a token protest, but he isn't really trying to stop Laios.

In the black and white hug drawing, Laios has both arms wrapped tight around Toshiro, much tighter than Senshi, Chilchuck or Marcille, and he's pressing their bodies together and resting his head on Toshiro's shoulder. He's turning his face towards Toshiro's neck, and smiling serenely.

Toshiro's body is stiff, he's sweating, and his arm is held at a rigid 90 degree angle… But he isn't using it to push Laios away, just holding it uselessly at his side. Perhaps he is half-way towards returning the hug, thinking about lifting his arm a little higher and resting his hand on Laios' back, but he isn't sure if he wants to do that yet.

Toshiro is bending his body towards Laios, and allowing himself to be pressed against the other man. He's staring out into space with a neutral expression that suggests either discomfort or surprise. I think we're meant to understand that he has given up fighting against the foreign, offensive hug, realizing that it isn't offensive for Laios, and therefore it might be okay to allow it...and it might actually be more offensive if he rejected the hug.

FALIN

Falin has thrown herself at Laios with considerable force, and Laios has his arms overlapping across Falin's back. They are both squeezing each other tightly with their arms, and even Laios' hands are gripping Falin tightly. There is an overjoyed look on Laios' face, and I think this embrace shows how Laios has healed through the course of the story.

KABRU

Since Kabru is one of Laios' newest friends, it makes sense that the hug would be the least intimate.

The two of them have a complicated relationship in the manga, but the complete world bible shows that Laios has finally accepted that Kabru is genuinely his friend and not just trying to use or manipulate him. He's made an effort in the post-canon to reach out and try to be Kabru's friend in return, and Kabru has forgiven Laios for not listening to him in the past.

Kabru is turning his body away from Laios, which puts his shoulder towards Laios' shoulder at a perpendicular angle, forcing distance between them. Laios is fully facing Kabru, and has one arm behind his back, a hand resting on Kabru's shoulder, and another hand resting on his chest. The hand on the chest is attached to an arm that is bent at an obtuse angle, holding Kabru at a distance, with no indication that he is trying to pull Kabru in. Both hands are relaxed, like in the Marcille hug, indicating that Laios' grasp is loose.

This arm position is pretty unusual for an embrace. It allows Laios to keep Kabru at a distance where he can see him, and control where he moves, and how close he's able to get to Laios… and Kabru isn't returning the hug in any way, instead allowing himself to be touched and held in place.

Their bodies aren't pressed together, and Kabru's arm is down at his side, neither encouraging Laios nor pushing him away.

Laios has a big smile on his face, and he looks enthusiastic. Kabru on the other hand has a calm smile. In my opinion his expression is less enthusiastic than Marcille's.

I think Laios can't tell how Kabru feels about the hug, and so he's holding himself back. He's not blinded by emotion like he is with Toshiro, so he's not flinging himself at Kabru… And because Kabru is such a new friend, Laios is also probably hesitant to get too close to him.

There may also be some lingering trust issues, if Laios still isn't completely certain if Kabru genuinely likes him or not. Laios has often had trouble telling if people really like him, or if they are just being polite (Toshiro), or using him (former party members), so it makes sense that it would take awhile for him and Kabru to become truly comfortable with each other..

[sugar-grigri]

Correction: Fake! CSM is the God Devil

WAIT WAIT WAIT and if, going back over this analysis, Fake!CSM or even the famous demon that Yuko and the others had contracted with wasn't an identity or memory demon

This entity would be the demon representing the fear of God? I CAN EXPLAIN! That would explain why this demon has the appearance of Chainsaw Man

As Angel explained, Chainsaw Man is the being who draws the line between death and birth for demons, the sound of chainsaws being what they hear when they are born or die.

As a result, Chainsaw Man had a natural superiority over the other demons, to the point of being feared as a divine power.

Whether it's Beam, who considered himself a follower of Chainsaw Man, or Makima, who was fascinated by him, it's an abnormal relationship between demons and CSM, tinged with veneration and fear.

Chainsaw Man is a divine figure who has also become enshrined among mortals, who see him as a means of fighting against their injustices.

You see where I'm going with this, the demon resulting from the fear of God has ended up taking on the appearance of the saviour and punisher projected by both demons and humans.

This would explain why this demon didn't lie when he called himself a demon of justice, just as it explains Barem's reaction, whom he sees as his saviour, just as it explains Fake!CSM's appearance, and finally, it explains the biblical references made by the impostor.

Which confirms my theory that Fake!CSM is NOT an enemy of Denji - quite the opposite, in fact. He wants the real Chainsaw Man to act, to be feared by demons and worshipped by humans, to once again reinforce the divine aspect of his image.

Denji is the source of Fake!CSM's power, which is why Fami has built a church around his figure to further reinforce this aspect, and why the impostor prefers to speak in Denji's name to make a more religious statement than the real CSM, who couldn't care less about such considerations.

If we were to get to know Denji as he really is, the very nature of a simple teenager would destroy his reputation for being invincible.

That's why Barem and Fami want Denji to join their cause anyway, because Chainsaw Man has to do exactly what they think will strengthen his reputation as a divine being.

If Nostradamus's apocalypse is fulfilled, people will not only fear divine wrath, they'll start praying to Chainsaw Man too!

Fake!CSM is Fami's champion for countering the apocalypse, and she's only interested in making it as powerful as possible.

This also explains why the public hunters want to paralyse Chainsaw Man and prevent him from showing his face, to avoid confirming this growing reputation and veneration. I repeat, when Yoshida said those words it wasn't to help Denji but to express the will of the hunters in any case. The fact that one of them said that it would be simpler if he were a weapon doesn't detract from this. It's simpler for CSM to be a unanimous being who's easy to hide and control than an unpredictable teenager.

The public hunters don't know exactly what's going on, as evidenced by their natural suspicion of Fami, whom they thought was behind this apocalypse, or by their response to the church's intentions in the last chapter. However, they do have their doubts about Fami, the knight of the apocalypse, whom they must know to be the founder of the church, and since the church relies on Chainsaw Man as the guardian of public order, it was safer for him to stop acting and not to go along with the church.

Chainsaw Man is the symbol of the demons' death, which erases their names and dictates their existence, so here's a theory on what will trigger the apocalypse...

It won't be caused by one demon in particular, but by a general revolt of demons such as has already taken place in the underworld to put an end to Chainsaw Man, to this supreme demon.

When the natural death of demons no longer exists, of course, this will mean the victory of demons over humans, as foretold by prophecy.

If this war breaks out, this explains why Fami Yoru believes that the demon of war is the one who will be able to counter this attack of demons.

Let's go back to this prophecy :

The simplest

Mars as god of war is none other than Yoru

But you know what's interesting is that according to all the thinkers analysing Nostradamus, what Nostradamus was actually predicting was not an apocalypse but an eclipse of the sun.

So this allows us to identify the other protagonists: the great King of Terror is none other than the moon that hides the sun, which will soon reappear.

The Great King of Angoulmois is none other than Denji

Overshadowed by Fake!CSM

Now you know why it only works before the sun comes out.

[ewingstan]

Going into Ward, one of the things that interested me is that pretty much everyone who read it, no matter what the felt about it as a whole, seemed to like what it did with Tattletale and incorporate it into their understanding of the character. To a certain extent this makes sense, outside of Amy people's problems with Worm usually aren't that characterization had been changed. But few other aspects of Ward have been talked about with so much relative positivity, or influenced so much retroactive analysis of Worm.

After reading her interlude, I'm starting to understand why.

From the bat we're given blunt and effective portrayals of how alone Lisa feels. Half of her descriptions of other characters focused on how they reminded her of people she's lost. The Heartbroken are primarily described by the ways they do and don't resemble Alec. Aiden by how he does and doesn't resemble Taylor. Imp and Rachel get mentioned but don't get to make an appearance at all, furthering the effect—reminders of her closest connections are everywhere, but the connections themselves are nowhere. She's left with the "expanded Undersiders," and is painfully aware of how they either dislike her or will never form a close connection with her.

There's a lot more emphasis here on how her power is a separate entity than there was in Lisa's Worm interlude. She's snarking at it, talking about it as something that interjects, drawing a clear divide in her head between what it figures out and what she figures out. Is that her knowledge of its nature developing, or simply a new way of looking at how it always worked?

The framing in the passage above seems to suggest that its encouraging her to distance herself from others, pushing her to interact but specifically feeding her information that will prevent close connections. Questions of agency and identity aside, I do like this as an aspect of powers-as-coping-mechanisms: she was triggered by failing to save someone she was close to, not recognizing the signs that he was unwell. Her power helps her see the signs she couldn't before, but it also seems to try to prevent those close connections from forming so she can't be hurt the same way. Not that its successful. Can't stop betting on losing dogs and all.

What she calls people internally is interesting. I figured she had been calling Sveta "Garotte" earlier to needle her, but she continues to call her that in her own thoughts, as does her power. Valkyrie gets to be "Valkyrie," and Vicky isn't called a cape name at all. There's a few ways to interpret this; I'm tempted to say that Lisa sees Victoria as a relic of pre-Gold Morning days, and sees Sveta largely in that context. Though I also feel like there's some refusal to see her or Rain as people who are separate from what they've done in the past. A lot of the comments I've read while reading the last few chapters are people debating whether she should've gone "white-hat," and I get the sense that she sees something dishonest in that. Leaving behind the things you've done isn't something she can do—even Lisa Wilbourn can't leave behind the failures of Sarah Livsey.

That might be something to think about in the context of Victoria claiming Tattletale is awful because she represents "giving up on something better." Its kind of baffling in that context; many people have pointed out that cutting the number of overdoses in half was way better than anything the heroes ever did, but Victoria resents that TT saw merely halving it as acceptable. She prefers methods that highlight a certain attitude towards a problem over methods that are effective at dealing with a problem. Having zero tolerance for overdoses and being able to do fuck-all about it becomes preferable to halving it, because not giving up on an ideal world is better than actually making the world better. As little regard as I have for Victoria's position, it seems that the text is giving it some credence by positioning Lisa not just as pursuing the methods that will make an actual difference, but also as rejecting the idea of "something better." Sveta can't be more than Garotte, overdose rates can be halved but not lowered further. Its weirdly reifying of Victoria's position, making Lisa a foil to it rather than a reflection of an entirely unrelated worldview.

There's a few team leaders in the parahumans-verse who get characterized as encouraging and benefiting from chaos within their ranks. Jack Slash had a self-image of himself as a master manipulator who knew just how to keep the Nine at each others throats to keep them in line, though of course his power was pulling heavy duty there. Trickster exulted in sowing chaos, but while he could use it to his advantage when working alone it explicitly got in the way of the Travellers as a whole during their operations. Lisa incorporates aspects of both; she seems to be cultivating a "this chaos is all part of my design" air for Faultline and Victoria while actually always being on the cusp of losing control of her own team. It seems less like something she's doing deliberately and more like something she has to deal with, even if she later frames it as part of preparing Aiden or something similar.

Man, her relationship with Aiden. First explicit mention of Taylor we've had since the beginning and its for a blunt confirmation that she sees herself as failing Taylor in the same way she failed Rex, and is terrified of doing with Aiden. It feels both like she's holding him at arms length and that she's desperate for a close connection with him.

[3liza]

everyone arguing with material analysis/assertion about how art is a "luxury" has rarely if ever spent rent or food money on art, if they even pay rent or buy their own food, and if they did that would be considered extremely dysfunctional, and thats what i/we mean. artists are not providing a necessary service.

our plane crashes in the Andes and you are not particularly excited about my "can draw that Playboy centerfold of Marge Simpson from memory" like that is not an essential survival skill. lots of extremely skilled workers work in luxury artisan and craft jobs, it's not an insult to say even a very famous and very talented and influential artist is not producing a commodity necessary for the furtherance of human life. none of us are doing that, no matter how we stretch and strain the definitions of "essential" or even things like "morale" or "group identity". i will burn my copy of Finnegan's Wake to stay warm and thats what it comes down to.

i get foamy crazy snarling and biting about the idolization and obfuscation of what artists actually do because it is a labor issue! the public conception of artists as people possessed of a divine talent they dont consciously work to develop like any other skill, and the public idea that we are simply pleased and privileged to make art all day and "not work", something people say to my face every time i get asked "what i do", is largely responsible for the absolute dogshit reality of how subsistence and working class artists have to survive. we usually dont have health insurance unless we're so poor we qualify for medicaid AND live in a state that will enroll us. most of us are too disabled or crazy to go to a real job every day. most of us have tried, over and over, to enter the normal workforce, and have failed, and been forced to develop alternate skills that allow us to make rent in the ten hours per month we're actually functional. many of the artists i know work from bed because standing up is dicey. this has been turned into a charming eccentricity of famous artists and writers instead of people wondering why a person would need to stay in bed all day and take the enormous bother of bringing their stupid pens and paper and writing board or typewriter or whatever to their bed instead of just getting up and getting dressed and going to work. ive done this, i spilled ink in my sheets. its a huge hassle.

and artists play along with this mystique because people dont want to buy paintings from sadlords! they want to buy paintings and books and marge simpson nudes from cool guys who get a lot of chicks and wear rockstar outfits and party a lot, because of the transitive properties! of course!!! this is basic marketing!!!!! and if the artist doesnt play along they turn into Sad Story Artist where they're doing emergency commissions and posting about how sick they are all the time. this is not cool or fun or sexy. it's a sand trap and its very hard to recover from. im struggling with this right now!

famous and successful artists and writers are constantly ending up 60-90 years old with cancer and multiple sclerosis and dementia, being the subject of some sort of public, last-ditch, humiliating GoFundMe because painting paperback covers fr 60 years means you dont get a pension, you often dont even have kids who can take care of you, you dont have life insurance, you dont have health insurance. 'died penniless and alone' is one of the stereotypical artist endings for a reason, that is not fiction. this happened to more artists than i can list on two hands. look up what happened to Peter S. beagle, the guy who wrote The Last Unicorn. you write a book like that you should be set for life, right? NO. thats not how it works

i'm not saying 'all artists are disabled and working class or poor' because that isnt true, observably. nepo babies and trust fund artists exist, obviously. but they take an outsized portion of the spotlight when the public thinks of the concept of "artist". they are not actually the norm. the average artist is probably making under 40k and living in extremely precarious circumstances and has had periods of homelessness, illness, extreme debt and/or bankruptcy.

this is true even for the 'successful' artists. having one or two or ten good projects and being a household name does not save you from just not having the safety net provided by a normal career path. i was very close with a major, famous 2000s network television creator and team that you have heard of. they won awards, they changed culture entirely, they were a big deal. one of them was turned down for a half dozen projects by the same network that made millions or bilions on their franchise over several years (each pitch is completely unpaid btw, imagine carefully preparing a PowerPoint for morons for months at a time for no reimbursement and thent he morons ask you if you can put a teenage witch looking for her lost cat in the alps in it and you're like, haha, well, it's a 4 part hard sci fi miniseries set on Europa and takes place entirely inside a pressurized lander settlement, i mean Ridley Scot said he was interested already and he pitched a bottle episode about a carbon monoxide poisoning, soooooo....and the executives look at each other and they're like "it's jst not really what we're looking for right now, thanks for coming in" and you go to coffee bean and tea leaf and kill yourself and thats sort of what its like. i made that example up it didn't actually happen i'm using an illustrative example), worked on a canceled film, and just. gradually ran out of money. thats what happens. that guy ended up slowly selling off all his belongings, getting roommates in a one bedroom apartment, and then eventually having to just live on a friend's couch for years. famous guy. you probably know his name. another major member of that same team ended up in GoFundMe/commission hell for years (might still be there) because they had to take care of their two dying, dementia patient parents by themselves. these are people who go to GenCon and sign autographs for four hours at a time. THE PUBLIC IS NOT AWARE OF THIS SHIT and i'm sick of it. im sick of going to a gallery opening night ("vernissage") and drinking bad wine and having a guy with an email job that pays six figures and benefits tell me being able to push "undo" on the computer is cheating. that's a real example, that has actually happened to me. more than once.

artists currently have zero labor protections whatsoever. all of us are undercutting each other in an unregulated market and relying on welfare and private insurance and not having families or buying houses. zero security until we get so old all our illnesses and dysfunction finally ground us permanently and then we get turned into a charity case by fans (humiliating) or just fade away into ghosts and die

whats my punchline? idk i dont have one. it's possible and likely that any given artist you meet is permanently in precarity and will be until they die, even the famous ones. the culture of selling art demands that artists do not admit to this in public unless shit gets really really bad. i guess my point is you should know this, as a person who looks at or listens to or reads things that people have made for your amusement, not for your survival

[stolitzsings]

This is a sort of response to a post I've seen floating around, drawing parallels between the chains in Blitz’s trip that bind him to Stolas and the chains that bind Husk, Angel, and Fizz to Alastor, Valentino, and Mammon respectively. I'm not commenting on that post directly bc I avoid Discourse (tm) at all costs for the sake of my health, and I don’t want to get drawn into an unproductive argument that will mess with my anxiety for a week. I'm not trying to start a fight, just get my thoughts out on why I feel that comparison is inaccurate, and hopefully provide some helpful context and nuance.

So! Let's start with a few disclaimers! First of all, I'm not going to debate the moral purity of any of these characters. I just don't think it's an interesting or valuable critique. On a related note, I am not trying to excuse any of their behavior. I'm happy to admit that my favorite characters in this show have hurt people and are sometimes total assholes. Stolas treated Blitz very poorly at the beginning of their relationship, frequently pushed or even ignored boundaries, and was just kind of a dick about things. My objection to a direct comparison between Stolas and the other characters mentioned above isn't because I think Stolas hasn't done anything wrong; I just think that saying they're similar without further clarification or commentary ignores the nuance of the situation.

Read on below the cut, it's gonna be another long one folks!

Let's start by examining the "agreements" forged by Val, Mammon, and Alastor. I think it's important to note that, in their cases, the person they got to sign their contract could have been anyone. Husk and Angel could have been any sinners, Fizz could have been any imp. They aren't interested in them as people; they were only using them to gain more power for themselves. The only thing that matters to them is, "What can you do for me?" Angel and Fizz quite clearly become cogs in the machine of Val and Mammon's businesses, and Alastor only thinks of Husk as a tool to be leveraged in specific situations to further his own mysterious goals. Each of them has demonstrated to their subjugates that they own them, body and soul. They have signed legally and spiritually binding contracts that essentially surrender their autonomy to a more powerful demon.

Stolas and Blitz’s agreement is... not that. In the most literal sense, they don’t appear to have made any sort of binding deal. They just made a verbal agreement, which I sincerely doubt has anywhere near the force of a signed soul contract. Additionally, Stolas did not ask for and does not seem to want that sort of total control over Blitz. He very clearly does not view this as any sort of power exchange (which may actually be part of the issue, since it leaves him blind to Blitz’s discomfort with their class difference), he sees it as "favors for favors." While this agreement is inherently unbalanced due to Stolas's status, it's worth noting that they’re both putting something on the line here. The other three risk practically nothing (if the person bound to them fails they can always get a new one), but Stolas IS taking on a real risk by letting Blitz access the living world illegally using his book. Again, that doesn't make his actions right, and probably helped him to justify them, but it does set their relationship apart from the others.

In my opinion, some of Stolas's greatest flaws are his thoughtlessness and his ability to justify his own actions to himself. This manifests in the fact that he clearly doesn't see the ways in which their relationship is hurting Blitz. He convinced himself that this was just an equal exchange, and a continuation of the dynamic Blitz established in their first encounter as adults: "I fuck you, and you give me the book". As he becomes more aware of his feelings for Blitz, though (stay tuned for a deeper analysis of this progression later), he also begins to realize that Blitz isn't happy with this relationship. And this, as @masonshmason pointed out, is the central fact that separates Stolas and Blitz from the other relationships. Stolas did not realize- or chose to ignore- how he was hurting Blitz. Once he came to terms with it, though, he understood that he had to make things right. He specifically says this in "Just Look My Way"; "I will try to make amends/ For making you means to an end". None of the others could say this, because in their case, that was the POINT. Angel, Fizz, and Husk were ALWAYS a means to an end, intentionally trapped for that purpose.

We also need to talk about the CONTEXT of the scenes in which the chain imagery appears. For both Angel and Husk, the chain is at least semi-literal, a physical (and perhaps supernatural) manifestation of the way their souls are bound to an overlord. In "Two Minutes Notice," Fizz purposely CHOOSES to represent his relationship to Mammon as chains around his wrists. However, Blitz's scene is part of a drug trip after being forcibly dosed with hallucinogens. It does not exist in any literal sense, nor is it a representation of Blitz’s conscious, literal thoughts. What it DOES do is showcase Blitz’s deepest fears and his greatest flaws through symbolism and metaphor. Blitz is not literally afraid of being forced to wear a clown costume; he is afraid he'll never escape his past traumas or Fizz's shadow. THIS is the context in which Blitz sees himself being chained by Stolas: a bad trip all about his fear of intimacy and vulnerability.

Stolas appears in this trip as someone elevated high above him, something he's climbing towards, reaching for, even though it means being chained to him. It's directly preceded by his ex girlfriend and his former best friend berating him for how he pushes people away even though he hates being alone. Then Stolas directly asks him, "Are you afraid to love people, Blitzy?" Furthermore, the WAY in which he is framed is alluring, slightly hazy, golden and tempting. It couldn’t be further from the ugly, slime-covered past he's fleeing. It's a new start, a chance for something better that seems too good to be true. This trip is all about Blitz’s inability to be vulnerable with another person. The chain around his neck is a representation of the fact that, by getting closer to Stolas, he's giving Stolas the power to hurt him emotionally.

And man, there's a part of him that wants to give Stolas that power. At this critical moment, he's not baring his teeth in defiance or anger. He's blushing, just slightly, and he looks... nervous. Blitz's instinct, when things get too real, is to cut and run. Hurt them before they can hurt you. Abandon them before they have the chance to leave you. It’s how he tanked his relationship with Verosika. This is a manifestation of what might happen if he stays. This is the sort of trouble he can't fight his way out of.

This is the emotional climax of the scene. There are so many ways they could have gone with this if they wanted to represent Blitz being chained and trapped by his agreement with Stolas. If that was the fear--if that was the POINT--they could have had the chains wrap around him until he couldn't move, or glow white hot and burn into his skin, or a million other more direct metaphors. But the chains aren't the thing that hurts him. It's the feathers: the thing that's left behind after Stolas abandons him, sing-songing "you're going to die alone" right alongside two other people who he loved and who now want nothing to do with him.

Finally, let's look at Blitz’s reaction to this scene. It's a moment of revelation for him, in which he realizes he's pushing everyone away and starts to make an effort to change. It's why he's a bit more open with Moxxie in the next scene. The trip sequence ALSO inspires him to get closer to Stolas, indicating that the trip didn’t make him realize "I'm trapped and I need to get out of this" in the same way Fizz did. Rather, he realizes that he doesn't want Stolas to leave him like everyone else, and he wants to start feeling out what it would be like to deepen the connection between them. As I've mentioned in other posts, their kiss at the end of "truth seekers" represents a level of intimacy that we haven't seen before; it's teasing, affectionate, shows Blitz’s interest in making Stolas happy, and takes place in front of M&M, who have repeatedly teased him about their relationship before.

In summary, while the image of chains may have been invoked in all four of these relationships, they don’t necessarily mean the same thing across the board. Blitz and Stolas's relationship differs substantially from the others in its dynamic, and the context of their scene also sets it apart. It's important to look into the details and the nuance of their relationship to interpret what's going on under layers of trauma and unreliable narration.

[seravphs]

ੈ♡˳·˖✶ — IDOL! GOJO x ROCKSTAR! FEM READER

Gojo loves the untouchable. You’re an off limits rockstar who thinks he’s an idiot. The only thing he can do is take that as a challenge, right?

wc — 6.8k

tags — non detailed mention of idol industry EDs, pride and prejudice type energy tbh, reader is a little superior about being in a rock band and not “selling out”, Gojo has an annoying habit of pointing out their hypocrisy, sneaking around because you’re public figures, nsfw jokes, minor nongraphic blood

Gojo’s not your usual type. He’s too pretty for that, with those long lashes like a doll’s. They’re stark against his pale skin when he flirts with you, peering alluringly at you through half closed eyes like the cheap tricks that get his fangirls to scream will work on you. 

He’s too easy to break for your taste, but from what you hear on Twitter, that’s why people like him. There’s something charming about the gap in his image that draws people in. People are dying for a taste of vulnerability because he's so cocky, but it's easy to make him beg.

There’s a million clips all over the internet of the moments he’s caught off guard, carefully hoarded instances in his career where a genuine embarrassed flush comes over his cheekbones, made into gifs and Tik Toks and YouTube videos. 

That’s not your thing. 

You like people with tough hearts and tougher reputations. People who could take the beating of public opinion without a flinch, not some soft spoken idol who needs his management to hold his hand through an apology. You like your fans, but they know their limit with you.  

It’s not love, not like with an idol. It would never be, you made sure of it. You’d quit before you ever issued an apology for dating someone. 

You hate to be a stereotype almost as much as you hate the idea of becoming a pushover, but you’ve dated a string of bad boy exes who were all exactly what you would expect for the lead singer of a rock band. A little rough around the edges, dark and smoldering. Men who would wear your red lipstick marks like a badge of honor. People who had never even heard of something like an idol image. 

Maybe that’s why no one saw it coming. You were safe, established. Gojo was out of your usual pitch. 

It’s too bad for the fans that you’ve always been a bit of a daredevil. Trying new things has never scared you. You’ve always been willing to test your limits to find the gold in the muck. That’s how you grow. 

That’s how you ended up here, sitting thigh to thigh with the boy wonder of the idol industry. 

“Aren’t you playing a dangerous game here?” You ask as he nudges even closer to you, far beyond what you’re sure his fans will permit. You’ve heard horror stories about the lengths people will go to if they see their idols even look at someone of the opposite gender. 

“Why, you scared?”

“You wish. You’re the idol here. It’s your reputation on the line.”

He smiles at you, saccharine sweet. “I don’t like letting other people control me.” 

That earns your begrudging respect, even if his bony knee is knocking into yours. He’s so lanky it makes you a touch concerned. Shoko’s girlfriend is an idol, and she’s constantly sneaking her food under her manager’s notice. 

That’s another reason why you could never be an idol. Letting someone else dictate your life like that sounds like hell. It was hard enough to convince you to be here in the first place. 

Your band doesn’t do promotion, least of all you. It’s all homegrown talent and homegrown fans, but you’re in stasis. Your growth has plateaued. Like all artists, you’re beholden to bills to pay to keep the music going. You’re big enough to know when you have to make sacrifices. 

It’s nothing personal. That’s just the industry, from pop stars to idols to bands like you. If nothing else, you all share the solidarity of giving anything for the music. You just think you have a harder limit for anything than idols do. 

The host kicks off the segment before you have time to do further analysis. 

“Welcome back to Hot or Not, the variety show where we pit your favorite internet heartthrobs against each other! Please welcome today’s guests - they may not be the duo you expect!” 

The camera pans to you and Gojo. His smile is instant, soft and natural, as real as if he were genuinely overjoyed to be here. You have to give him props for that, at least. He’s good at his job. 

As soon as the camera pans to you, his expression flickers and returns to bored disinterest. He yawns, his teeth pearly white. Veneers, maybe. His tongue flicks around the sharp tip of one canine, his smirk nearly fanged. There’s the feature he’s so famous for, the one that has him edited into cat reaction memes all across the internet. Kitty Gojo and his kitten fangs. 

He’s a grown man. You think you’d jump off a building before you let your teenage girl fans put cat ears on you and coo at you. 

To each their own, you guess. Gojo didn’t seem that perturbed by it. To be fair, he didn’t seem perturbed by anything. 

“Let’s start with Gojo! Remember, if you don’t feel like answering a question, we’ll put you in a surprise challenge with your partner.” 

“Sure,” he says easily. “I’m an open book.” 

“Let’s start easy. What’s your favorite song off your new album, Blue Spring?” 

Gojo makes a face. “Pass.” 

“Sorry, maybe you didn’t understand the question-“

“No, I got it. That’s boring,” he says. “Give me the challenge.” 

You’re amused despite yourself, and fighting not to let it show. There’s the troublesome personality you’ve heard so much about. He wouldn’t be half so popular if he wasn’t so pretty, but that attitude and that face made for a dangerous combination. 

The host is trying to salvage the situation with an easygoing laugh. Backstage, you hear someone mutter, “Gojo is gojo-ing again.” 

It’s all so funny until you realize he’s dragging you into his mess as they set up the challenge. 

Your host explains the rules too quickly for you to catch in their entirety, but it’s something along the lines of a staring contest. You’re supposed to do everything in your power to make the other lose a straight face, with words or actions. 

“Are you allowed to do this?” You joke as they start strapping the electrodes on you to measure your heart rate. 

“What do you mean?” Gojo’s mussing his hair up so he looks more artistically roguish. 

“You know, just being an idol and all. I figured you wouldn’t be able to do things like this without your fangirls jumping on you.” 

“Ah,” he says, scooting his chair closer to you. You’re knee to knee as they finish the last details of fiddling with machine. “You’re one of those types?” 

“And that means?” 

“You think I’m an idiot because I’m an idol.” 

“I didn’t say that,” you protest, watching the monitor to make sure your heart rate isn’t jumping with your words. It’s just a game, but you’re competitive. 

“No, but you’re thinking it. What else? Maybe you think idols are also soulless grifters?”

You wince. It’s not that you think so terribly of idols, per se, you just understand and recognize their need to please their company. They’re products before they’re people. 

“I got it right, huh?” He’s pleased with himself. 

“Am I wrong?” You retort. “You’re really going to tell me you love singing your overproduced pop music for the tween girls who will buy anything you put out as long as you’re pretty enough?” 

“Aren’t you here too? Lot of talk for someone who’s sitting right next to the sellout. You know what they say about birds of a feather…”

It’s all in a whisper, so no one else hears - or sees your startled reaction to find out the pampered show dog has a little bite in him. You could retaliate, but if you’re being honest? 

This makes you respect him more. 

He’s right, anyway. You did sell out by being on this show. 

The machine beeps. He smiles, slow and sweet - or at least it would be if you didn’t already know there was an edge to it. “I win.” 

“Wow!” You’ve never found the host more annoying. “That got heated at the end, didn’t it, folks? Do you mind sharing what Gojo said?”

You smile at the camera in a way that feels more like you’re beating your teeth. “It’s a secret.” 

You’re not mad at him. If anything, you’re impressed. The person you’re really disappointed with is yourself.

So he’s not what he thought you were. So he challenged your biased preconceptions on idols. So what? 

It doesn’t mean anything, but you can’t get him out of your head. 

The rest of the show is an easy and welcome distraction from your inner turmoil over the possibility of maybe potentially tolerating an idol. Throwing out witty answers and being neck to neck with Gojo in winning mini games is much preferable to having to experience emotions. It’s only when it’s over that the problems start. 

You watch as he gets up, biting your lip and debating to yourself. It’s only when he’s halfway out the door that you make your decision. You’ve always been a do or die kind of girl. 

“Hey. Want to get dinner?”

You just want to make sure he’s eating. No other reason. 

His manager frowns behind him. 

“We’re in a weird spot,” he says. “The only thing around are convenience stores.” 

“That’s fine,” you say. “We can get instant ramen.” 

“I’ve never had instant noodles,” Gojo says. 

“Seriously?”

“No, not seriously,” he scoffs. “Just what kind of lives do you think we lead?”

“Deprived ones,” you toss over your shoulder as you lead him towards your monster of a customized car. 

“Oh, no,” his manager is beginning, but Gojo is already sliding comfortably into the passenger seat. His poor manager looks nervously at you as you turn the keys. “Are you sure that thing is safe?” 

“Don’t worry,” you tell him. “If this thing crashes, I’m in here too.” 

You don’t think that reassures him, but your own manager will handle it. You pull out of the parking space and head for the road. 

Gojo’s impatient. He tries the handle almost before you’re done parking. You’re like that too - always ready to move. This time, you’re one step ahead. You lock the door before he can leave. He gives you a startled look and glances outside again, clearly weighing his options. 

“Relax,” you say. “I’m not a crazed fan. Put these on before we attract an actual stalker of yours.” 

You toss him a hat, sunglasses, and a mask. You’ve started keeping them in your car ever since you’ve been hanging out with Shoko and her girlfriend, who was famous enough to get recognized in the street for her autograph. He wrinkles his nose but obediently puts them on. 

It doesn’t do much to hide his overall air of Gojo-ness. He steps into the store like he owns it, which he very well could.

The steam rises from your bowls and coats Gojo’s sunglasses. You’re surprised he can see inside, but he has no trouble navigating. He tells you he has 20/20 vision. 

One thing leads to another and suddenly he’s bragging about his perfect grades when he attended school. He’s a natural genius, which isn’t really a surprise. 

“I thought you were supposed to be a bad boy,” you tease. His glasses are slipping down his nose. You reach out to push them back up before anyone notices. His eyes are rather remarkable, after all. Anyone would be able to tell who he was at a glance. 

“Me?” He gives a choked laugh. It sounds nice. You’ve haven’t heard it before, not during the show. He was more polished then. The ways in which he rebels against being an idol show up unexpectedly.  “Nah. That’s all Getou. He’s the one with a hidden face. You wouldn’t believe what he’s like when the cameras are off.” 

“Somehow I don’t believe you,” you joke. 

“I’m serious,” he whines. “I’m pretty sheltered. Grew up rich, you know?” 

Who doesn’t know? The Gojo name is pretty famous. One of the biggest conglomerates in the entire world, it broke major news outlets when the heir chose to be an idol instead of the next president. 

He’s always been in the public eye, but kept separate like art at a museum. You have a nasty tendency of wanting to ruin things that you’ve been purposefully warned away from. It’s sort of a thing of yours, a bad habit you haven’t put too much effort into breaking. The more impermissible something is, the more likely you are to try, like a cat knocking a glass of water off a table. 

Corruptible isn’t the exact right word, but it’s what comes to mind. You want to mess him up a little. Put your grubby rockstar hands on him and leave smears behind so his fangirls see his tainted reputation. You don’t, of course. It’s just a passing thought that you wouldn’t risk actually jeopardizing his career for. 

It would just be nice to see him live a little more freely. 

The temptation clears with the last of your noodles disappearing into your mouth. There are things that are off limits for both of you. Those are just the sacrifices you’ve made for your dreams. That’s all there is to it. 

It’s so good you sigh at the loss of it, mourning your empty bowl. Gojo’s almost done himself. The minute he finished his noodles, he lets out a breath to mirror yours, then laughs once he catches himself. 

“Come on,” you say. “Let’s get you home.”

You think that’s the end of it. There’s no reason to go any further. You met an idol and he obliterated your previously held prejudices. You’ll never meet again. 

That’s not quite how it works out. 

When your manager offers you another chance to see Gojo, it’s nonchalant. “Remember that idol you were partnered with on that variety show? I know you don’t like those types, but you seemed to tolerate him well enough. There’s another-“

A yes flies out of your mouth so quickly it’s embarrassing. 

Your manager pauses. His eyes narrow. “Didn’t expect you to be so eager, but okay.” 

Your face burns with embarrassment. This isn’t like you at all. Even with your exes, you had been cool and level headed. Always the prize, never the one to give chase. 

He’s interesting, you try to rationalize it to yourself. You like interesting. Life was mind numbing without a kick, and he was the latest thrill. It didn’t mean anything more. 

It’s another variety show. Apparently the two of you had been so popular as a pair that they wanted more. 

Gojo’s in the makeup chair when you arrive. The artist is scolding him for blinking while she applies his mascara. He’s whining about his dry eyes. 

“Don’t be a baby,” you say, dropping into the chair next to him. 

“But that’s what I’m best at!”

“You’re so weird,” you laugh. 

The makeup artist groans. “Please don’t encourage him.” 

Only Gojo would take that as encouragement. He rolls his eyes and receives a light swat across the shoulder for his troubles. You play around on your phone while you wait for her to be free, but soon grow bored. Instead, you watch her swipe powder across Gojo’s face and dab cream onto the apples of his cheeks. 

“Stop staring,” he says. 

“How do you know I’m staring? Your eyes are closed.”

“I can feel it.”

“Well, you’re wrong.” 

“You’re such a bad liar,” he says, and you know he’s just messing around at this point because you’re an incredible liar. It’s your best quality. 

Falling into banter with Gojo is as easy as breathing. It’s no trouble at all to replicate it on the show. From the shadow, your manager gives you a double thumbs up. Dork. 

Sometimes it’s hard to remember that you’re doing this to drum up popularity for your tour. You’re not the only one having trouble. Gojo pulls you aside after filming wraps up to give you his personal number on the phone he’s not supposed to have. 

At night, you get an alert that you’ve received something from Gojo. It’s not a message. It’s a notification that you can save three tickets to your digital wallet. 

A speech bubble pops up. 

Come to my concert, he says. I got you VIP seats. 

Gojo’s impressed you, but you still don’t know about the rest of his band. You’re not sure you want to watch pretty men lip sync and grind on the stage for two hours, but when you tell Shoko, she offers to bring Utahime. That’s conveniently three, so you might as well. 

VIP seats don’t include backstage, so you’re surprised when security comes to retrieve you. There’s no backstage pass for this concert, actually, confusing you all the more. 

Shoko flaps her hand dismissively at you, encouraging you on. By her side, Utahime is trying to feed her snacks. Satisfied that they’re comfortable, you follow the guard to Gojo’s dressing room. He leaves you there without a word. 

After five minutes of waiting for something to happen, you knock. Instantly, Gojo’s voice invites you in. 

He’s sitting in front of the dresser, fiddling with his earrings. You’ve noticed seven piercings in total - three on his right lobe, two on his left, and one conch on either side. Before you knew him, you would’ve been surprised an idol would be allowed to get so many. Now you know he bends the rules whenever he’s able. 

“Pass me that?” You hand him the disinfectant. “Thanks. I didn’t think you were coming.” 

“Then why’d you send me tickets?”

“Thought my roguish good looks and natural charm would win you over,” he says with a smile that says he’s only half joking. 

“You’re insufferable,” you say as you bat his hands away from his ear. “Let me do that.” 

His hair is soft as cygnet down as you brush it behind his ear. There’s something innocent about his expression like this, watching him from above. His eyes are closed, breaths soft and even as he waits for you. 

The silver pools in your hand as you thread it through his ear, a waterfall released when it hooks on. He wears a lot of silver, you’ve noticed. His stylists favor colors that should wash him out but only make him look more angelic. Pale blue silk trims his form, encrusted with embellishments to make him look prince-like. There are sparkles in the inner corner of his eye, soft blush on his cheekbones to make him look sweet. 

He’s anything but when his eyelids flutter open and he notices you watching. A smile almost cruel tugs at his lips. His hand reaches for you as if- 

There’s a knock on his door for the last curtain call. 

“That’s me.” He stands up, brushing his lap off without a trace of anything other than professionalism. He’ll leave you wondering what he was going to do. It’s terrible how good he is at this, though you suppose it’s his job to leave people wanting more. “Keep an eye out for me on stage, will you?”

It’s hard not to. Your eyes are polarized to him. Even when something else catches your attention, like fireworks or confetti, he pulls it back. Greedy, that one. 

You’re not the only one. The crowd lives for him. There’s something electric about him on stage. He naturally draws attention with that height and attitude and face, but what happens when he’s performing is inexplicable. You’d call it a religious experience if you believed in a god. 

Fate has never factored into your life, but now you’re starting to consider worship. Gojo performs like he was born to be an idol. 

Keep an eye out for me, he says, as if you’d have any trouble. You’ll dream about him tonight. The way his mouth fits so sensuously over the words of a love song snags your thoughts like a fishhook. Sick desires run through your blood, each more depraved than the last. 

You want to watch him shed his beautiful silk skin for you, become nothing more than man again. You must retract your prior confession. There’s no longing for the altar in you, only a love of sacrilege. 

Gojo asks for coffee easily, as if you’re two normal people and not celebrities with a lot to lose if you were caught together. You can’t let him outdo you, so you agree. These are the reasons why your manager curses your recklessness. Shoko calls it bravery, when she’s feeling sweet on you. 

The second message comes a second later. 

Gojo Satoru 11:25 I only said it to see if you’d agree Here’s my address lol can’t believe you said yes  Attachment 

You think he gives his address out too freely for a man worth 30 million. The feeling only intensifies as you get out of your car and thank your driver. His gates are pearly instead of the standard matte black, a stark declaration of wealth. He’s practically asking for an incident to happen. 

Security buzzes you in. Someone in a white dress - an honest to god maid - leads you to a mini kitchen where Gojo’s waiting. His hair is wet and dripping down his back where his powder blue shirt is darkened to a navy. You thought you had gotten used to overblown displays of money after your first three years in the music industry. Clearly, you were mistaken. 

He looks up as you enter, reading a trashy tabloid as he stirs whipped cream into a tall glass of something that looks more like a sugary heart attack than coffee. 

You’ve never seen his bare face, you realize. Even that moment when you had walked in on him and the makeup artist, he had been nearly done. He looks practically the same without makeup. People with genetic good looks like him only need to enhance their appearance the tiniest amount. 

What really strikes you is how earnest he looks, soft and open-hearted, though that might be because you’ve caught him in his home. This is what you wanted - him without his skin on, naked and without pretense. He’s wearing cotton pajamas and white slippers. 

“I thought you’d come later,” he says. “Sorry I got started without you. I was feeling something sweet.” 

“I’m early, though?”

“I’m always late,” he says with a one shouldered shrug. “Thought you might be too. Guess you’re not my perfect girl after all, huh?” 

You shove his arm off the armrest of his chair to perch on it, ignoring the perfectly good chair across from him. This is better, anyway, easier to talk to him. “Don’t be absurd. I’m everyone’s dream girl.” 

Gojo chuckles. “I like confident women.” 

There’s been a question on your mind for a while. You knew his group was popular, but all this? Maybe you should’ve become an idol after all. 

“Where’s the rest of your band? I thought idols shared rooms.” 

“Some do,” he says. “Not so much when you make it big. But this is my family home, so none of that applies.” 

Gojo Satoru of the Gojo conglomerate. How had you forgotten? It shouldn’t be so easy to ignore something like that. 

Gojo shifts the conversation easily, but you notice. So he doesn’t like the connection, then. “How was the concert?”

“Don’t fish for compliments,” you say, stealing a sip of his drink before it reaches his mouth. It’s too sweet for anyone’s standards. You spit it back into the cup. He takes it from you, eyes it consideringly, and takes a sip anyways. 

Your mouth drops. “You’re so gross.” 

“Only for you, baby,” he moans, humor like a teenage boy. “Call me names again.”

You roll your eyes at him. 

“It’s fine, it’s just saliva. Now tell me the truth. You couldn’t take your eyes off me, could you?” 

They’d probably sooner pop out of your head and roll away than leave the sight of him, but you can’t tell him that after all you’ve said about idols. Instead, you push off your seat to go rummage through his cabinets. He has a fully stocked coffee cart in this room and the very latest espresso machine, all to choose his diabetic monstrosity instead. 

“You don’t need to respond,” he says cheerfully. “Your silence tells me everything I need to know.” 

“Do you think you know me that well?” You shoot back. His fridge is so big you think you could fit into it. Somewhere in the back of your mind, you’ve registered that he’s moved from his seat as well, and now stands just behind you. 

“Of course I know you,” he says. “I understood you the moment we met.” 

“You’re very confident,” you note. 

You have a weakness for confident men. 

“So you liked my concert. Can I come to yours?” 

You imagine Gojo in a mosh pit for a second. It sends you into a laughing fit while he stands there, bemused. You can’t shake the incongruous picture of him, with his face like a carefully crafted porcelain doll, getting rowdy and wild with your fans. Ridiculous. Never in a million years.

“We don’t have VIP seats,” you warn him. 

“So?” 

“So it can get dangerous.” 

“Aw, you do care about me.” 

“I care about the fat lawsuit your company’s going to send me when their moneymaker breaks his leg at my concert. It’s not happening.” 

“You scared?” 

“No, but maybe you should be.”

“Come on,” he says. When had he gotten so close? It’s distracting. “I know you’ll take care of me.” 

Gojo had invited you to his concert. It’s only right to return the favor. An idea starts forming in your head, though you’re not sure it’s a good one. You tell him anyway.

Usually when soundcheck is over, you have a little bit of downtime to relax backstage. You’re expecting someone tonight, however. 

A rough knock on the door announces Satoru Gojo, spoken in your security guard’s rough voice. Well, he really introduces him as pretty boy idol, but you can guess who it is. 

He looks discomfited, a rare occurrence, as he closes the door behind him. 

“What’s with you?” 

“You’ve got groupies,” he says, looking rattled. 

You fight a smile. 

“Don’t laugh,” he pouts. “They’re insane. One of them tried to chase me here.” 

You can’t help yourself. A giggle bursts out of you. When he tries to leave, you pin his hand to the handle and coo reassurances at him so he won’t. 

When you head out the door, he surprises you by grabbing your hand. It’s as nonchalant as anything he does, so you rise to the challenge he sets by refusing to react to it. You only separate once you reach the stairs; him to the spot you’ve made for him behind the barricade, you to the stage. 

This is one of your favorite venues, moody and atmospheric. The lights are dimmed to your preferred setting, but your eyes adjust quickly. Your crowd is restless tonight, shifting on their feet as whispers follow raucous laughter through the crowd. Noise on noise, the way you like it. 

The wood of the floor is a little sticky beneath your boots as you walk. That’s history gumming the soles of your shoes, generations of artists before you. You’re starting to feel it now, the electric thrum of pure joy in your blood. 

Shoko is strumming light tunes on her guitar to warm up, her eyes closed. You hope she doesn’t take it too hard that Utahime couldn’t make it tonight, though you know if she’s upset, she’ll channel into her music. 

The crowd settles as the hour draws closer. Shoko’s fingers are liquid now, running through chords effortlessly. You wrap the cord of the microphone around your hands, letting the tension build mindlessly. A stage is like home to you. The crowd plays in the palm of your hand, energy ebbing and flowing as you will it. 

It starts with a guitar solo from Shoko. By then, the crowd is already burning with excitement. The first burst of sound from the speakers has them roaring, cheering even though there’s no lyrics to it. The smallest smile touches her lips as she plays to the crowd, showing off exactly why she’s lead guitar for the greatest band in the world right now. 

You step in on her heels, your voice rising over the music. Back before you knew how this felt, you almost quit singing, annoyed by the sound you were forced into. This is more your tempo. The almost guttural curl to the ends of your words, the rasp of your hoarse voice - this is beautiful to you. 

The crowd is yours. Anything that goes on is within your jurisdiction, higher than any judge or god. You notice everything in your realm. 

People are starting to move now, their bodies falling victim to the music. Their mouthes form the vowels and consonants of the lyrics as their bodies shudder and jerk, chained to the rhythm. Bodies ricochet off each other, love taps of respect for your aggressive voice, soaring above it all. 

In the corner, there’s a violent eye of a storm. You think it’s a particularly enthusiastic dancer - perhaps a circle is about to form - before you realize what’s actually going on. 

A fight is breaking out. You catch a glimpse of snow white hair, realize it’s near the barricade, and your stomach drops. 

It’s Gojo and another man, ignoring the security guard trying to separate them. You try to stay professional and play through it, but then you see red. 

Gojo’s hand flies to his face, his nose dripping with crimson. He doesn’t look any more injured than that, but you’re angry enough to step in now. Shoko stops as soon as you hold your hand out, the music veering into a screeching crash. 

“You, in the black tee!” You realize you should’ve been more specific when what looks like the entire crowd looks down at their equally black shirts. “No, the one that just punched Gojo Satoru. Yeah, you, asshole! No fighting at my gigs! Especially not my guests!” 

He had the audacity to yell back. “I was just showing him a warm welcome!” 

You climb off the stage. Gojo didn’t show any fear while he got hit, but there’s concern in his eyes now as you drop to the ground by him. 

“Wait,” he says, “wait, wait. I don’t think you should-“ 

“Shut the fuck up,” you snap, pushing him behind you until his back hits the stage. “Let me handle this.” 

You get in the man’s face. His eyes are bloodshot - drunk, probably. “Who do you think you are, starting shit at my shows?”

“You’ve sold out,” he slurs. Definitely drunk. “He doesn’t belong here.” 

“You don’t get to tell me who can or can’t come to my goddamn show,” you snarl, vicious and low. “Get out.” 

“You can’t-“

“Get out before I make them drag you out.” 

When he doesn’t move, you motion security over. “Does anyone else have any complaints?” 

The crowd is eerily silent for something that was moving like a beast with one mouth before, singing in unison. You clamber back on stage, turning around to grab Gojo’s hand. 

“What?” He says. 

“Up. Now.” Your tone brooks no argument. You haul him up with you. He stands awkwardly as you drag him towards your mic stand, your arm slung around his shoulder. There’s still blood on his face. 

“Gojo Satoru is a very dear friend of mine,” you announce into the mic. You see the confused looks in the crowd. Even Shoko seems wary. This wasn’t on the schedule. “If you're a real rock fan, you'd know that music is more than genre. I get it! I didn’t think idols were anything more than corporate shills either-“ 

“Harsh,” he whispers under his breath, unable to control himself even now. 

“But he proved me wrong. He’s a real performer, just like I am, and I expect the same respect for him that you give to me.”

This is your crowd. They listen. Someone whistles. 

You sit Gojo down, right by your feet. He gives you a bemused smile as the concert starts again, you moving around him like one of your props. He spends most of the concert lounging back, watching you through half lidded eyes. 

It might’ve been enough excitement for one night, but you’ve always been the type to push your boundaries. When the idea springs into your head, you act on impulse, not giving yourself too much time to think about it as you pull Gojo to his feet. 

You’re really manhandling him tonight, but he doesn’t seem to mind. He’s only a little startled as you pull the mic away from your face to get into his space. 

You misjudged the distance. Your forehead knocks into his, just enough to sting, but not really hurt. “Do you want to try something?” Your voice is a whisper to not get picked up by the mic. 

“Give it to me,” he says, and his smile is a bloody thing. 

When you angle the mic towards him, you’re careful about not hitting him this time. 

His voice works surprisingly well for rock. You weren’t sure he could pull off such a sound change, but he surprises you every time, matching you best for beat. 

When he pulls back, your hand snakes into his hair and yanks him towards you and the mic again. He sings wholly at your command, being jerked around by your desires. It’s an inferno on stage, sweat pouring down both your faces. Behind you, the crowd is screaming so loudly it nearly deafens you. 

Not a bad encore, you think as you towel off in your dressing room. Shoko left for a cool down with a bottle of ice water right before you, her post concert ritual, but the look she shot you says that you need to talk. You’ll deal with the consequences later. 

For now, it’s enough to have Gojo shaking with leftover adrenaline against you as you sit him down in your chair. You press a bottle of ice against his face, watching him shiver. He’s still pretty with all the blood. Prettier, somehow, like some teenage wet dream of a vampire from a young adult novel. 

You want to lick the sweat out of the hollow of his collar bones. Instead, you talk to him to rid yourself of your insane thoughts. It’s always a little crazy in your head after a good stage. 

“Well?” You demand. “How was it?” 

He tilts his head, considering. It makes you nervous. Now that you know how good of a performer he is, it almost feels like a test to receive his judgment. 

“I think I’m in love with you,” he says, slowly. 

“That good, huh?” You smile, trying to ignore the aching pressure behind your ribcage. You shouldn’t care so much what he thinks. Why does it matter? 

“Yeah,” he says. “When are you free? I gotta plan our date.”

“Huh?” 

“That was so sexy,” he says. “I was thinking about taking it slow, but I’m not going to last if I wait. I want to date you. I want to marry you.” 

He’s starting to worry you. “Did you have a heat stroke or something? That’s really fast. Really, really fast, Gojo.” 

“I’ve never been more clearheaded in my life,” he says. You only believe him when the medic clears him of any injuries, even the nose. 

“We can talk about marriage later,” you say. “Why don’t you tell me about the date for now?”

Two weeks later, you’re Gojo’s plus one to his first movie premiere. It’s his debut as an actor, and it couldn’t be a better one. He escaped most of the negative pushback that usually comes with transitioning between those two industries, being naturally good at everything. Still, he had worked hard, and you’re proud of him. 

It feels like you’re the only one, because the man himself doesn’t even care about his accomplishment. He’s too busy being delighted about hiding in plain sight. The cameras flash at you as you walk across the red carpet, arm in arm with Gojo. Your stylist had coordinated with his. It could almost pass for a couple’s outfits.  

“You know,” he says conspiratorially. “When you defended me at the concert, I got hard.” 

“I didn’t need to know that.” 

“It was really hot.” 

“You know there are people who can read lips, right?”

“I wish they would figure out what I’m saying.”

“Alright,” you say, rolling your eyes. “Let’s get inside.” 

Dating Gojo is nothing like what you’d expected and everything like you’d expected. He keeps surprising you, doing wild things to get your attention that you never thought an idol would be willing to get their hands dirty with. He might be even more of a daredevil than you are, constantly pushing the boundaries of what you both can get away with before you’re found out. 

In a way, it’s almost like you’re asking for it. You’re both straining at the bit to claim each other. It doesn’t come as a surprise when it does happen, then. 

“Huh,” Gojo says over ramen. “We got papped.” 

Utahime, understandably, freaks. “What? That’s not funny.”

“Oh yeah?” You say. “Are the pictures good at least?”

“You know we always look good. Could’ve gotten a better angle, but whatever.” 

Utahime’s working herself into a minor tizzy in the corner. “Guys, I need you to be more serious about this. This is bad! This is so bad!”

Shoko looks up from her phone and chips on the couch, lying flat on her stomach. “Hate to agree, but she’s right. What are you going to do about it?”

“Nothing,” you shrug. “What’s the point? There’s nothing we can do about it. They have the evidence.” 

It had been a good run. Two blissful months of peace and quiet. Sneaking around had been fun, giving you that thrill you loved every time someone failed to recognize you and Gojo behind your stupid sunglasses. Still, it was bound to fail at some point. You’re honestly surprised it lasted for as long as it had. You can’t be mad. Two months is more than you could’ve asked for. 

“Well,” Gojo says. “Wee-llll.” 

“Spit it out,” Utahime gripes at him. 

You take another bite of ramen, content to let them argue without you. 

“There is something we could do,” Gojo hedges. 

“You’re so annoying,” Shoko says. 

“No one thinks you’re funny,” Utahime chimes in. 

“Hey! She thinks I’m funny!” Gojo frowns. “Tell them you think I’m funny.” 

“Sorry, babe. I never lie to my girls.” 

“Whatever,” Gojo sighs. “Guess you don’t want to hear my genius idea then.” 

“Don’t be a brat,” you tease, knuckling his head. He loves it when you roughhouse with him. 

“What if…” The hesitation is real this time. You can tell the difference between when he’s faking it or not. He’s a good showman, but you know him. You place an encouraging hand on his knee. 

“What if we went public first?” He says it all in one breath. 

You take a moment, turning the idea over in your head. It would wrest back control of the narrative to your team. Even if you might get backlash, it wouldn’t be at someone else’s hands, beholden to their mercy. You like it. 

“Sure,” you say. 

Gojo gapes at you. ‘That easy?’ His thoughts are written all over his face. 

“Why not?” You offer him one of your easy smiles. “I’ve always wanted to say you were mine, anyway.”

[alpacaroni-and-cheese]

Leah, Fatin and Choice.

Not to wax lyrical about a TV show that was cancelled over two years ago, but The Wilds is pretty good, actually.

All 8 of the main characters (yes, eight, the boys don't count) are some of the most complex, layered and interesting characters I've ever seen. Each of them, on a surface level, seem to be one-dimensional.

Shelby, for example, is the goody-two shoes Christian flawless pageant queen. But she isn't, not really. She's a closeted, anxious mess, who is about one or two mental breakdowns away from shaving her head at any given time. She cares far too deeply, leaving her heart exposed and vulnerable.

Or take Rachel; on the outside, she's hard on everyone, angry and resentful, and bound for diving for America in the next Olympics. But in reality, she's burnt out. She might be hard on everyone around her, but she's hardest on herself. She suffers from bulimia, brought on by a few ill-advised words from her diving coach, and isn't even on the team anymore. She is angry, and she is resentful, but I think she has good reason to be. So when she does release that anger, it's an inspiration for us all.

You can do this kind of analysis with all of the characters, but the two I want to focus on in particular are Leah and Fatin.

Leah, the boring, ordinary, average girl from the Bay, who thinks too much and leaps before she looks.

That doesn't even scratch the surface of who Leah is.

She's whip-smart, and not in the "knows the first 20 digits of pi" Hollywood style of smart. She notices things and tucks them away in her brain until she has a moment to herself where she can ruminate, drawing connections where maybe there aren't any, and draw conclusions based partly on evidence and partly on a near-infallible trust for her gut.

She analyses. Not in the (BBC) Sherlock kind of way where she just magics up the answer out of thin air, but in her own way. She sees something is out of place, and digs around in the rocks and dirt, bloodying her fingers and knees until she can figure out what's wrong.

She gets taken advantage of by a man far older than her, and lies about her age so he'd sleep with her. She's hopelessly, helplessly tied to this pathetic man, every aspect of her life tethered to him. So when he finds out the truth and removes every part of her from his life, she is left drowning in his wake. She clings to the book he wrote and the sick annotations he left for her like it's a lifeline, when it's actually pulling her further beneath the waves.

Leah broods, she ruminates and she analyses, until something gives way.

She runs headlong into walls until either they break, or she does.

Next, let's talk about Fatin.

Promiscuous, princess-y Fatin, who's never done a day's hard work in her life.

In 1x05, Fatin runs away from the group. In 1x04, she was (metaphorically and a little bit physically, albeit accidentally) mauled by Leah. Her soft underbelly exposed and prodded. The others have all made judgements on her character, and in their eyes she has come up short. So, she chooses to remove herself from the equation, and runs away, like a thief in the night.

She finds a waterfall, practically saving all of them from dying slowly of thirst. And Leah, who pushed her, shoved her, rejected her last episode, spearheads the campaign to find her, after a little encouragement and wake-up call from Dot.

Fatin is not used to forgiveness. We see her mother let things go, but her mistakes are not forgiven, and most certainly not forgotten. Her hurt is minimised and dismissed by her mother, so she turns to her father for support. He is her best friend and confidant. He always has her side.

But then she discovers the photos. Her father has been cheating with lots of women over a long period of time. He has been lying to and betraying their family for years. She lashes out and chooses to send his nudes to everyone in his contact list, not thinking it through properly. When this is inevitably drawn back to her, her father turns on her, and her mother just sits and watches.

She isn't familiar with forgiveness, so when Leah offers it to her the first time she chooses to willingly accept it, offering it back in turn.

Leah makes the choice to burn Jeff's book, severing the tether holding her beneath the water. She's free, and can breathe.

Fatin becomes her confidant, listening to Leah's theories about the island and offering reasonable explanations for what's going on, and it works for a while.

But Leah becomes obsessed with the island. She's convinced something is wrong, and works herself to the bone to discover the truth, at the expense of her own safety and sanity.

Fatin reaches out to her, tries to wade through the darkness clouding Leah's thoughts and pull her back into the light.

But she fails.

When Leah runs into the ocean, desperate to find a way out, Fatin can do nothing but watch. Rachel overcomes her fear of the water and drags Leah back to the beach. Dot wants to sedate her, just to be safe, but Fatin refuses. Leah's had enough choices taken away from her, so she lets Leah choose.

Fatin, who knows how damaging it is to have your autonomy stolen, gives Leah this choice. Fatin, who knows Leah had many decisions made for her in the past, lets her decide for herself. She lets Leah make the choice to live.

[abstractfrog]

HI I JUST SAW YOUR INCREDIBLE SHERLOCK AND CO COMIC YOU MADE AND I WOULD LOVE FOR YOU TO TALK ABOUT THE PROCESS AND THE SYMBOLISM AND INTRICACIES AND EVERYTHING PLEASE ‼️‼️‼️‼️‼️‼️‼️

GOD THANK U ok if i actually talked about EVERYTHING i would be here forever and ever, there were things about the process where it kept surprising me and i kept adding stuff.

I talk about my general comic process here , it started out mostly the same for this one. Analysis of the script, sketches, panel and colour blocking

The scene from Mr Sherlock Holmes presented me with a unique challenge (for me) because...usually I pick scenes from the podcast that are instantly visually stimulating. This scene is NOT that. It's sort of unclear and confusing and even the emotive narrative is sort of hard to pick out. Those things I had to sort of decide for myself. It's hard to draw a whole scene like this without first deciding what the scene is about, what its purpose is. If you go back and listen to the episode along with the comic you'll notice all sorts of changes and tonal shifts - that's because of me and my decision making.

I decided that the direction I wanted to go in was to show John having his realization about himself, his podcast, and Sherlock, showing him getting pulled into, yes, Sherlock's world, but also the world of the podcast as an adaptation. I knew i could do this just with colour, but if you've seen my other comics, you know i almost always use colour to show shifts. I guess I had some insecurity about doing the same thing over and over again so I pushed myself to think of other ways I could accomplish it visual. Enter: rendering technique

I will say I didn't expect this effect to make John seem so SAD and MISERABLE, i only wanted to show him getting pulled in, but its effective for his emotions in this scene as well. Scanning drawings into the computer sort of flattens the paper texture, so I started adding photos of the pages of A Study in Scarlet to make him feel more paper-y. And then, of course, realised i could use that to further elaborate on John's inner thoughts, backgrounds, and motivations. People are welcome to interpreted that how they like and i've seen a number of variations, but to me it operates on sort of a meta level, showing the inevitability of what John is going through. He's a Watson, he's always going to follow Holmes, he's going to try and figure him out, and that's why you sort of see a back and forth between acd and pod Watson, highlighting the ways in which they are similar, and then, John breaks off and becomes his own character, still with those foundations but also entirely different.

there's one piece of text that i haven't seen anyone pick up on or mention and I'm starting to think it's gone unnoticed because it's in an unexpected spot. I won't mention what or where because it is, for now, a very indulgent little secret.

I notice a lot of people are getting a kick out of Sherlock playing with the speech bubbles, which I am so pleased by because I almost didn't do it! I thought i was maybe breaking something in the comic but it was so fun that i didn't care and I'm so glad it came across well. It operates on a lot of levels, it shows his thought process, it plays into that fourth-wall medium play i've got going on, and it feeds into the web metaphor as well as visually showing him roping John in.

on the topic of Sherlock, I feel a lot of people are rather focused on John, which is understandable (he's the main event) but Sherlock has a lot of details I love too.

For instance, him pushing his hair back and putting on a coat when the officer arrives, almost like he's shifted modes, and then his hair falling back down when he gets excited and John starts to understand.

I really love this moment of Sherlock seeing John's potential for interest in mysteries when he's trying to solve the matter of what Sherlock Does, and being surprised and flattered for a moment (until John messes it up again)

John copying Sherlock's pose <3

There's deliberate things in the character design as well, things like the fact that once John comes into colour, it reveals that he's actually wearing more colour than anyone else in the scene, and the fact that the grey in John's hair only appears post-greyscale. Things you are welcome to read into. And there are, of course, the socks, which I've seen people pick up on.

Those are the main things for now so i might leave it there, but thank you so much for your ask and i'd be pleased to elaborate further on absolutely anything!

[sunshine-jesse]

In defense of Andrew Graves: Facing Yourself​

Alt title: Andrew Graves: The Will to Plow Her

I think my analysis of Andrew is one of the best essays I've written so far. But since then, I think I've expanded my understanding of his character in a way that urges me to add on to my prior essay. What I intend on doing is further fleshing out my reading of Burial, and going deeper in detail on why I think Decay ends up panning out the way it does. This essay will end up sharing a lot of text with my prior one, but will add enough scattered throughout that I think it merits a complete reread instead of just scrolling down and seeing what's new.

I've focused a lot on Ashley in my past writings. She's my favorite character in the story (and depending on how episode 3 pans out, maybe ever) and I'm pretty mortified by how some parts of the fandom have reacted towards her, so I pretty much made it my life's mission to push back against that. From highlighting the ways Andrew mistreats her, to coming up with justifications for her behavior that aren't just being a manipulative bitch, I really wanted to prove that a more favorable picture of her could be painted than most were willing to.

But in doing so, I've left Andrew in the dust.

In highlighting his flaws and the ways he mistreats Ashley, I think I've implied a level of intentionality to his actions that I don't believe he has. When I say that Ashley did nothing wrong, it's in direct response to the idea that she holds the most responsibility and agency in how their dynamic plays out, when in reality, I believe she has very little. Most of her actions in-story are in reaction to a variety of stimuli that come directly from Andrew, that he has control over and are aware of how Ashley feels about. His refusal to use clear and direct language to deny her most toxic tendencies causes her more and more stress as time goes on, and instead of giving her clear answers he opts to be catty, passive-aggressive, or, at his worst, threatening. Never direct and never clear, except when establishing boundaries over his name after the choking scene. Andrew fails to help Ashley be better in some frankly depressing ways throughout the whole story, especially in their childhoods, so we never get to see where she'd fall short if given a better influence.

...

Kind of. More on that later!

In mentioning his thing about preferring to be called Andrew instead of Andy, I also implicitly mention one of the places where Ashley falls short in their dynamic and could stand to do better: recognition.

This scene says a lot. It's the most heartbreaking scene in the game, if you ask me, and probably the single most profound and well-written moment in the entire story. I could write a whole 2000 word essay on it alone, but I've already said most of what I have to say about it through what I've said in other essays, so I'll spare you all that. Instead, I'll use it to highlight something:

"I had fun."

Their dysfunction is fun to her. She's so used to abuse and alienation that even the most awful, stressful (as far as we know) route of the game is still fun to her. And that's not a sign of her being a secret evil sociopath or whatever; that's actually not abnormal behavior to develop for a lifelong victim of abuse. Those highs and lows, those strong emotional highs and lows are -addicting-. They're -fun.- Part of why abuse victims get into so many abusive relationships is because it's easy to pick up on those patterns of thought and take advantage of them, and the cycle of abuse is often furthered when a victim of abuse tries to draw out mutually abusive behaviors in someone with no interest in having that kind of dynamic.

This is where I'm willing to acknowledge Ashley's manipulative tendencies. Not just as a matter of controlling Andrew for its own sake, purely out of jealousy or possessiveness, but as a matter of trying to further the only dynamic she's ever known in her life. Better the devil you know, right?

That push and pull- that emotional rollercoaster- is all many of us know. And it's all Ashley knows. This dynamic is something she's so used to that she reacts incredibly harshly to any attempt to change it, because she doesn't know that things can be better. Because of this, she refuses to engage with who Andrew really is, and tells herself- and him- that she *hates* Andrew:

This scene is almost as heartbreaking as the above one in a lot of ways.

Andrew putting his foot down about the Andy/Andrew name dichotomy wasn't arbitrary and it wasn't just about his comfort. It was about Andrew giving a clear indication about what needs to happen for their relationship to improve. He's recognizing the cycle between them and wants to put a stop to it, because he's confident that things between them CAN get better and evolve into something healthier. Ashley, not understanding that their dynamic can get better, because their "fun" little push and pull of abuse is all she knows, rejects that. She rejects the unknown, and says- in Andrew's mind at least- that she'll never accept that new dynamic, nor will she accept who he really is.

Ouch. No wonder he looks so sad in that screenshot.

They have a conflict of understanding here, and I think it's fair to pin most of the responsibility on Ashley. Andrew was clear in what he wanted, and Ashley just... Didn't. She didn't see the importance of it ("...whatever that means in practice") and didn't really ask. This gap in communication, perfectly displayed in this scene, is likely what causes the Decay ending. He wants things to be better, and wants to treat Ashley better, and whether or not he understands the ways in which she communicates with him is in part what determines what he sees her as.

But there's a lot of evidence that he always wanted things to be better, that he always wanted to treat her better. But external factors have made it very, very difficult, and I think there are two key points in which he started to shed the importance of those external factors and seek that better relationship, both of which happening in the apartment: The killing of the warden and the 302 lady. In the first case, he was forced to do it to protect Ashley in a way he hadn't done before, or depending on how you look at it, since the death of Nina. But the intentionality was the key point here. After this point, he calls Ashley Leyley, which may or may not seem important at this point, but it's something I'll draw attention to later, so keep that in mind.

Next is the killing of the 302 lady, which is the much, much bigger point. We don't learn much about it until later on- as at first he just gives an excuse about the nail gun that doesn't line up with what we see on the map- but during the dream, it's revealed it was a calculated, intentional killing that he did to make sure there was no evidence left behind, and because Ashley (supposedly) would've wanted him to do it anyway. I say supposedly because Ashley herself doesn't seem to ever want Andrew to kill for her past Nina's death, because he only ever kills for her to defend one or both of them. If you want more evidence that violence for violence's sake isn't something she wants, look at this part in the final dream:

A knife isn't what opens the door, despite it being placed on the ground in that very map. While it seems obvious that the knife (violence) would be the key to solving the puzzle, it's put there explicitly to show you that it isn't. It's not what she wants; what she wants is a flower.

So, why is this important? Why am I centering Ashley- again- when this essay is supposed to be about Andrew?

It's because these two killings are when Andrew's self-delusion over who he really is starts to break down. It's still there, mind, as he still relies upon Ashley as an excuse to justify it, but, as well as what I've said before, the name ultimatum is an implicit confession that the normalcy he finds comfort in is starting to lose its grasp on him. There's a lot that's been said about Andy being something close to a "moral impulse" for Andrew, given his child self's reaction to Nina's death being the only thing he does that approximates a normal moral response to his and Ashley's actions, but if you do think that- which I think is a reasonable thing to think even if I don't necessarily agree- there's something you must also keep in mind:

-He- is the one who doesn't want to be called that anymore. -He- is the one who wants to let that moral impulse go, and Ashley is the one making it difficult.

That reading is assuming that Andy is a moral impulse, which I think is... either wrong or too simplistic. Every time I see that reading, it's from someone who's trying to paint him too sympathetically and absolve him of most moral responsibility. I also find it infantilizing to equate morality with childhood in such a way? But that's another tangent that I didn't sign up to talk about. What I do think, however, is that it's a useful framing device to display his own relationship with morality; the allegory to his child self doesn't have to be there for the general pattern to exist.

When Ashley starts to grill Andrew over the killing of the 302 lady, he gets mad. Very mad. Ashley sees it as pointless, as him covering his own ass, but he genuinely did it for her sake, because he thought that's what she wanted, and that it'd make her happy. But what makes her happy isn't violence- or any similarly extreme action for that matter- it's attention and validation. Something he's always reluctant to give her, despite the fact that he always chose her over the alternatives. But despite making that choice, it's always empty and meaningless, because in Ashley's mind, he never did it for her sake.

And hoo boy, does he not like it being framed like this.

He is perfectly willing to do whatever it takes to keep them happy and safe... but only for her sake. It has to be for her sake. He still needs that traditional role, and he still needs to have a narrative in which he's the good guy- a protector. Because it can't be for his sake. It can't be because that's what he wants. He has to uphold that romantic (in the literary tradition sense) ideal. His darkly romantic idealistic streak colors many of his actions and beliefs. This is most plainly visible in his quip about a double suicide being romantic, but it's also visible within the symbolism present within his dream, such as how he can only pave his own path in blood unless Ashley lights the way. It's visible within his appreciation for poetry, and it's visible with how the cultist within the dream speaks in Shakespearean English.

But the transient nature of this ideal is also revealed within this dream, because there's never a cohesive, guided path, even with Ashley there to light it up. Contrary to Ashley's dream, where you literally have maps showing you where to go, Andrew's dream has many more dead ends and no map to guide him. The symbolic role he acts out gives him no clarity, and there's no overarching narrative; merely a bunch of disconnected symbols.

This is contrasted with Ashley's dream, which has narratives so clear that the story literally gives the dream an episode title.

In a sense, he wants to view himself as an actor acting out a role in a story. He wants his life to be poetic, to represent something greater, and to have a cohesive narrative. This is why he's so disconnected from his true desires: He's more concerned with acting as a representative of an ideal than a person with agency. But every time the mask drops, every time he stops acting, his true self becomes visible. He naturally settles into being comfortable around Ashley, in treating her with warmth and kindness, and their banter becomes much less toxic. As intent as he is on acting out his role, it does nothing for him, and as his dream sequence shows, it doesn't even form a cohesive narrative, because he can't act one out. It's too contrary to who he really is, and what he really wants. But that idealization doesn't just apply to himself, it also applies to Ashley. Specifically, who Ashley is, vs who he wants her to be.

In his unique dream sequence, he sees two versions of Ashley; the child version of her- Leyley- and the adult version of her- Ashley. And the differences in the ways he interacts with the two of them are stunning. Leyley is an obstinate, annoying child. She's the one he NEEDS to take care of, and he hates that. He hates Leyley for what she did for his childhood. He hates that he needs to provide for her. He has the option of trying to kill her, even, over something as small as a candle!

But in the room with all the murders, the gilded cage, he sees Ashley as an adult. This version of Ashley is stuck in a closet that he himself has to open- and to choose to see. Their interactions are calm and friendly. She teases him a bit, sure, but she's still helpful, and they have fun together. He doesn't need her, and she doesn't need him. He needed Leyley- needed the candle- but here, there are other limbs strewn about for him to take. And, crucially, he doesn't even have the option to kill this Ashley for one of the limbs.

And during the choking scene, he lets her go the moment she acknowledges that he doesn't need her anymore. This is the first time we know of that he seems comfortable enough to set a clear boundary, which is acknowledging that their prior dynamic is dead and that they're now Andrew and Ashley, not Andy and Leyley. It's a bit late to express a clear boundary -after- literally acting like he was going to kill someone, but it's the first time we know of that he sets a clear standard for what, in his mind, would improve his relationship with Ashley.

After all, what he wants is to want her, not need her. He wants Ashley for Ashley's sake. Not for what she can provide him. He doesn't even need her for sleep, he just wants her. But Ashley has trouble acknowledging this, because he's never before shown that WANT. Only a NEED. She keeps trying to find ways to make him need her, because she's never seen what his desire for her is really like. She's only ever seen him desiring someone else, someone other than her.

She's only ever seen him as Andy, because she's never truly seen Andrew, only the violence he can inflict on others. But Andrew can see both:

He can see Leyley, the needy, bratty child who always needs his attention, that he needs to provide for. The one he hates and wants to get rid of. The one he kills for to protect.

And he can see Ashley, the one who engages in friendly and cute banter with him. Who comforts and shows him physical affection. The one he loves. The one he kills for to make happy.

He just can't choose which one he wants to see. Every outside influence- from his parents, to Julia, to Nina- makes him see her as Leyley. Ashley herself makes him see her as Leyley too, whenever she brings up all the things he did for her, and calls him Andy, his child self, instead of Andrew, his current self. And as long as he sees that child, he feels like one too, and can never give Ashley anything that comes from the heart.

But he really, really wants to see Ashley as an adult. He wants to take pride in her, how much she's grown, and how driven and competent she really is.

But god damn, does that bitch ever make it hard, because there IS no real difference between Ashley and Leyley. She's grown and changed over time, taking more adult (and stereotypically feminine) responsibility upon herself, but the fact that her temperament and personality hasn't changed much obfuscates that growth. When you talk to Ashley in the closet during the dream after getting the limb, Andrew asks Ashley to come out of the closet, but she refuses to come out because he won't invite Leyley over to play, which is a pretty strong metaphor for how he interfaces with different aspects of Ashley's personality and refuses to accept others. But the reality is that he needs to accept both, or rather, see her whole self as Ashley, rather than just the parts he likes.

In the end, it's him who has to make the choice how to see her. Ashley can only see what she's been shown, but Andrew can choose.

And in the basement scene, he makes that choice.

If Ashley refuses to leave him alone with their parents, that's it. In one of the most critical and important moments of his life, she couldn't give him the space needed to make up his own mind. She couldn't treat him as an adult. She couldn't see him as Andrew. If she does give him that choice, she chooses to acknowledge that Andrew is an adult who can be trusted to make his own decisions, even though she (perhaps foolishly) believes that this choice lines up with her own interests. And frankly it does either way, but in accepting their mom's offer, her chooses to see her as Leyley once and for all. He chooses not to reciprocate what Ashley showed him. He does it because he needs to, not because he wants to. Because it's his duty, not his desire.

This is what results in the Decay ending. Through his inability to see Ashley as an adult, he surrenders his agency and views all of his actions as an extension of his responsibilities, his role, which he no longer wishes to uphold. He dissociates fully from who he really is, acting in accordance with that disconnected, barely-cohesive narrative that exists only within his mind. The game starts to resemble the heartwrenching tragedy that many seem to take for granted that it is, as their dynamic fully doubles down on its painful toxicity. And, in an example of a poetic book end, Ashley's dream shows a double suicide, closing the book on their tragic tale.

It's tragic. It's heartwrenching. It's poetic. It's beautiful.

...Except it's not. Not at all.

It's actually fucking stupid, pointless, and brutal, and Burial shows us that. When we view their spiral as beautiful, we project the same darkly romantic ideal that Andrew possesses onto the story.

But the actual reality is horrifying.

Ashley spends most of Decay terrified of Andrew, the one person she found comfort in. He acts cold, distant, and aggressive towards her, showing pointless cruelty instead of any warmth. All she wants is comfort; all she wants is to not die. She doesn't want to engage in this death spiral at all, and, in her dream sequence, shows none of the same willingness to die alongside Andrew that Andrew does with her. The moment we stop focusing on the end of the Decay dream sequence, which has very striking imagery, and if you choose not to shoot, one of the most beautiful scenes in the game, we can see it for what it really is:

A scared animal running away from a predator.

The moment you see Decay through Ashley's eyes, and not the perspective of some romantic ideal, Decay becomes terrifying, tense, and painful. There is no catharsis to be had in this tragedy. It's easily avoidable as long as Andrew chooses to engage with reality, and not the empty promises of his mother and incoherent narrative of his ideal.

Finding beauty and meaning in tragedy is how we cope with the harshness of reality. But there is no coherent narrative to the tragedies we experience, just like there's no coherent narrative to the ideal Andrew wishes to uphold. It's something we create- that he creates- but it's not something that actually exists.

And when Andrew casts aside his desire for that ideal, and the responsibilities it shackles him to, it grants him clarity that he never had before. He sees the world for how it really is, and acknowledges that nobody- the least of which their mother- is as different from Ashley as they pretend to be.

They're no better than her, and he's tired of people pretending that they are. People are all the same, no matter what ideals they try to uphold and represent. They still sacrifice others in the name of advancing themselves, still punch down whenever they can, and still lay blame on those beneath them rather than try to take control of their lives. They just use those ideals to justify themselves, but Ashley, and now Andrew, reject even the need for that justification.

This is why I believe the story is nihilistic. Not in that it asserts the inherent meaninglessness of life, but in that it grapples with the ideals we uphold and how they obfuscate the reality of the world we live in. The story, intentionally or not, highlights how ideals are often but a pretense we use to justify what we were likely going to do regardless, and how holding to them too strongly can lead to our ruin- and how monstrous they make us look to those who do not share them.

Consequently, this is how I view the part of the fanbase who thinks Decay is a good ending.

(the characters themselves represent existentialism rather than nihilism but i couldn't really fit that analysis in here without it feeling forced so i might cover that another time)

From that point on, their relationship becomes a lot more friendly, lighthearted, and playful. They ironically start acting more like children, but to quote CS Lewis:

"Critics who treat adult as a term of approval, instead of as a merely descriptive term, cannot be adult themselves. To be concerned about being grown up, to admire the grown up because it is grown up, to blush at the suspicion of being childish; these things are the marks of childhood and adolescence."

He's not ashamed of being playful with Ashley, or showing affection towards her. He's grown up. He finally sees her, and himself, as an adult- although he still doesn't show that in full until much later on (more or that later). But in Decay, he still sees her as a child, and to an extent, probably himself. Let's compare the ways in which he reacts to being called Andy. In Decay, he lashes out at Ashley and gets angry, even threatening her. But in Questionable Burial, he calmly says that Andy is dead and doesn't need Ashley's comfort, but still tries to reassure her that she's still needed. He's not ashamed of or hostile towards their prior dynamic, because he's grown past it. He still acknowledges Ashley's need to feel needed, but here, he recognizes its importance to her, whereas he was hostile towards it before.

It's a display of respect towards her feelings.

This interaction doesn't happen in the Sane ending, however. He doesn't play games with her and is just a lot less fun to be around all together. Why is that? Because he still hasn't yet shaken viewing Ashley as Leyley there. He still views her as a burden, as someone who needs taking care of. He's calmly accepted that, too, mind you, but he lacks respect for her because she's still a child, in his mind. But in Questionable?

The vision did more than just make him extremely embarrassed and lay his deepest desires bare. It forced him to recognize Ashley as an adult. When choosing between "Never" and "Never say never," if Never is chosen, the burden of thought is lifted off of him. But if Ashley chooses "Never say never!", he has to reckon with the fact that Ashley is an adult, someone who can consent to those kinds of things. Someone who MIGHT. Someone who has agency, and can make her own decisions. And more importantly… someone who can trust him to make his own.

Whether he desires sex or not is secondary; he's always had those feelings and has always been ashamed of them. But now that the part of him where that shame came from is dead and buried, there's no childish impulse to grow up. There's no attachment to the hate and bitterness he had before. Look at what he worries about when he picks up that she's uncertain or confused about who he is now:

​

It's her feelings.

He wants to be fun to be around. He wants to make Ashley happy. He loves her, and not as a romantic interest or even as a sibling. He loves her independent of all that baggage.

He loves her as a person.

Their relationship runs contrary to societal ideals in some pretty huge ways. So contrary, in fact, that it's hard for some to accept it as anything good, that it can ever be best for the people involved. It's incestuous. It involves them killing and eating their parents. It involves them distancing themselves so much from society that it's hard to believe they'll ever fit in it again. It's chaotic, it's messy, it's codependent, and maybe even toxic. And yet, here they are. They're coexisting. They're happy. They're healing. They're navigating the world in the only way they can: together.

Meanwhile, in Decay, Andrew refuses to allow himself to get closer to Ashley. He surrenders all agency to her, buys into his own narrative, drinks his own Kool-Aid, and may or may not condemn one or both of them to death in the process. Like it or not, the only path where Andrew takes ownership of his life is the one where he's closest to his sister. It's the one where he decides where they will go next, the one where he decides his own feelings matter, and acts in accordance with what he wants instead of how he thinks he should act.

His agency, his freedom, and his growth don't happen in spite of his codependency; they're happen because of it. They can't grow alone. They can't heal alone.

In reading the story, one must interrogate how important those societal ideals are in the face of the realities of what makes people happy. Are those ideals worth upholding in spite of this? Can we really allow people to fall through the cracks in the name of social norms? Can we blame people for taking rash actions when the social contract has failed them?

Or are we so blinded by those ideals that we can't see that people can be happy while blatantly disregarding them?

All I know is that in Burial, Andrew, having cast aside normalcy, now appears to be truly happy for the first time in his life.

Who are we to take that from him?

[marvelmymarvel]

Face Paint

Tobirama Senju x Reader

Synopsis: Normally, he was able to paint his face easily and swiftly, but today was not his day. Thankfully, you were more than eager to paint his face for him.

Naruto Masterlist: Here

A/N: Photo is not mine! I found it on Pinterest. Please let me know if you know the artist so I can credit them :)

Ps: this might be my favorite fic atm

Another grunt sounded out into the room, causing your eyes to flick once more from your book toward the white-haired man on the floor. His red eyes shone brightly in the mirror as the rays of the morning sun bounced off of the reflective surface and onto his unpainted face. Upon further analysis, you could tell by the way his nose was scrunched up that he was getting frustrated. "Tobirama" you called out quietly as your eyes flitted back down to your book, "Do you need help, my love?"

Another grunt hit your ears, and you bit back a smile as your eyes once more flicked up to where he was, but this time he was looking at you rather than his reflection in the mirror. Snapping your book shut, you crawled off of the bed and onto the floor beside him. "You know how much I love painting your face" you cooed out, fingers tracing his reddening cheeks as he looked away, embarrassed by the immense amount of love that dripped from your words. You took his silence as permission and carefully pried the paintbrush from his hand, "Move, please" you commanded as you tried to shimmy your way onto his lap.

"You're so demanding" he grumbled but moved anyway to make sure you were comfortably seated on top of him. "I think that's the reason you married me" your tease caused him to scoff but before he could bite back anything, you pecked his nose, once more causing him to short-circuit.

"Paint please"

He broke away from your gaze to grab the paint beside him, grumbling about how lovey-dovey you were being today. The two of you shouldn't have worked, no one saw the relationship coming but they also weren't complaining. In comparison to his harsh and hardened persona, you were bright and bubbly. Tobirama often wondered if putting you two together was some cruel joke the Gods organized.

But he didn't hate it.

You dipped the paintbrush into the red paint, eyes narrowing as you focused on painting his lines correctly for you feared one mistake would make him revoke this privilege. Tobirama bit back a sigh as you angled his face up to start with his right cheek. You weren't paying attention to anything other than drawing, but it gave Tobirama a chance to take you in without you teasing him. Your face was relaxed, yet there was a slight crease in your brow as you carefully began drawing a straight line across his cheekbone. He'd never voice it, but times like this reminded him of how lucky he was to have you in his life.

Your e/c eyes darted to his, a smirk forming on your lips at his love-struck look. Deciding not to say anything, you tilted his reddening face to the other side, now beginning to work on his left cheek. He tried to not stare as deeply at you, but he once again zoned out on your beautiful concentration.

"You're so cute when you're flustered" you cooed out as you tilted his head back to get his chin.

"So help me Y/n"

"Done!" you squeaked out as you flew off of his lap, nearly missing his grasping hand as he tried to catch you. Your giggle filled his ears as he chased you across the room, it didn't take long till you were cornered against a wall, your breathless giggles and pleads only causing his heart to grow bigger. Tobirama grabbed your arms, hand slipping up to grab the paintbrush from you, "Thank you my darling" he whispered before softly pressing his lips to yours.

Now it was your turn to grow flustered as you tried to spit back a retort, but you couldn't come up with anything, so you just stood there in shock. It wasn't like he never showed love, but this kind of love was playful...

Which was definitely not like him.

Before you could ask him what got into him, he pulled back and walked toward where his Hokage outfit was laid out. He paid you no mind as he set the paintbrush haphazardly on the dresser, "I have a long day today, but I'll hopefully be done by dinner time. If not, I'll have the ANBU come to fetch you-"

"What, you worried I'll get lost in my venture to the Hokage's office?" you teased but he simply shook his head at that, "Your mouth is going to get you in trouble someday" he bit back. From an outsider's perspective, they would have found his tone and words condescending and rude, but you knew him better than that. It was his own way of poking fun, and no one understood it better than you did, not even his own brother understood it. There were times when Hashirama pulled Tobirama aside to give him an earful about 'talking to you like an object and not a person'. You and Tobirama always laughed about those instances later at night in bed when no one could hear you.

"Have a great day Tobirama" you called out as he walked towards the door. He turned his head and shot a smile your way, "I'll see you at dinner time. Stay out of trouble" and with that, he was gone.

A bashful smile formed on your lips as you giddily watched where he was just standing. You were so in love with him and the fact that he let you do small things like this told you that he felt the same level of love. Taking a shaky inhale, you walked towards the bookshelf, lips curving mischievously as you moved back the jewelry box to get to the paintbrush you hid from him.

His paintbrush to be exact.

You eyed the paintbrush that Tobirama set down, that paintbrush just so happened to be yours. They both looked the same, however, yours was slightly shorter. It wasn't noticeable by look alone, but it was enough to cause him trouble when painting his face. Your plan had worked perfectly-

"By the way, I knew you switched our paintbrushes. I just wanted an excuse for you to sit on my lap"

Your wide eyes shot to the door where Tobirama stood, his smirk was cocky and caused your once mischievous grin to turn into a sheepish smile. "You could just ask next time... I do rather enjoy you painting my face"

You nodded at this, happy to hear that he wasn't upset with your little scheme. Without another word, Tobirama was once more off to his destination, leaving you feeling a whole mixture of emotions. But one stood out more than the others.

Unadulterated love.

[one-squash-one-end]

I wrote a giant Raven Cycle analysis

Hi! Over the last year or so I've been working on a sort of essay about various themes in the raven cycle series, and I finally finished it a few weeks ago.

It is titled: "Why I love The Raven Cycle - An excessive analysis of the themes of friendship, queerness and growing up".

And since tumblr loves its meta (and bc I love peer validation) I've decided to start uploading it bit by bit here, making this the masterpost (if I can figure out the logistics of the linking lmao, bear with me)

(beware of spoilers up to greywaren starting at like 3b!)

Introduction

What even is the Raven Cycle?

Trust me, the characters are queer as fuck and I can prove it a) Blue Sargent b) Gansey c) Adam Parrish d) Ronan Lynch e) Noah f) Henry Cheng g) Honorary mentions

The Gangsey is a polycule

Analyzing the reoccurring themes a) Friendship b) Being a teen/growing up c) (Found) Family d) Magic (as a metaphor) e) Further themes I appreciate

Drawing a conclusion

Click here to start with the introductory parts!

1. Introduction

So here’s the thing: I love fiction almost as much as I love my friends. There’s something deeply comforting about the escapism, even if the book actually makes me want to scream and throw it on the floor (only one book has been thrown so far, I promise!).  Fiction is a healthy thing to occupy my thoughts with: headcanons! Quotes being on loop in my brain! Just fandoms!

And for me, if I am hooked on a book (series), it does not even need a good plot where a lot of things happen. In fact, I would say that my enjoyment of a book is made up of 30% plot and about 70% characters and vibes. If the characters are bland, if they do not make me feel much emotion, it likely won’t be more than 4 stars (additional info: I am way too nice rating books!). I really, really need to love the characters, to be able to relate to some aspects of them, or it just won’t become an obsession.

Since I have already started explaining that a bit, let’s look at this question: What is important to make a book special to me? 1. I need to cry reading it. 2. I have to think about it often, even weeks to months after having read it. 3. Obviously, I need to love the characters. 4. I need to be in the fandom! This can be hard with some books, but the internet is a whimsical space allowing you to find at least a small number of people who are obsessed with a work of fiction to a similar extent as you are.

Now, why am I elaborating on this so much? It’s because The Raven Cycle did all that for me. It is my favorite comfort book series at the moment, for all those aspects mentioned, but of course I cannot just leave it at that. No, I wrote a whole-ass analysis on headcanons and some of its themes. You’re welcome.

2. What even is The Raven Cycle?

The Raven Cycle is all I adore and live for (next to my friends). So, naturally, it’s a book series, specifically a four book young adult contemporary fantasy series by American author Maggie Stiefvater. The books in question are: The Raven Boys (2012), The Dream Thieves (2013), Blue Lily, Lily Blue (2014) and The Raven King (2016), and yes I will admit that the publishing dates are a bit of a red flag. There is also the very relevant follow-up series called The Dreamer Trilogy (Call Down The Hawk, Mister Impossible, Greywaren), but it’s a lot less easy to get into that here as I do not know these entire books by heart, so I’ll stick to the original tetralogy here.

To stick to red flags, the books are set in the fictional Henrietta, a rural town in non-fictional Virginia, US, in the 2010s. However, that doesn’t really say *that* much about the plot, so let me summarize that really quick, because I can do better than the official synopsis! (Or let’s pretend I can.)

Blue Sargent comes from a family of psychics, yet she does not have any powers of her own. Even worse, she is a bit of an amplifier for the others, meaning she is always somehow but never directly involved in the business. As if that isn’t enough for an identity crisis, every psychic she has ever met has told her that her kiss would kill her true love. Yikes.

But because she is that amplifier, she comes to a church watch on St. Mark’s Eve, where psychics see the spirits of those to die within the following year. It’s important business, but to her it’s really just staring into the dark. Until she does actually see a spirit: That of Gansey. Of course this is not a coincidence. No, to add to this teen’s mount of problems, there are only two reasons why a non-seer would see someone’s spirit: They are their true love, or they killed them. Or, in Blue’s case, maybe both.

The aforementioned Gansey is Henrietta’s Golden Boy, the son of politicians (read: he’s fucking loaded). He does not run with the Republicans though, he runs with dead Welsh kings, meaning he has been searching for the probably dead, presumably sleeping Welsh king Glendower (*1350; †1416; yikes) for the past like seven years. Why the fuck would he do that? Well, legend says that he will grant a wish to whoever wakes him, and our favorite PTSD-ridden guy really wants that favor.

Aiding him are fellow Aglionby students Adam Parrish, Ronan Lynch and Noah Czerny, plus Henry Cheng, though only a lot later in the series, but I really did not want to leave out that menace (affectionately) here. The paths of Blue and the boys cross because of Gansey’s search for Glendower, plus the fact that Blue works at a popular pizza place, but that’s a lot less whimsical. And, well, there’s the implication that Gansey might also be her true love, but perhaps she just kills him because of his bad fashion sense, it would be justified. Anyway, in true Famous Five fashion (Ronan is the dog; I won’t elaborate, the girls that get it, get it) they are of course not the only ones searching for the king, so it’s not completely a wholesome friend bonding activity all the way through.

Be prepared for: friendship and growing up, lots of treasure hunting, family mysteries, magical forests, illegal and slightly distasteful activities (our favorite of course), but most of all, heavily queer-coded (or even canonically queer) characters. Be Gay, Do Crime.

[skeletal-butterflyy]

D&D subtext in Stranger Things

Highly, highly requested analysis (no it’s not) of some interesting things I noticed going on with D&D in stranger things. This includes my personal thoughts based on my credentials of; having watched the show more times than i can possibly count over the past 7 years and current knowledge of DnD classes, worldbuilding, monsters, character creation. I’ll have this on the pinned post on my blog and i’ll add a text break because it’s…a lot.

Misc. :

The show starts with and is based off of Dungeons and Dragons, a table top rpg that the characters like to play. In the first season we don’t get much insight into the boys characters or the game itself, it’s used as a device to further the idea that these kids are nerds, they play a nerdy game that involves fantasy and math. As the show progresses it continues to be used to push across certain ideas, like establishing each character in the party and in season three showing how the game might represent the boys as social outcasts and their childhood.

DnD, is used throughout the show but we get to see actual play of the game in season one and four. It’s also used as a way to name the monsters they face (the monsters do get the right ideas across but the game and show versions are actually quite different from each other, especially the demogorgon)

In season 4 the idea of satanism connected to DnD really interested me. Why was everyone connecting DnD to satanism? I mean we know that everyone thought that Eddie was killing all of these people but that doesn’t mean that his club had anything to do with it. The duffers interestingly incorporated the real stigma that was widely held in the 80s against the game. At the time people were going on witchunts against anything regarded as being possibly related to satan. The most interesting part about all of this though is that, Dungeons and Dragons was made by two very devout christian men, Ernest Gygax (one of the founders) was even a Jehovah’s Witness! The two being christian’s though, incorporated a lot of religious themes into the game including clerics and paladins (calm down you fiends i’ll be getting to that) who carry a lot of religious themes and monsters that may represent demons. Outsiders might have seen a game presenting such themes as a mockery of their faith or a way to promote satanism simply by having monsters.

Characters:

I want to preface this by saying the classes that I’ll be talking about aren’t actually time period accurate. The boys would have been playing D&D 1e which had the three classes of : Fighting-man, magic-user, and cleric. While the classes listed are from D&D 2e which didn’t come out until 1989. Anyways.

In season 1, in the first scenes of the show we get to see what is the middle of DnD session before it gets interrupted. We get the basic ideas of their game across, Mike acting as DM presenting the adventure he created to his players while the rest of the party waits in anticipation for what they have to fight next. We also get to see some of will’s drawings of the party and his character

Keep these pictures in mind.

In season 2 when mike and max are arguing in the gym we hear mike say, “I’m our paladin, will’s our cleric, dustin’s our bard, lucas is our ranger and el is our mage.” At first glance it seems like nothing, oh he’s just listing off the party members and their roles and how max doesn’t fit into the party. But when you look at it properly it’s so much more.

Lucas and Dustin could not be more perfect for their chosen classes. Lucas is a ranger which means the ideal stats to be highest would include dexterity, constitution, and wisdom. Dexterity refers to, in this case the hand eye coordination and general reflexes. Constitution refers to a characters stamina and toughness, and wisdom is well, wisdom. Sounds like a certain character that has quick reflexes, has a tendency to take punches pretty well, and has good problem solving skills huh? All of these apply to lucas quite well, AND his weapon of choice is a ranged weapon, the slingshot (wrist-rocket you know what I mean), it’s really quite perfect. As for Dustin, he’s said to be a bard and the highest ideal stat for that class is charisma. Dustin has been proven to be very charismatic, he gets along with people and he can very comedic. Another thing about bards is they will tend to be very eloquent, inspirational, and persuasive, it comes with the territory of having a high charisma score, and we know dustin has a way with words. Dustin’s known for being a an eloquent and persuasive character; he convinced Mike to make up with Lucas after their fight in season one, he convinced a hesitant Mr. Clarke to tell him how to make a censory deprivation tank, he convinced steve to join him in looking for dart, and convinced erica to go through the vents (sort of). So, it makes complete sense for dustin to be a bard.

Taking a look at Mike’s character, his class also makes a lot of sense. Mike plays a paladin when he’s not the DM. A paladin is a “devout warrior” they fight with a cause, to serve their patron deity. They’re often compared to knights because of their values and the armor they usually wear. A paladin is the perfect representation of mike, especially for how will described him during the painting scene, he’s a leader and will throw himself in dangerous situations for the sake of the party, like when he jumped off the cliff for dustin.

Now, remember how will’s drawings, specifically of his character? Remember how mike said that will was a cleric? Will’s character is complicated. Will’s character being a cleric doesn’t make sense but makes so much sense at the same time. His character doesn’t look like a cleric. Clerics might be spellcasters but they don’t traditionally carry a staff or wear robes like we see will’s character does. He wears wizard clothing and has wizard abilities, not to mention in the first scene we see him play DnD and attempt to cast fireball, a spell that is most commonly associated with wizards and sorcerers and he does not seem to get his magic from a deity like a cleric traditionally would. (Clerics can cast fireball but only if they are part of the light domain) So, his character seems to be more of a wizard than a cleric, which is odd.

My theory relating to Will’s character:

Looking back at what mike said, Will’s character class doesn’t make much sense. But, I personally feel like Mike wasn’t being totally honest. First, he listed el, who they might consider to be part of the party but she doesn’t have an actual role in the game, but of course she would be the magic-user/mage. I think that mike made the list based on his feelings about the party specifically regarding will and el. El has powers in real life so it makes sense he assigned her the role of mage, and replacing will for him to become a cleric. It’d be interesting if Will was simply a cleric in mike’s personal thoughts about the party because it would make it so mike views them as very close. Paladins and clerics are very similar in relation to the fundamentals, a paladin is a warrior that swears an oath and serves a deity while a cleric is the servant of a deity that heals and fights. Basically, a cleric does more spell casting and less fighting while a paladin does more fighting and less spell casting. Since the two are so similar it would give a lot of depth to the characters being best friends, who have a much deeper understanding of each other than the rest of the party would. And even if he wasn’t simply a cleric in mikes mind and will the wise is actually a cleric, this would still show that the two having a much deeper connection and understanding of each other was hinted at from the beginning.

[wispforever]

Some thoughts on Itachi

So, I've seen a lot of comments circulating about my tags on this post, and I'm intrigued at the interest. I didn't expect it, as I see much more pigeonholing of Itachi's character than honest to god analysis. No hate- I'm no stranger to Kishimoto's writing. Some of his characters were unfortunately butchered or never given the chance to be developed properly, and Itachi is most certainly no exception. That said, I like to grant him a bit more nuance than I see on most blogs. I think people get a little wrapped up in the supposed "moral implications" of exploring how Itachi was also a victim of the system, as well as someone who victimized many people. But it's silly to equate character analysis and context consideration with condoning genocide.

I have a good laugh every once and a while at the metaphorical gymnastics people do in order to stay in the good graces of a bunch of internet trolls who are just Waiting for any opportunity to tell you you love murder and think it's delicious just because you made a post exploring a character's background. Media is grey; it's layered and wonderfully complex. There are many wrongs and rights in every story, and many wrongs and rights within those wrongs and rights. That's what I love about Naruto. Often times it's really too much like real life. Instead of people being black and white, right or wrong, bad or good- they're usually in a tough situation, trying their best and falling short, don't have all of the information, acting with good intentions or acting on what they believe will bring about a lesser evil, and then end up hurting others.

But it is much easier to assign blame and move on. A so-called bad person will always be the perfect scapegoat for issues bigger than them. In Itachi's case, the fascist government in the Leaf. It's easier to say Itachi could have just refused and decided not to be involved, than to recognize that like almost every other character in the narrative, he was under extreme duress, living in a military state. He was a child whose existence, along with all the other children and adults in the Leaf, was only valuable as long as he could serve as a tool for the war machine in the shinobi world's fucked up political system. And saying this is not the same as saying he was not capable of better decisions or that everything that he did thereafter or in general should not be read critically or subject to hypothetical consequences. It is the same as a saying his actions cannot be fully understood without complete context, and the themes of Naruto will never come through if every villain is just "evil" with no further nuance. And it would be boring too LOL

That said, I love to think about Itachi's situation back then. The ages in Naruto are a bit muddled, a little inconsistent, subject to change and interpretation, but Itachi was a child when he murdered everyone in the Uchiha compound. Most sources say he was 13. It should go without saying that someone so young isn't capable of the same decision-making or critical thinking as say, a 30-year-old, someone whose brain is finished developing and has much more experience on Earth.

Itachi's experience at this point in his life is informed by his age, and it's obviously informed by his childhood, as he has no other place from which to draw conclusions. Itachi grew up in a warring state. He saw people die and was subject to extreme violence in his formative years. To make matters worse, he was taught that war was inevitable and the only thing he could do to guard against it was kill others before they got the chance to kill him (threaten the village). Thusly, Itachi internalized at a very young age that what was in his power was to minimize damage (to himself, to his village, and to the world). What was not in his power was to stop this violence entirely (by adopting a critical mindset and going against fascist powers).

A part of this I think people often forget is that Itachi has absolutely nowhere to adopt this mindset FROM, as even though his father and the other members of the Uchiha clan seek equity in the Leaf, if they were to overthrow the Hokage and create a new system, it would still presumably center around the same ideals (minus, of course, the oppression of the Uchiha as a group). Fugaku is the head of the Uchiha clan at this time. As someone who imposed near impossible performance-related expectations on both of his sons, and withheld love and affection whenever they came up short (so often that it was at the cost of having any considerable emotional bond with either of them), there is absolutely no good reason to believe that Fugaku would reform the Leaf using a non-fascist ideology. And if he did, there is no good reason to believe that he would be some kind of visionary LMAO

This is important to remember because when it comes down to Itachi's decision to either kill everyone in the Uchiha compound and his family, or be part of the coup that would overthrow the Leaf, some people treat it as though it's a choice between fascism and non-fascism, which it most certainly is not. And if it was, Itachi, as a child who had grown up immersed in this ideology, would not be able to appreciate the difference. This context allows us to understand further what Itachi was really weighing in that moment. Accounting for his young age and limited worldview, the only valuable difference in this moment to Itachi was the amount of bloodshed that he would "allow" to happen. Essentially, he sees the options as follows:

Either give in to Danzo and kill everyone in the Uchiha compound, or facilitate a coup where the current government is (hopefully) overthrown and risk starting another war.

Here, Itachi pauses. He has known war. He knows how it affects children, adults, families, and whole nations. The peace he's living in currently is bought with blood, but it's the only peace he's ever known. The alternative is horrifying. And a war in this context, Itachi likely thinks, would be his fault, as he has now been put in the position to "prevent" it. Danzo and the whole shinobi system have groomed him into thinking so. Itachi, at age 13, cannot understand that there would be no war; it exists only as leverage for Danzo's argument at this point. His sensitivities are being played on.

Fugaku, though he is not the same as Danzo, offers about as much help as he does (that being none). Fugaku has no interest in avoiding war; if a war breaks out, it's justified because it will still mean his clan will no longer be living in oppression. This idea is valid, as fascist systems and discrimination can only cease to exist when we rise up against them; unfortunately, this most often calls for righteous violence, as the oppressive powers will not be moved with peaceful shows (not to mention they are willing to go to extreme lengths to avoid losing their hold on the people they have crushing power over, i.e. the Uchiha massacre). But Fugaku has no words to explain this to Itachi, who fears the worst and further fears being responsible for the worst. All he does is act as if it's a moral failing that his 13-year-old son is unwilling to stage a coup, which he believes could mark the abrupt end of a peace that's only just begun.

That said, let it be known that Itachi does appreciate this situation with SOME nuance, though it isn't of the kind that might have enabled him to see he was being manipulated. He at the very least understands that Danzo is a warmonger and oppresses those he fears (the Uchiha). He understands that the rights of his clan have been sorely disrespected, and that the issue needs correction. He understands the anger of his friends and family. This is why it takes him much deliberation before he can even come close to making a decision. He plays both sides right up until the end, listening to Danzo, as well as Fugaku and Shisui, paying attention to the current atmosphere in the Leaf as he tries to decide.

It is something he doesn't want to do. Here's where I get to the part I put in the tags of my drawing.

In this situation, it's almost worthless to write an analysis about Itachi's feelings at this time, his understanding of what was actually going on, his loyalty to his clan or his loyalty to the Leaf, because really, he could not grasp it. He was never prepared for this. He never knew he would be asked to make a decision he could only understand as "your family or the world?"

Itachi was put in a position that had no happy ending. There was no decision he could make that would not hurt. That could not result in a cataclysm that split him right down the middle. There was no version of this story that a 13-year-old could carry out thinking "I have done the right thing."

And that's the important part. Both sides asked him to make this decision, and so both sides are guilty of placing an immeasurable pressure on a child who should never have been put in such a position. Regardless of ideology, regardless of price, regardless of oppression or loyalty or devotion or any other thing- someone else should have made this decision for Itachi. Someone else should have been responsible. An adult, at the very least. Someone who COULD understand the implications of both options. Someone who COULD go forward and appreciate the evil of fascism and know that a coup was necessary. Itachi was never capable of such a thing. If he made the "wrong" decision, than every child who can't explain to you what a fascist government in a military state looks like and explain what the difference is between a hate crime and resisting a hateful power, is also wrong. Here is the nuance. These are things a 13-year-old in this universe cannot be expected to understand unless they are taught. And Itachi had no teacher. Quite the opposite. There were only forces pressing him from both sides, saying "choose."

Had his father done this for him, had Shisui been in this position, had any other adult Uchiha acting as a spy been put to this task, it would be a much different narrative. But of course, it had to be Itachi, who Danzo knew he could manipulate. It had to be a child, someone skilled enough to do the job, but inexperienced enough, afraid enough, to be willing to sacrifice everything they had to see the mission through. Someone you could whisper "greater good" to and have them hand over their well being on a plate. Someone who didn't understand they had the power and strength to destroy the system threatening them.

On a narrative level, Itachi exists to illustrate this point. How young people are systematically indoctrinated to serve a greater purpose, be it under a specific government, religion, or otherwise. We see it in real life fascism, in real life cults. There's no mistake. It isn't an accident that Itachi's story begins like this.

Which brings me to the rest of his life. The reason I drew the picture in the post referenced at the top. Itachi's character is a bit of a mystery the rest of the anime. Be that because of bad writing or an intentional omission, his motives, thoughts, and opinions are largely left ambiguous. However, there are still a few moments that interest me as far as the implications of his development.

When Itachi first comes back to the Leaf village, he faces Kakashi. On the one hand, this could simply be a narrative tool- the big bad meets the big good. He takes Kakashi out of commission! The first rogue shinobi we see who is able to defeat the pillar of the Leaf, the Copy Ninja, and without even breaking a sweat!

On the other hand, I find the brutality of Itachi's attack very intriguing. Again, it could be the tough guy act, but he's able to keep three jonin busy easily using standard genjutsu (with the help of Kisame). It wouldn't be a stretch to say that using the tsukuyomi is overkill, and at a considerable price, we learn later.

Why then would Itachi, who has been shown to have excellent battle intelligence, who is strategic to a fault, be willing to jeopardize his health among other things just to... scare the Leaf? Make sure Kakashi wouldn't be a nuisance in the future? Sure, the last one would make collecting Naruto less complicated, but they dispatched Kakashi easily enough, and surely Jiraiya, who Naruto was with at the time, would pose a bigger problem than Kakashi.

It doesn't make strategic sense, which makes me wonder if Itachi has a special animosity toward Kakashi. Being his superior in the ANBU before the Uchiha massacre, someone who was willing to conduct surveillance of the Uchiha compound without question, Kakashi could have become a symbol of the indifference of the Leaf for Itachi. He could very well have been a reminder of the inoperable position Itachi was put in when he was still a child, and Kakashi, of course, was an adult. Another adult who did nothing. Noticed nothing. Did not help Itachi.

And while I'm certain that Kakashi would have taken severe issue with the goings on in the Leaf at that time, judging by his reaction when he finds out the truth in Shippuden, Itachi knows him only by what he did then. Facilitated surveillance of the Uchiha compound, was a supportive superior, but nothing greater. A bystander whose compassion, while well meaning, was entirely unhelpful.

I don't think it's far fetched that Itachi fucking crucified Kakashi because he was so angry at what being in the Leaf did to him. At some point, as he got older, he realized how terrible it was. He realized there were people like him. Children who were "born killers". Pawns in the game of the shinobi powers.

After leaving the village, Itachi joins the Akatsuki, who are also seeking peace through war (another story). He is supposed to spy for them, but doesn't follow through in any enthusiastic way (that we're shown). He works alone for quite some time, or else with a group (briefly he was shown with Conan and Kakuzu). He is partners with Orochimaru before he's expelled from the Akatsuki. He is partners with one of the Seven Swordsmen of the Mist. He grows up and meets many people, sees lots of stories unfold. He learns that he isn't in a minority. Many shinobi are just like him.

And then, as an adult, he is partnered with Kisame, who he finds excellent camaraderie with because of their similar backgrounds. We see in this relationship that he understands what happened to him and what he did enough to acknowledge that, while neither of them are monsters, as many people say, they are human. And humans make mistakes. Humans are complicated. Wrong and right and wrong and right. They understand each other, and Itachi understands more clearly what the world puts these children up to. What it forces shinobi to become. That it isn't all his fault, but he still did it. And so he is responsible. He appears to be able to live with that.

But when he returns to the Leaf, those feelings bubble up. He hates the Leaf. He hates that system. He hates what he did. Maybe he even hates being a shinobi, how his excellence was weaponized, how being an Uchiha doomed him and his clan. And for what?

Itachi is played as a character who is only sensible, only logical, only interested in practical things, has nothing to express. But the way he behaves toward Kakashi in that moment bares all his grief and anger. I just like to think about it. We have so few moments where we get to see Itachi genuinely. The fight with Kakashi, the Sasuke/Deidara fight, his thoughtful moments with Kisame. Just makes me wonder what could've been if Itachi's story had gone a little differently.

Anyway, if anyone would like me to expand on any points or has additional thoughts, feel free to hop in my ask box or leave a comment. Thanks for the interest, I love to talk.

[dumblucksers]

II 15 SPOILERS

here is my taco recap + analysis that I wrote after someone mischaracterized her in front of me:

just a disclaimer I have no idea what I'm talking about half of the time so sorry if some bits don't rlly make sense :P

ok so starting with her in season 1, literally all we see her as is this insane little cray say thing who has an iq of 7, apparently speaks French, spits lemons, screams randomly and says things that make no sense LMAO

she gets close to pickle and they stick together for basically the entire season

obviously we know now that her motivation this time was to become the fan favorite and get to the end so she can win the million (for reasons we don't know honestly, maybe find out in 16)

there are also moments in s1 where she'll slip up the act (but they play off as comedic effect) example when she calculated her fall in ep 12 or in 11 where she revealed her arms and was speaking full sentences to pickle for a second and a half

but anyway right at the end when she loses is where she reveals her true self and tried to steal the million after losing (and also severing her relationship with pickle)

one thing to point out before moving on is that taco is an analyzer, her act of being dumb gave her time to observe all of the contestants and pick the right allies and whatevs

n e way moving on to s2

taco has been stalking the entirety of s2 up until she reveals herself in 9, where she still wants the million (or rather half of it, and for reasons we still don't know) and she takes interest in the grand slams team, particularly microphone, who ironically doesn't exactly have a strong voice in the game and is, in tacos eyes, an easy target. So she reveals herself to mic and offers to help her advance in the game in exchange for 50/50 of the million

at this point taco only rlly sees mic as a pawn, and easily controlled. mic is unsure as all she's hearing is how useless and sad she is from a tiny British taco KSJSJSK

however mic is lowkey desperate herself bc she feels as though she isn't pulling her weight on her team, doesn't have much of a voice in the competition, she just lost soap aswell. so she accepts tacos help in the maze challenge using her gain setting.

now in 11 we see more of tacos strategies play out, as she further analyzes the grand slams, as it's categorized as: the alliance (baseball, nickel, suitcase) the friendship (suitcase and balloon) and the other ppl (knife and mic). Taco is more focused on the alliance and their relation to balloon, and she urges mic to get more involved in the pushing away of balloon to get him eliminated (and to further progress mic in the game) but rather than using the approach of attempting to make allies with baseball and nickel, we learn of tacos more violent tendencies. she wants to use a temporary paralyzer (courtesy of test tubes lab) to decapitate balloon. this is where mic draws the line, and also the episode where she proves herself to taco by instead of using violence, she substitutes subtle verbal and emotional manipulation instead. Taco is greatly impressed by this, and it's at this point where taco realizes that mic may not be as helpless as she originally thought.

now taco and mic are starting to reach equal ground, as in 12 they are more casual with each other and just chilling. it's also where the TIME TRAVEL STUFFF HAPPENS WHWOAOOAOAOAOOWOWOWOWOWOW

basically when they're down in test tubes lab and lightbulb activates the Time Machine portal thing, mic sees taco reach towards the portal, before it closes. this is (I think) the first time mic and the audience has seen taco look built a k o my god how tf do you spell vulnerable. ok there we go anyway this is the first time we see taco look vulnerable, and *possibly* regret towards her past actions. she reaches while saying "another chance, perhaps." and while at the time it could have been taken as another chance at stealing the million, ii 15 adds more context that she wants another chance with her relationships in the past, particularly with pickle, and she clearly regrets what she did.

now after this point mic is now a bit sus of what just happened, seeing taco reach for the portal. we also get to see another silly side of taco (not the cray say silly, just normal silly) as she tries to distract mic from the portal And from the fact that test tube and lightbulb are now in the time stuff.

oh yeah also at the end the episode knife finds out about mic and taco oh nooooo well go into that in a second

in 13 yknow they're trying to get knife to join them cuz now he knows and yeah yeah whatever. also taco and mic are getting closer as equals and as friends too so yeah

mic also brings up the portal and taco ignores, as per usual.

now let's get to the interesting stuff. Taco and mic are following knife around in the minecarts, and taco says smth like "is this you holding a grudge over my true self? For why? Everyone knows who I am now!" And mic says "doooo we thooooo????" this is like. 99% attached to the whole portal thing, bc mic saw that vulnerability and now she knows there's a teeeeeny bit more to the evil lil British Mexican food than what meets the eye

also there's another instance of taco and mics violence is bad bit, where knife is about to fall off, and while taco is like YIPPEEEE mic is like erm. No. And then saves knife

now here's where it gets even MORE interesting, where knife calls out tacos first alliance with pickle. Taco obviously gets mad at this, but mic doesn't rlly have a huge reaction except to tell knife that "she's(tacos) changing", which shows that she prolly put two and two together about the portal thing (prolly isss bc she stops pestering about it at this point)

now at this moment in 14 it's clear that taco and mic are partners in crime (well crime might be stretching it. Or not considering what happens), taco goes to shut down mepad so she and mic can teleport freely (and, to the prime shimmer spaceship) where the last violence is bad instance comes up. mic says PROMISE NO VIOLENCE and taco teeechnically doesn't promise, but yaknoww

now cut to when taco uses violence, she kills test tube and paralyzes fan to mics horror. she won immunity but at the expense of others , and that wasn't smth she was comfortable with, and that was her breaking point. she drops taco AND the entire show and eliminates herself

this is also tacos breaking point, in a way. where she realizes how much the game has shaped her into doing heinous acts, and for what, a chance at a cash prize? And now that she's completely out of luck for that prize, her work was for nothing. and it was at the expense of her two closest friends.

she pinpoints where she screwed up, and it was at the finale of season 1, where she broke her ties completely with her best friend just for a chance to steal the prize money. It was the game that fucked up her mentality, that every horrible thing that is done is for the greater good, and to use the rules of the game and the people you meet to advance for a extremely low chance of winning it all. Realizing all of this, taco doesn't want a repeat of this cycle, since the competition is so close to completion. She requests the challenge information from Mepad, and uses him as an incentive to Mephone.

But before we go there time to talk about her BANGER MUSICAL NUMBER YESSSS MY LIL THEATRE KID

anyway in the song id like to point out the banger lines "and we choose, to feel this pain, and we lose, more than we gain" which is basically everything I mentioned before about using the rules of the game and pushing away friends and whatever, and then eventually losing more than you get

next part "if I can't win the prize, I'll play my last reprisal, just to bring their lies all to an end" and then mepad is all like welll you gotta regenerate and tacos like, yeah that's prolly not gonna happen. And mepad points out how she believes she can't start on a clean slate. taco is like bro. with my track record? dawg there's no slate to begin with LMAO

but seriously with everything tacos done she believes it's too late to restart and that everything she did is irreparable (which ngl, kinda true maybe? but also not cuz she hasn't even apologized just yet) and mepad tries to convince her that yes you can change!!! youuu can make a difference...you can make it right... but taco doesn't rlllly listen

ok long story short she takes over the next part of the challenge which is truth or flare, where platforms rise if the contestants tell the truth and falls if they lie, and their fire has to reach the top and burn their rope. Taco, using her extended stalker knowledge of s2, quizzes the contestants on their interpersonal relationships and ngl as Mephone put it it's just a twisted group therapy session lmao

fast forward to nearing the end and the last question taco asks is to suitcase about what she thought she saw when she was being a floating bow tie. suitcase brings up her hallucinations, to which everyone, including taco, is horrified by. Taco sees how the game has affected suitcase, by making her so anxious that she literally HALLUCINATES, and that is yet another breaking point for her. She urges the remaining 4 to leave the competition before they go in too deep. She admits to her not caring about the cash prize anymore, as she "saw the desire took her to extremes" (the violence thing between her and mic) and how the game changes people based on how deep they get into it. She calls out Mephone for getting too deep aswell, as she brings up his challenges that clean up his messes, using tactics such as surprise double eliminations to add drama that mentally fucks with everyone involved in it. Her lil spiel is interrupted by a bush shake, since lightbulbs lil pen she's been clicking actually calls out a signal, and that anyone nearby could answer the call. Taco starts cracking out of fear? nervousness? Pressure idk anxiety any of those, because as knife points out, anyone could meannnn pickleeeee orrrr miccccc oh nooooo. knife says that she has to face her truths too, And then taco cracks completely and dies. annnnd everyone is horrified and sad, except for Mephone obviously, who is now threatened by taco since everything she said was true ngl jdhdjs

but also goes to show how mentally fucked taco is aswell, which while yes it is her fault that her relationships ended the way they did, the common denominator AND motivator is and was always the game.

anyway mepad and the other contestants force Mephone into reviving taco, and mepad formally resigns from the show convinced by tacos speech about leaving the game before it fucks them up. Mepad teleports away and stays with taco, urging her to stop hiding away from her truths and face pickle and mic, if for the last time. Aaand taco agrees

OK THATS IT WOW so tldr taco did some no no things But her unhealthy obsession with Winning a constantly (and unrightfully) changing game was the main factor, and her realization of this is leading her to a redemption arc that she and the people she hurt will (hopefully) heal from

weeee

[aster-blogging-dracula]

Ok so today's entry is definitely gonna be important for the analysis on how the topic of sexuality (which is one among MANY topics that this novel covers) is explored throughout the story and throughout the concept of vampirism in it.

I wanted to note these things down for myself cause this is a topic that really boils my blood when seeing academic analysis of it but I want to read the full text carefully through Dracula Daily and make a proper personal opinion of it before reading anything else (academia.edu PLEASE stop emailing me things I will crush my head on the wall). (For now, my overall opinion on this topic is that academics focus way too much on making a metaphor out of everything when a lot of things in this story make more sense when analyzed as parallelism, or as a literal part of the plot with no further meaning...)

Anyways. This is the first time in the story when a scene of (almost) vampire feeding is narrated, and the scene that makes Johnathan go "this is it, nowhere is safe". So this kind of settles a first impression on what being preyed upon by a vampire feels like (at the same time it could also serve as reference for when vampire feeding feels WAY differently from today, and therefore can be interpreted differently). We have:

The feeling of seduction of some sorts(EDIT: I should point out that vampire seduction by this time was already, from The Vampyre to Carmilla, along with several folklore, a well established trope). Is Johnathan's initial fear out of an unconscious feeling that they're vampires? Because of their sudden appearance in the otherwise empty room? Because he loathes being disloyal to Mina? Could be a mix, we will never know. But it's interesting to ask oneself these things.

I'm not going to expand on why the description of how the girl approaches Johnathan's neck is erotic, just go read it. I listened to the Re:Dracula entry today and aw lawd that's... The academics win on this one that does sound like a sexual thing good god.

It also sounds quite monstrous tho. The licking of the teeth, the red tongue, is similar to how the wolves were described on may 5th (and later, Dracula's gesture towards the other girls is compared to the one he used with the wolves, This is actually the first direct association between wolves and vampires as a similar being I think)

Dracula's "I too can love" speech and him undressing Johnathan is a whole topic for a different post which I do Not Have The Energy To Make (and that someone out there will probably do better than me today)

Lastly, we have Johnathan's dread at the end. That's a lot of dread wow, even worse than Dracula. Now, of course, a big part of this is due to them being VAMPIRES. WHO WILL KILL HIM. Because this is a vampire story. But it also leads us to other questions. Could this dread also be a dread of the desire he felt? Because of loyalty to Mina or because of the dominant stance the vampiresses took (which was Inappropriate in victoriam standards)?. These are the questions academics usually explore. There's also the less "This symbolizes That" approach which takes the fact that vampires=dreadful because of plot reasons, and draws the conclusion that making such a dreadful creature have a sexual attitude, said attitude is demonized. Additionally, in the Dracula Daily fandom, there are also people noticing how his dread is akin to the feelings of an SA victim. (Which leads us to the question of How Did Bram Know That?)

In any case. One thing is clear. They're vampires. They want his blood. Poor boy has been sleep deprived, questioning his sanity, and being manipulated by his employer for more than a week now. His employer who has just saved him from getting eaten. That's a shock. That's a big fucking shock alright.