#stories don’t become meaningless just because you know how it ends

[lunarwings-rambles]

"you knew how it ended before you started the book!"

did we really though? did anyone of us truly understand the agony haymitch went through, the awful awful things that he endured at capitol hands, things that no one else knew about unless they were directly involved in it?

no. no we didnt. Because (in-universe) the Capitol hid the ugliest truths. Because the Capitol painted their pictures of haymitch being the idiotic drunken wretch from 12 who once was a victor but now is a laughingstock. they painted their posters and we went along with it.

SotR was awesome and sure there were some parts I didn't like but that's every media. Just because we knew how it ended didn't change the impact one bit, and I think that shows how good an author Collins is

“sotr is mid because you already know how it ends” shut the fuck up, the point of the book is that despite knowing how it ends you would have never known what actually went down because that’s the point of propaganda, the whole book is about the power of propaganda

[kingofbodyrolls]

Say I Do (m) | jjk

*this is a re-upload since I deleted my old account 🫣

You and Jungkook tease each other at your wedding reception.

→ Pairing: jungkook x female reader (no Y/N and unnamed) → AUs: non-idol!au, wedding!au → Genres: smut– like it’s just smut, nothing else 🤣 → Rating: mature/explicit/R18 (this is mature/explicit content, so minors, please do not interact!) → Word count: 5.2k → Warnings/tag: unprotected sex, exhibitionism, voyeurism, public sex, handjob, oral (female receiving), dirty talk, slightly rough sex, choking, biting, spitting, ass grabbing, impreg kink, degrading names (whore used once). → Author’s note: I made this for my lovely friend Lua (@letjungcoook7)!!!! SURPRISE!!!! I hope you like it! I was inspired to make this because of our chat, and I just want to say that you are so fucking lovely, sweet and kind 💖 I really hope this isn’t too much, but I just had too 🥹 I really wanted to make it dirty, but it ended up being more sweet instead, I’m sorry! I would talking to you and I just wanted to let you know that I adore and treasure you 😘 Honestly Lua, I just wrote this to tell you how beautiful you are– mind, body and soul. Thank you Lua, I love ya 💜 This is just something very short while I work on ‘My Heart’s Home’. But I hope you like it, and please let me know what you think: my inbox is always open, and I love to hear from you, even a reblog/comment will put a big smile on my face 💜 Also!!! This is written from Jungkook’s POV (well I tried, lol). And normally I don’t describe the reader/MC, but she does have a tiny bit description in this, but I still feel it’s vague enough. But if that isn’t your thing, it’s completely fine 🙂 This is not proofread (because I’m too lazy for that right now). → Read on AO3? [link] 

Rising gracefully to his feet, Taehyung's infectious enthusiasm fills the room as he declares, “I propose a toast!” His radiant smile sweeps over the myriad of guests you meticulously invited to your wedding—more than a hundred souls sharing in the joy of your love story. 

As he prepares to speak, Jungkook can't help but marvel at the grandeur of the occasion. Despite his personal inclination towards a more intimate celebration, he wouldn't dream of denying you this moment, surrounded by the warmth of friends and family who have come together to witness the union of two hearts.

Despite Taehyung's earnest attempt to capture Jungkook's attention with a throat-clearing preamble, Jungkook finds himself inexplicably entranced elsewhere. Even in the midst of one of his closest friends delivering a heartfelt wedding speech—something he should be wholeheartedly absorbing—but it’s hard. As hard as his dick that you’re palming over his dress pants.

The tantalizing dance of your hand sends ripples of pleasure through him, an intoxicating distraction that eclipses all other thoughts. It's an artful symphony of sensation, each movement crafting a masterpiece of desire within him. The struggle to concentrate on anything else becomes an exhilarating battle. Fuck. 

You, the mischievous enchantress, wield your allure like a potent spell. 

A tantalizing awareness of your own danger courses through your veins, and you wield it with an expert finesse. Every knowing glance, every sly smile, is a calculated move in the game you effortlessly play. You've mastered the art of ensnaring him, wrapping him around your finger with a magnetic force that compels him to dance to your whims. It's a dangerous dance, but he willingly succumbs to the intoxication of your charm, embracing the thrill as much as he cherishes the intoxicating love he feels for you.

What the fuck is Taehyung saying?

Taehyung’s words dissolve into a meaningless buzz, drowned out by the illicit symphony you're orchestrating beneath the table. The audacious zipper sliding down and the tantalizing exploration of your hand over the fabric of his boxer briefs command all of Jungkook's attention.

Profanity trembles on the edge of his tongue, but it's lost in the overwhelming sensation that eclipses any coherent thought. Your stealthy touch renders him blissfully oblivious to everything else unfolding around him.

Suppressing a low, guttural sound, he clenches his teeth, using every ounce of willpower to stifle the moan building in his throat. As desire courses through him like a wildfire, he willingly parts his legs, a silent invitation for you to explore more boldly, granting ample space for the electrifying touch of your hand over the hardened length of his cock.

He marvels at your audacity, finding it both exhilarating and daring that you'd embark on such a provocative escapade during your wedding reception. Yet, deep down, he acknowledges that it's a reflection of the wild spirit that has always defined your relationship. It's a shared affinity for dancing on the edge, reveling in the allure of danger, and delighting in the thrill of engaging in activities that should, by all accounts, remain private. It's a facet of your relationship that has always been magnetic, drawing you both into a world where the risk of being caught only adds to the intoxicating excitement.

In the blink of an eye, your hand deftly maneuvers beneath the fabric of his boxers, sending a shiver down his spine. A hiss escapes his lips as your long, slender fingers confidently envelop his cock. The warmth of your touch is both a balm and an inferno, and he instinctively tilts his head back in the chair, a silent plea for discretion. 

As he surrenders to the delicious sensation, he can't help but cast a furtive glance around, fervently hoping that the clandestine ballet unfolding beneath the table remains a tantalizing secret shared only between you.

Despite the uproarious laughter echoing through the room in response to Taehyung's speech, Jungkook remains oblivious to its contents, ensnared the choreography of your hand beneath the table. 

The mirthful ambiance only fuels his curiosity, surmising that Taehyung must have delivered a punchline or shared a humorous anecdote. Meanwhile, beneath the table's concealment, your hand skillfully traces a tantalizing path along his hardened cock, drawing a hushed hiss from Jungkook's lips. 

With a steely resolve, he masks any trace of emotion, locking his features in a stoic facade and maintaining an impressive silence. His determined effort is not just to conceal the electrifying sensations your actions are evoking, but also to safeguard the clandestine intimacy you both share from the prying eyes of the unsuspecting guests. 

Every fiber of his being is a coiled spring, resisting the urge to yield to the pleasure that threatens to unravel beneath the veneer of his restrained expression. 

As his gaze shifts towards you, he's met with an unexpected sight—there you sit, an image of demure elegance in your exquisite white gown. 

The fabric caresses your curves in all the right places, accentuating the allure of your figure. The daringly low neckline teases a glimpse of the captivating silhouette of your bosom, leaving him momentarily breathless. The off-the-shoulder design unveils a generous expanse of your soft, tender skin, a tantalizing sight that aligns perfectly with his preferences. 

Despite the provocative allure of your attire, your outward appearance betrays no hint of the illicit affair transpiring beneath the table. If he didn't intimately know the secret you were concealing—your hand discreetly exploring the realm beneath his pants—he'd be fooled by the serene facade you present, seemingly absorbed in the captivating rhythm of Taehyung's speech.

In a silent plea of gratitude, Jungkook revels in the fact that the attention of the guests is fixed on Taehyung's speech, sparing him the scrutiny of prying eyes. 

Little do they know, the real spectacle unfolds beneath the table, where your touch becomes an exquisite torment. 

Every movement of your hand is a tantalizing dance, a blend of ecstasy and torture that threatens to unravel him. With a teasing finesse, your soft fingers caress his frenulum, tracing a path towards the depths of pleasure. The deliberate slide over his slit elicits a shiver of pure ecstasy, leaving Jungkook teetering on the precipice of desire that you expertly navigate.

Your hand envelops him, a cocoon of warmth that intensifies with each skillful stroke. The pleasure coursing through him is undeniably exquisite, a testament to the mastery of your touch. Yet, a lingering awareness tugs at the edges of his consciousness—an impending climax that threatens to unravel the careful threads of restraint. The exquisite sensations you evoke compel him to desperately anchor his thoughts, to redirect the intoxicating focus from the captivating dance beneath the table to Taehyung's speech.

The challenge lies not just in resisting the magnetic pull of pleasure but in maintaining a semblance of composure, navigating the delicate balance between the ecstasy you're orchestrating beneath the table and the public façade demanded by the occasion.

“We’ve been friends for so long, how many years is it now, Gguk?” As Taehyung poses the question, a hushed anticipation envelops the room, and all eyes converge on Jungkook. 

Fuck. 

All eyes are on him and he can’t think— he’s mind is clouded with thoughts of you. 

Taehyung– Fuck. How long have they been friends? 

In a sudden stumble of recollection, he breathes out, “17 years,” the weight of the shared history resonating in the room. Yet, the gravity of the moment is unexpectedly intensified as you administer an assertive squeeze around cock. Fuck.

With a chuckle that slices through the tension, Taehyung seamlessly continues his discourse, effortlessly reclaiming the attention of the room and redirecting every wandering gaze back to him. A collective exhale echoes in Jungkook's mind, a silent gratitude for the timely diversion that spares the clandestine spectacle beneath the table from becoming the unwitting center of attention. 

Relentless, you maintain the rhythm on his dick, displaying an unwavering determination that hints at an intention to push him to the brink, right under the unsuspecting gaze of the gathered guests. 

As the divine caress of your hand propels him perilously close to the edge, a surge of urgency overtakes him. Desperate, he turns his face towards you, eyes silently pleading for respite, but your gaze remains steadfastly elsewhere. 

Frustration wells within him, and he attempts to use his hands to guide yours away, only to find your grip tightening in response. The conflicting forces of pleasure and restraint collide within him, his muscles tensing as a hitch in his breath betrays the precarious precipice upon which he teeters.

Leaning in, you bring with you a halo of your natural sweet scent, an intoxicating allure that wraps around him, overwhelming his senses and leaving him slightly dizzy. 

Your lips, soft and plush, delicately find his cheek in what appears to be a tender gesture to the outside world. To the unsuspecting onlookers, it's a simple, sweet kiss on the cheek. 

Little do they know, in that same moment, your daring move involves not just the gentle press of your lips but the subtle exploration of your other hand slipping under his boxers to fondle his balls.

Fucking hell he’s gonna come.

Ecstasy courses through him like a wildfire, an imminent eruption fueled by the intoxicating cocktail of your skillful touch on his balls, warm breath teasing his ear, and the relentless grip on his pulsating desire. The threshold between pleasure and release narrows to a perilous edge, and he finds himself teetering on the brink, held captive by the maddening symphony of sensations you've orchestrated. 

Despite his valiant efforts to remain attentive to his friend's speech, the sheer mastery of your pleasure-inducing touch proves insurmountable. Every deliberate stroke, every strategic squeeze of his balls, propels him further into the abyss of ecstasy. In a moment of surrender, he can no longer contain the torrent of desire, and ropes of his essence surge forth from his throbbing dick. His lips bear the weight of a stifled moan, as you keep stroking him through his orgasm.

Beside him, your chuckle is a symphony of sweetness interwoven with a hint of mischief, a melodic backdrop to the ongoing crescendo of pleasure you expertly administer through his orgasm. 

As he traverses the realm of oversensitivity, a low, guttural grunt escapes him, drawing the curious gaze of Taehyung, engrossed in his ongoing speech. Though momentarily caught in a gaze of questioning inquiry, Taehyung forges ahead, resuming his speech with a peculiar stare, unwittingly oblivious to the spectacle unfolding beside him.

Thank fuck both of your parents aren’t seated right next to you. That would have been utterly mortifying and embarrassing.

With a deliberate finesse, you retract your hand from his crotch, guiding it gracefully over the table, where you nonchalantly employ a napkin to erase any lingering evidence. Seated there, you adopt an innocent facade, a picture of angelic composure that conceals the fact that, mere seconds ago, your hand delved into the forbidden realm beneath his pants. 

With an audible exhale, he reaches for a napkin, hastily attending to the aftermath on his pants. The damage is fortunately minimal, thanks to your deft intervention that efficiently captured most of his release. Smart girl.

But a mischievous spark ignites in his eyes, a silent vow echoing beneath the surface - oh, he's going to get back at you for that, you little minx. 

As the notes of the classic wedding waltz envelop the room, Jungkook marvels at the surreal reality—he gets to call you his wife now. The ethereal glow surrounding you transcends the physical, a radiant aura that has always defined you. Despite your humble protestations about your own beauty, he's captivated by the undeniable truth: you've always been, and continue to be, an enchanting vision. Countless times you've confessed to feeling otherwise, but in his eyes, you're a masterpiece. In this moment, as you dance together, you're not just a part of his world; you are his entire universe.

Gazing into the pools of your sweet, doe-like eyes, their exquisite almond shape captivates him, holding his attention in an unbreakable trance. He contemplates the nuances of your beauty, from the enchanting curvature of your slightly upturned nose to the endearing moments when he can't resist playfully poking it during your teasing exchanges. Every inch of you, in his eyes, is a masterpiece, and he pledges to vocalize his admiration every day, a ritual aimed at etching your beauty into your own consciousness. 

He dreams that with each affirming word, he'll weave a tapestry of self-love around you, until the day you see yourself as he does—undeniably, breathtakingly beautiful.

As you dance, your eyes ablaze with an unmistakable love, he luxuriates in the intensity of your gaze. A daring current of desire propels his hand, gliding with deliberate intent down your body until it boldly claims your ass. 

Uninhibited, he seizes it with audacious confidence, the bold move oblivious to the watchful eyes surrounding you. A soft, mischievous squeeze elicits a sweet chuckle from you, a harmonious note in the symphony of shared amusement that reverberates through the party, as the crowd collectively succumbs to the captivating allure of your uninhibited dance.

As the soft strains of the music envelop you both in a waltz, your heads draw nearer, the enchanting melody echoing the tender dance of your hearts. With the song nearing its end, he seizes the moment, leaning in intimately close to your ear. The hushed promise that escapes his lips carries a tantalizing undercurrent, his warm breath grazing your skin as he vows, “I'm going to get you back for earlier, babe.”

He senses the subtle shiver coursing through you as his touch lingers, a silent testament to the shared electricity between you. As the final notes of the song fade into the applause and cheers of the crowd, seizing the perfect moment, he leans in, embracing you in a sweet and passionate kiss. 

As the rhythm of a more upbeat song invigorates the dance floor, he seizes the opportunity to whisk you away from the lively crowd. Amidst the pulsating beats and the vivacious laughter of the guests, he guides you outside the building, their merriment gradually fading into the background.

In the crisp night air, he asserts a sudden dominance, pressing you against the sturdy wall. His gaze, infused with an unmistakable hunger and need, locks onto your beautiful eyes, creating a magnetic tension that reverberates between you. 

“You are a little minx, you know that?” His words, not laced with anger but rather a dangerous undercurrent of arousal, hang in the charged air. Your chuckle, a sweet symphony that further stirs the tempest within him, prompts a hiss as he succumbs to the magnetic pull, diving fervently into the captivating abyss of your mouth.

The kiss intensifies, a collision of passion that is both hard and rough, fueled by an undeniable need. In the urgency of the moment, he can't afford to wait, the impatience palpable in every fervent press of lips. 

You envelop him in the embrace of your arms, fingers intertwining at the nape of his neck, while your gaze rises to meet his. In the depths of his eyes, once warm brown orbs now transformed into pools of near-black intensity, a reflection of the potent arousal coursing through his veins. 

Your hand embarks on a daring journey, descending to the front of his pants once more, and the response is instantaneous – hardness reignites, a testament to the insatiable flame you kindle within him. Desire for you pulses like a constant current, an almost permanent state of arousal that defies logical explanation. Whatever enchantment you cast upon him, it's an irresistible force that weaves a tantalizing spell, leaving him perpetually captivated by the mystique of your touch.

Breaking away from the embrace of your soft lips, he wears a smirk laden with both warning and allure. “You're playing with fire, babe,” he remarks, the subtle edge in his voice echoing the intoxicating dance of danger and desire that swirls between you.

In a hushed whisper that flutters against your ear, he breathes, “You've been a naughty girl.” 

The words, laden with an undercurrent of sultry authority, send a shiver down your spine, awakening a cascade of tingles that traverse the landscape of your entire body. 

Descending to the delicate expanse of your neck, he peppers it with soft, almost teasing kisses, each touch a prelude to the symphony of sensations. Then, in an abrupt shift from gentle caresses, he bites down, coaxing from you a loud moan that resonates through the air—an intoxicating sound that echoes in the depths of his desire, a melody he'll never tire of hearing. 

Continuing his explorative journey, he ventures further south, his lips descending to the curve of your breasts. With a deliberate tenderness, he places a kiss atop the soft expanse of your tender tits.

Gracefully sinking to his knees, he gazes up at you with a mischievous smirk, the air thick with a heady mixture of desire and anticipation. His tongue darts out, grazing his lips in a provocative dance of anticipation, signaling the imminent exploration of pleasures yet to unfold. 

With an assertive grip, he seizes the front of your dress, drawing it away in a swift, purposeful motion. Despite the abundance of fabric, he deftly bunches it up with ease. “Hold your dress, please,” he directs, handing you the end of the gathered fabric. 

“Hmm. Nice lace stockings, and that girdle—what are you doing to me?” he murmurs, his voice a tantalizing blend of desire and fascination. His gaze lingers appreciatively on your beautiful thighs encased in nude stockings adorned with lace at the top, fastened to a concealed girdle on your waist.

His eyes widen with a mix of surprise and arousal as they land on your wet and glistening pussy, the evidence of desire trickling down your thigh. “Oh my god. You're not wearing panties?” he breathes out, his voice carrying the weight of both revelation and anticipation. A subtle lick of his lips betrays the intensity of his reaction.

A playful chuckle escapes your lips as you hover above him, and without a moment's hesitation, he immerses himself in the intoxicating warmth of your desire. His lips eagerly find their destination, tracing a decadent path from the delicate folds to the pulsating essence of your clit. 

The sensation ripples through your body, igniting a shiver that becomes an involuntary response to the electrifying dance between tongues, pleasure, and the shared yearning that binds you together.

He embarks on a tantalizing journey of tongue and suction, starting with teasing caresses that send tremors of anticipation through your body. His hands, strong and purposeful, find purchase on your thighs, holding you in a firm grip as he orchestrates a symphony of pleasure with his skillful tongue, creating an intoxicating dance that blurs the lines between sensation and desire.

A throaty moan escapes your lips as his nose delicately brushes against your pulsating cl*t, his tongue delving as deep as its voracious hunger allows. The exquisite sensation of his exploration elicits an involuntary clenching around him, a testament to the overwhelming pleasure coursing through you.

Your thighs, unable to withstand the intensity, succumb to a tremor, trembling beneath the intoxicating caress of pleasure that consumes you.

His dexterous fingers ascend to your throbbing clit, and with a skillful touch, he sets in motion a rapid dance of pleasure, causing your entire body to quiver with newfound intensity. The quickened rhythm of your breath becomes a symphony of desire, a telltale sign for him that you're teetering on the precipice of ecstasy.

Eager to reciprocate the pleasure you bestowed upon him within the confines of the reception, he fervently laps at your tender folds. Simultaneously, his fingers engage in a deft dance around your throbbing clit, orchestrating a symphony of sensations that echoes the pulsating rhythm of desire between you.

With the harmonious fusion of his skilled tongue and nimble fingers, he orchestrates the unraveling of your senses. As ecstasy courses through you, your body convulses in euphoria, your walls clenching around his tongue, and the pulsating rhythm of your clit intensifying under the spell of his fingers. 

Waves of pleasure surge through you, causing your body to quake, and in the throes of ecstasy, you release a high-pitched, strained moan that bears his name—an intimate symphony of pleasure that lingers in the air.

Breathless and overwhelmed, you gasp out his name, a plea woven into the words, “Fuck, Jungkook. I can't stand up anymore.” As he gracefully withdraws from your core, his gaze rises to meet yours, locking in a shared moment of intensity.

He chuckles, the rich timbre of his laughter lingering in the charged air. “I know, babe. Do you want me to fuck you against the wall?”

You draw in a sharp breath, and he keenly observes the subtle clench of your hand, the fabric of the dress tightly gathered within your grasp. 

“Fuck yeah,” An unbridled affirmation escapes your lips, a primal declaration of desire. As he rises to his feet, a surge of urgency propels him to capture your mouth in a hungry kiss. The taste of your own release lingers on his lips, creating an intimate communion of shared pleasure that binds you together in the aftermath of passion.

As he engulfs you in a fervent kiss, the symphony of desire playing out between you, his hands deftly navigate the zipper of his dress pants. With a purposeful movement, he unveils his throbbing cock, stroking it in rhythmic cadence. 

His hands, driven by a primal urgency, seek out the contours of your ass with a possessive intent. “Jump up, babe,” he commands, the resonance of his voice weaving a spell of anticipation. As you obediently jump, he effortlessly lifts you, cocooning you against the wall. 

In a brief struggle against the bulk of your dress, both of you grapple with the fabric, pushing it away from the front of your entwined bodies. A shared chuckle hangs in the air, a lighthearted interlude in the midst of fervor. But as the fabric yields to your efforts, Jungkook seizes the opportunity, moving in with an insatiable hunger to bite at your neck once more. 

With a sultry whisper, he breathes, “I'm gonna fuck a baby into you, would you like that, hmm?” 

The words, pregnant with promise, glide against your ear, and the responsive clench of your legs around his waist speaks volumes. A knowing chuckle escapes him as you endeavor to pull him even closer, the shared desire resonating between you in the charged space.

“Please,” your plea, a desperate yet fervent entreaty, escapes your lips, a poignant melody of desire that resonates in the charged air. The subtle smirk that graces his lips is both a testament to your undeniable need for him and an acknowledgment of the power he holds over your cravings.

With a deliberate touch, he locates his throbbing cock with one hand and skillfully aligns it with your dripping entrance. The tantalizing dance begins as he teases your slick folds with the head of his pulsating dick, creating an electrifying friction that amplifies the anticipation between you two. 

“Gguk, please,” you plead with a mixture of desire and frustration, your voice echoing the urgent need for him to bridge the gap between anticipation and fulfillment. However, he remains steadfast, skillfully teasing your slick folds without granting the entry your body craves. 

With a desperate plea escaping your lips once more, he finally relents. The moment stretches with anticipation before he forcefully thrusts his thick cock into your eager pussy. The collision is met with an audible impact as your back forcefully meets the wall.

He forgoes the customary pause for adjustment, intuitively aware that you relish the exquisite stretch when he enters you so abruptly. Without hesitation, he plunges deep into your core, reaching the furthest recesses, his thick length grazing against your cervix. 

“You’re so big, the stretch feels so good!” 

You gasp breathlessly against his body, overwhelmed by the sheer size of him. The intoxicating stretch sends waves of pleasure coursing through you, a visceral reminder of the intensity between you two. Determined to fully immerse yourself in the sensation, you pant against him, actively striving to ride the wave of pleasure, desperate to fuck yourself on him, the relentless pursuit of ecstasy evident in every ardent movement.

He establishes a relentless rhythm, driving into you with a force that resonates against the unyielding wall of the building. The symphony of your combined panting echoes in the air, a melodic accompaniment to the unbridled passion unfolding. Jungkook, captivated by the primal symphony, savors every delightful noise escaping your lips—a harmonious blend of desire and surrender, heightening the intensity of the fervent connection shared between you.

As he thrusts into you, each powerful motion striking your cervix, he elevates the intensity by trailing one hand up to your neck. With a gentle yet possessive touch, he wraps his fingers around your throat.

He knows you like it dirty and rough, and fuck he does too. 

His taunting words, laced with a playful yet provocative tone, cut through the charged air. “Did you enjoy the little game with your fingers down my pants while Tae was making his speech?” The rhetorical question hangs between you, a teasing challenge that elicits a subtle clenching reaction around him. 

In a sultry revelation, he whispers, “'Next to your bridesmaid and your parents. You naughty girl.” The hand steadying against the wall takes a firm hold of your ass, squeezing the soft flesh with deliberate intent. A resonant moan of pleasure escapes your lips, harmonizing with the rhythmic cadence of his thrusts as he skillfully targets your sweet spot. 

“So naughty,” he breathes, punctuating each fervent thrust with a rhythmic intensity that sends shivers down your spine. “You enjoy getting off in front of your friends, huh?” His words, infused with a seductive blend of desire and provocation, become a tantalizing soundtrack to the relentless grind of his dick into you.

“And getting me off too? Whore,” he seethes into your ear, the heated accusation leaving a scorching trail of desire in its wake. Your response, a shiver against his body, fuels the intensity of the moment. 

As he continues to fuck you with an unrestrained force, your breasts bounce in a mesmerizing rhythm that captivates him. So fucking perfect.

“Stick your tongue out,” he commands, his eyes intently fixed on you as you obediently roll out your tongue, anticipating the act you relish. The charged moment lingers, pregnant with expectation. With a deliberate move, he spits on your waiting tongue, and you, the embodiment of submission, dutifully swallow it.

Damn it, he knows he won't last much longer if he continues to be entranced by the rhythmic bounce of your enticing breasts—they possess an almost hypnotic allure over him. And that tongue of yours, oh, it's pure seduction. 

“And you can't even wait until we reach our hotel suite to be fucked. So fucking needy, and I love it,” he declares, a blend of admiration and desire lacing his words. The deliberate clench of his fingers around your throat follows, a subtle yet potent assertion of control. His gaze remains fixed on your eyes, watching with a predatory intensity as they dilate even more.

As he tightens his grip, the sensation of his fingers constricting around your throat elicits a primal response—your walls clenching around his cock. The synchronized symphony of pleasure and control intertwines, and a guttural groan escapes him, an audible testament to the ecstasy coursing through his veins. 

Driven by an insatiable desire, he redoubles his efforts to fuck you even deeper.

“My filthy wife,” he pants into your ear, the possessive term dripping with desire, a declaration that ignites a primal response within you. The sultry proclamation elicits a moan of his name from your lips, a vocal affirmation of the all-encompassing pleasure coursing through your body. His acute awareness of your nearing climax manifests in the rhythmic clenching around his dick, a tangible sign of the intimate dance between you two.

“Fuck, Gguk. I'm so close again. Fuck!” you pant fervently against the curve of his neck, the words laced with desperation and desire. He senses the mounting intensity in your voice, a symphony of passion reaching its crescendo. 

Yet, he's attuned to the nuances, recognizing the subtle signs that your body, though on the brink of ecstasy, bears the weight of fatigue, having navigated the day in those tantalizing heels. 

“You crave an audience, don't you? Want people to watch you, to hear you,” he moans into your ear, the words a sultry declaration that fans the flames of desire between you two. The acknowledgment of your shared exhibitionist desires ignites a fresh surge of pleasure, prompting an instinctive clench around him.

“Then scream my name, let everyone in the damn party know how damn good I'm fucking you,” he commands, the intensity of his voice sending shivers down your spine. As your walls clench with even greater fervor, pulsating around his dick, a wave of your liquid envelops him, transforming the intimate connection into a slippery dance of shared pleasure.

You unleash his name with a primal scream, the sheer force of your ecstasy reverberating through the open air outside. Your head drops against the curve of his neck, seeking refuge in the haven of his embrace as the waves of pleasure cascade over you.

He relentlessly thrusts his dick into you, the urgency palpable as he seeks his own release. “I'm gonna give you a baby, just like we've always dreamed of.”

“Ahhh, fuck, yes!” The exclamation bursts from your lips, a little too loud, as an uncontrollable surge of pleasure courses through you. Your teeth instinctively seek refuge on his shoulder, sinking into the firm flesh in an unbridled act of both ecstasy and restraint.

“Fuck, babe, I'm gonna come,” he confesses with a guttural moan, each subsequent thrust punctuated with the desperation of impending release. His rhythm stumbles, an involuntary response to the intensity building within him as he hurtles towards the precipice of his orgasm. And then it hits him.

The rhythmic bounce of your tits in his face, the soft and sweet scent that envelops him, and the melodic cadence of your voice—all converge to cast a spell on his senses. In the midst of your lovely moans, he succumbs to the intoxicating blend of sensations, unleashing a torrent of white-hot semen deep inside your spent pussy. 

Panting and gasping, you both struggle for precious breaths, bodies slick with the sheen of sweat acquired in the throes of passion. Amidst the shared exhaustion, a mutual chuckle reverberates between you, an intimate exchange that encapsulates the postcoital atmosphere.

With your head nestled against his, you gaze into the depth of his eyes and confess, “I love you, Gukkie.” The words, tender and raw, bridge the physical intimacy you've just shared with the emotional vulnerability of a heartfelt declaration.

“I love you too. Every damn inch of you, you're so beautiful,” he pants, a declaration infused with both desire and admiration. As he smiles at you, the post-passion glow accentuates the sincerity in his eyes, turning the exchange into a powerful affirmation.

He'll never tire of professing his boundless love and adoration for you, vowing to weave those sentiments into the fabric of each passing day. The promise to remind you, with unwavering devotion, echoes in his commitment to articulate his love every damn day.

→ Permanent taglist: @nora12379 @jeonsbabygirlsworld @fancypeacepersona @ktownshizzle @pjmxxjm @ajoonniice @kookiewithluv @mikrokookiex @rapmonjoon94 @parkitrighthere

© @/kingofbodyrolls 2024 // Please don’t copy or repost! You are more than welcome to reblog it, leave a comment or ask me anything about the story 🥰

[drenched-in-sunlight]

Hey, so I remembered in one of your earlier post you said something along the lines of souls women only really falling into the helpless victim or serious sword lady trop. And how Ema was a great subversion of it, I was wondering if you had any thoughts on

I’m making a souls-like and trying to avoid the pitfalls where I can

Btw, I love your art so much I would love to support you but I am broke

sorry i let this reply marinate in the docs for months (along with a lot of other replies like im having a catalogue of Fromsoft replies that read like thesis at this point *crying* my job is not letting me sit down and edit them) but here it is.

firstly, thank you for your message, kind encouragement already means a lot to me, so don’t worry about not being able to support me or anything ! After all I’m not putting out any new books or fan merch haha.

Here is a whole rant about Ema but somehow my grievances with how they handle Malenia's story in comparison to Messmer also pops up.

Regarding your question about Ema, I love her because of how complete her story feels and how her personal motivation and personality are written as coherently as the male characters.

She’s a war orphan who did her best to survive, learned the sword from the best swordman but with the only purpose is to kill demons. Ema saw firsthand how violence and meaningless killing did to people, so her aim can be seen as trying to offer those lost souls a mercy death, so they don’t have to suffer as a mindless demon for eternity (as in shura ending).

Yet, she's actually more interested in being a doctor & saving life and it’s not something expected of her because she’s a woman or whatnot, she chose that.

(+ she's skilled enough with the blade that it shows in her mannerism to the point Wolf, who had never seen her hold a sword, knows that she's good with one).

she was ready to kill Scuptor - someone akin to a parental figure to her, should he succumb to grief and hatred. because she loved him. not to mention she saw Tomoe - someone in a way is also her mentor, tried to take her own life, while her childhood friend Gennichiro slowly went apeshit. like that girl witnessed so many insane stuffs & they spur her to be strong & steadfast in her ideal to protect her loved ones, even when it means to lay them to rest by her own hands.

her dialogue in Shura ending "maybe i should have killed you long ago" feels like being punched in the guts to me, because she knew Wolf turning out that way meant that somewhere along the way, all of them had failed him, had ignored the signs that all the killings he was tasked to carry out was taking a toll on him. And so she took upon herself the responsibility to offer him a mercy death, even as it broke her heart.

It’s the passionate drive and decisions made as her own person, not out of blind devotion to another character, and how much we know of that because the game let us find more about her, that makes her stands out from the epic sword lady category, while the violence and steely resolve she was capable of makes her stands out from the helpless maiden one.

-kinda lose the plot here with Elden Ring rant jumping out-

This is one of the main points I have about the difference between Messmer and Malenia, how even though their stories parallel each other, I think Messmer has the better writing and gets a more complete story. He’s super devote to Marika, but in his own way, not what Marika wants of him. Evidently with how he still fights the Tarnished because he deems us unworthy, despite knowing Marika sanctioned us for Lordship.

We see a lot of sides to him outside of just a filial son, his rage and sorrow and love and a moment of stubborn selfishness that results in him willingly become a curse that clings to Marika than to let go. We see his relationship with other characters and even though his love for Marika outweighs all else, it doesn’t negate completely others that exist outside of it.

And precisely because of that, it’s more heartbreaking to see despite all these connections he has with other people, he yearns to be reunited with his Mother above all else. That kind of devotion is more hard hitting to me than the writing for the Empyrean twins.

Like, Malenia…. outside of Finnlay (whose description says more about herself than shedding any new light on Malenia) and the mentor that we actually don’t even know much about yet, what are other personal connection she has outside of Miq? I could argue the Marika’s Soreseal in the Haligtree was meant for her and that she still loved her Mother in some kind of way all I want, but at the end of the day that’s a headcahon I have to theorize from item placement, and not many ppl will notice that. We don’t know for sure what Malenia thinks of anyone else but her twin and it drives me up the wall.

Another comparison I want to bring up is DS2 Lucatiel.

I fr think even Lucatiel gets a better story arc than Malenia, despite also largely being shaped by her relationship with her brother.

Loss frightens me no end. Loss of memory, loss of self. If I were told that by killing you, I would be freed of this curse… Then I would draw my sword without hesitation. I don't want to die, I want to exist. I would sacrifice anything, anything at all for this. It shames me, but it is the truth. Sometimes, I feel obsessed… with this insignificant thing called "self". But even so, I am compelled to preserve it. Am I wrong to feel so? Surely you'd do the same, in my shoes?

She is trying to find her brother, but at the same time wrestling with her own troubles and limitations. We get to know a lot of her own motivation and her fear. I mean one could argue that it's because she's an NPC while Malenia is a boss, but the same thing could also be said for Messmer like I explained above.

-back to Ema-

As the extra sauce, I love that Ema boss music has such layers to it. the theme of her - someone clinging to her humanity to the very end because she has ppl love & support her, also acts as an elegy for Wolf's lost of humanity, of him not being able to escape the abuse trauma he grew up in. its opening instrument also appears in Demon of Hatred's OST. Her presence and theme affects other characters’ life, and we get to see her marks on a personal level in the story’s overarching narrative.

Which is the same as how Marika’s presence is everywhere in the Elden Ring OST, that little soft piano. A little in Radagon’s theme, in Shaman’s Village, in the final DLC boss ost where the female vocals starts belting out “Hail, Marika the Eternal”, in a boss arena where she had walked through to scavenge the remains of her fallen family and ascended to an existence she knew would kill her all the same, but she would do it again every single time. Walking down that hell with her eyes wide open.

When a character that could get me to write paragraphs about like that… man you know how much the writing cooks.

[cripplecharacters]

Hi, I’m concerned about whether there is anything regarding disability that are strictly off limits for abled author to write about. For example, I know it’s meaningless for an abled author to write about what it means to be disabled, or the disabled experience. Is there anything else that would be infringing on boundaries & risk speaking over actual disabled authors? I know including non-POV disabled characters who just happen to be disabled are fine with proper research. But I feel as if I might be treading some risky ground here because I have a POV character who is disabled. Regarding that, I want to know if some things are off limits if I am abled myself (such as their personal feelings regarding their disability - it’d be odd if I didn’t mention this at all since they’re a POV character, but I don’t know to what extent/if i should explore this at all, especially since it’s a result of injury).

Hello!

Outside of the examples you gave ("what it means/how it is to be disabled") I don't anything is strictly and always off limits for abled writers in general because disabled people will have such a wide range of opinions* on this that it'd be impossible to know what you can and can't do - it's better to just do it well and thoughtfully if you do decide to go for it.

*Examples: I know disabled people who don't want people without their disability to write characters with it at all, no exceptions. I really heavily dislike abled writers putting their disabled characters through nightmarish levels of ableism because it feels like torture porn or at least as exploitative. Someone else will be fine with abled writers doing literally anything. Some people see all non-OwnVoices representation as inspiration porn. Disabled people are too big and diverse of a group to come to a specific consensus.

There are areas where I think they should be more careful, like in stories where a character suddenly becomes disabled, as that can easily turn into a plotline that focuses on how disability is bad due to the missing nuances of such an experience. Even putting aside that there's a ton of room for factual errors on how recovery or just the medical side of things in general looks like, I feel like it can be difficult to write this kind of plot in detail if you don't have experience in it. For this kind of thing I believe that sensitivity readers are a must if you want it to be a major part of the story. If it's a minor one then it can be okay, especially if you aren't going into the emotional nitty-gritty of the whole process much.

There's also the obvious topic of tropes that I think abled writers should avoid - but as you probably seen on our blog, there will always be exceptions to them. Example: I always say to not put your character with a facial difference in a mask - but in this post I said it was fine if XYZ happened. Nuance and all. But putting tropes in just to be "subversive" usually comes off as cheap, assuming that they actually are subversive in the first place (which they usually aren't).

Tropes are tools, and they can be used well if the writers put effort in, and especially if they ask the group that the trope itself affects. They are bad if they're done mindlessly and without care for actual disabled people, and at the end of the day it depends on how the writer decides to use them. Don't just assume that your case is "special" and "totally different" from all those people who do use them wrong - these two groups often end up as a perfectly circular Venn diagram. Check with disabled readers first.

Having a POV disabled character is completely fine in my opinion. It's not like we are a completely alien, unrelatable concept to abled people. It can be done well, but it does also require more thought and effort to be put in. Again, I think that sensitivity readers can be incredibly helpful in a case like this.

And I think that it is important for the writer to just look at the page and ask: do I know enough to write about the character experiencing X? Because sometimes the answer will be no, and that's fine. Not even stories written by disabled people will touch on every single aspect of the disabled experience because it's so incredibly wide that there would be no place left for actual plot.

We also don't just sit around and think about how we feel about our disabilities. Sure, deciding how your character feels about it in the vague sense is helpful for characterization, but there's a ton of disabled people who treat their disability as a complete non-event. People like us who mod a blog about disability representation are very much a minority. Your character could just be like "oh yeah I guess I do use crutches, but it's been 10 years so I keep forgetting about it" and only actively think about that when the actual situation calls for it.

Your character could be 100% neutral about their disability and just think of their cane as something they carry around the same way they do with their house keys, or could be So Positive and make sure their cane compliments their outfit just right every time they leave the house. What I'd advise against is a character who dislikes their disability. Again, it can be done well if there's a lot of effort involved, but it's really not something I look forward to when we're talking about abled writers. Even if their intentions are good, or even if they want to show the diverse spectrum of disability (which again, is true! There absolutely are people who feel purely negatively about theirs), it feels weird. Like, why is this the story you want to tell? I think that in 99% of cases those kinds of characters are better left off to disabled writers who can actually offer something fresh to this.

Last thing that I want to add: unless you're writing about ableism, or time-accurate historical fiction, don't use slurs. If you want to refer to some things that use any of them (e.g. Cripplepunk) either shorten them (CPunk), beep the slur out, or at the very least acknowledge that they are slurs.

I hope that this helps,

mod Sasza

[bisexualbailorgana]

someone needs to study why fandom of late has become so adverse to endings, particularly “sad” endings; character deaths and general character conflict because i’ve witnessed it in the fandoms of our flag means death, good omens, doctor who and now bbc ghosts. why do people immediately go up in arms when the ending of a show or even a season doesn’t match up to Their personal expectations and hopes, and turn on the creators like they haven’t just made a wonderful season of tv for them? sad moments don’t make the happy moments meaningless. character deaths don’t cancel out character development. a sad ending isn’t bad writing!! i don’t know how to explain to people that creators don’t Owe you anything!! they are fully entitled to tell the story that they want to tell and if you’re piling on them for making you feel sad you kind of. need to grow up

[ri-writes-if]

I'm usually a Vezmancer, but this time I decided to try all the routes and Laz...my my my what do we have here? I love the Oracle being this morose, hissing wet cat to him, hitting him with the "Why are you doing this I'm doomed to die sooner or later, stop it, let me die in solitude" is just marvelous (I'm a sucker for that sort of thing). (I also love being able to just pick whoever without worrying about always picking that RO in other scenes).

I truly hope at some point we get to circle back to the loneliness conversation (for added angst maybe after Laz fs up and get to hit them with the "should've stayed lonely I guess" and idk turn invisible or into a bird/butterfly so they can't/won't look at us and fly off).

I do have a question, mostly because I can't remember what the warnings were prior to this chapter, but just how dark can we make the story? Cause I noticed that every time the Oracle starts to go dark, they immediately bounce back. Like with Argellan (apologies if that's not how it's spelled, I don't remember assholes' names out of disrespect lol jk I'm just terrible with spelling) they almost start to cry and then just don't. Or they feel helpless and then just get determined even if most options I pick are the passive/I deserve this and "oh well guess I'll die" options. I'm not complaining, mind, I get going down the major depression path is not something everyone wants to do nor is comfortable doing, and that's 1000% ok. Your story, I'm just here for the ride.

I'm mostly curious given the warnings on if those tags are for the other characters? Or if it depends on our sanity or if it can get darker later? To set my expectations if you will. No need for spoilers and if it makes you uncomfortable/upset apologies, please don't feel the need to answer.

Regardless I look forward to confusing all the ROs with my pessimism and chaos.

I’m glad you enjoyed Laz’s route! Thank you for sharing your thoughts 💛

I understand you might want more “depressing” options, but it’s just not the direction I planned for this main character. They can end up in a pretty bad situation if their sanity falls, but overall, their potential tragedy is in misinterpreting what they need to become happy.

The Oracle is someone who wants a better life. It’s at the heart of their character. Every decision they have been making their whole life is pushed by this desire. They might be doomed, but they’re not going down quietly. They will force themselves to get up even when the situation is bleak, and that was the point of that moment—to show that they don’t allow anyone/anything to beat them down easily. They never have, and that’s why they’re still alive and trying to not just live, but live well.

Their developing arc isn’t “I want to live love laugh” vs “I’ll die so everything’s meaningless”, it’s more like “I’ll become a better person against all odds and find my place” vs “I’ll take what I want by any means necessarily even if it makes me miserable”. That’s as much as I can say without spoilering things.

So yeah, they’re not staying in the gutter. We’re actually at the point in the story where they begin to pick themselves up and take control of their life.

For the warnings—it’s mostly for what the Oracle encounters, though some of it will apply to them if you go down a particular path. Let’s just say… they might end up in a worse situation than they’re in now, you know? 🌚 Perhaps you'll enjoy that route! :)

[lavend-ler]

BORDERLANDS: DEBT OR ALIVE BOOK REVIEW

I have read the new Borderlands book Debt Or Alive. I did not like it. In fact, I hated it so much I needed to pour out my thoughts in this review. It’ll be very long, so bear this in mind while reading through it because it’s been a while since a piece of media has made me this angry.

There will be spoilers to ALL of the book so you’ve been warned. I am going to analyze this book very thoroughly so everything that can be spoiled will be spoiled.

TL;DR – I hated this book. I accept Borderlands 3, I think it’s fine and I really like aspects of it. I wasn’t enthusiastic about New Tales From The Borderlands but in the end, I thought it was fine. But Debt Or Alive? It’s probably the only piece of Borderlands media that I won’t consider canon from this point forward. Half-assed story with shallow characters and ham-fisted message which retroactively ruins the events of the game(s). Don’t buy it, don’t waste your time on this just to see the worst version of characters you love.

A more detailed review will be under the cut. It’s over 10k long.

1. Tales From The Borderlands made even worse

I have a complicated relationship with Tales From The Borderlands. I think my best friend had put it in the best way – Tales From The Borderlands is good when you don’t think about it for too long. For me, it’s a fun game to play once every 4 years, remember the story and move on. The more you think about it, the more apparent the cracks get and the worse it becomes.

Debt Or Alive REALLY makes you think about Tales From The Borderlands in the worst way possible.

I have always thought that Fiona’s part of the story is weaker than Rhys’. It’s told in a way that sort of meanders until it’s reached its conclusion. The first sin Debt Or Alive commits is that the ending of Tales is its beginning. What should be the conclusion, the nice ribbon to tie the story is now the jumping off point. In my opinion, it’s always a terrible narrative decision to make your sequel start where the story left off. It always implies the fact that your conclusion is meaningless and that your characters didn’t learn anything. To write a new story, you need more challenges which also means that characters need new struggles. In Debt Or Alive’s case, it means that everything that happened in Tales isn’t worth a thing.

To me, nothing was more apparent of it here than the Vault scene. The Vault of the Traveler grants a wish to everyone who steps there. The Vault should be the conclusion to what we know of the characters and sort of “off screen” this happens to Rhys. We see Fiona hear that Rhys wishes for Atlas and that’s the end of his story in Tales. Though I will touch upon why I didn’t like this later, it does make narrative sense, he was supposed to be more independent and choose his own path instead of following others. It’s a ribbon that ties to his character in Borderlands 3 and New Tales From The Borderlands.

Then it’s time for Fiona and… Oh, yeah. What would SHE wish for? Throughout Tales, we see Fiona evolve as a character from the ragged con-artist who wishes to just go by, to the independent and certain Vault Hunter. Or do we? Yes, there is a moment in which Sasha dies which would be traumatic for Fiona but she’s from Pandora. She should know the dangers of living and instead, she should be happy that she came back as the hero. In the ending of Tales, we can hear Fiona say “This [Vault hunting] life…suits me” so she already reconciled the danger and in fact, she welcomes it. But to make this half-assed story be a thing, we have to disregard this entirely.

So in the Vault, Fiona is given a chance to wish for anything she wants. What does she wish for? Nothing, actually. Presented with an opportunity of a lifetime, Fiona has no idea what to wish for. I can’t even begin to tell you how bad of either an opener or an ending this is for her character. For an opener, we have a protagonist who doesn’t know what she wants and where she needs to go. Sure, it’s a start for an arc but not for Fiona who already DID have it. It’s an arc she had earned, so why would she have a restart and go through this all over again? And as an ending, it’s a terrible reminder that Fiona probably didn’t learn a thing. The time in the Vault was for nothing, Athena didn’t teach her anything. Burch doesn’t know his character well enough to think of anything for her to wish for.

Hence the whole journey moving forward truly is just a bad rehash. If Fiona didn’t learn a thing about herself and needs to do it again but worse, what’s the point of this story? To see her come to the same conclusion as she did at the end of Tales but worse? The answer is yes. As this story suggests Fiona is a protagonist who doesn’t know what to do with her life and just wants to protect her sister and that’s all. Which is the exact same point her character was at, at the beginning of Tales.

Actually, why did the Vault have to grant wishes, anyway? It doesn’t make sense for neither Fiona nor Rhys and even later, Gaige cements that this didn’t have to be the case. Part of the charm which Tales From The Borderlands brought was the story of everyday people. This wasn’t a story of glorious Vault Hunters with great stamina and luck, who chose the adventure for the guns and glory. This was a story of a middle manager and a con artist, two unremarkable people who were basically forced onto this adventure from outside forces and because of their will became heroes of their own stories. It’s a story of normal people who have made their own self-made destiny.

Debt Or Alive, of course, scoffs at this idea. Rhys’ Vault wish for Atlas makes no sense as he already has Atlas and already probably works under this trademark. It doesn’t mean a thing that he wishes for the whole legal action thing, when his character progression to have Atlas from Jack would be so good. But no, it’s cosmic power that grants him that wish fully. Fiona too, she was supposed to be a self-made Vault Hunter but in the end (or the beginning), she rejects this and doesn’t know what to wish for. Just an absolutely horrible way of planning out her character. No one wants a passive character and this is what this story makes Fiona to be – a bystander, rather than an igniter.

I also want to point out that the events of Tales and characters she meets are truly nothing but cameos. A big part of Fiona’s story was gaining independence when her father figure Felix turned out to be a snake who sold them out. Within Tales, it’s very clear that Felix was abusive towards Fiona and Sasha, forcing them into roles they didn’t want, favoring Fiona and making them live such a strict life, they thought it was the best they could get. Of course, none of this is ever touched upon in Debt Or Alive. It’s never mentioned that Fiona is an abuse survivor and how it would shape her as a person with her protectiveness and willingness to give up greatness for simply “good enough”, and being held to impossible standards. There are also barely any mentions of Athena and their time together. At no point does Fiona use tactics she had learnt from Athena or recounts their time. Those are passive mentions which make Fiona look like she didn’t learn a thing.

My own ribbon that ties this section will be the funniest thing that for me exposes how much Tales is made worse. Tales From The Borderlands is a game in which choices DO NOT matter. There are no consequences and each choice will yield the same outcome. Again, it’s just meaningless and it’s so funny to me that this book wants to wink at the audience becoming a “choose your own adventure” book in two sections, which both lead to the same result. It truly does not mean a thing.

2. Anthony Burch cannot write women and Fiona’s character assassination

Anthony Burch cannot write women. This is a fact that I wanna point out every single time I can because it was never more apparent to me than in this book. Let’s start with women in Borderlands and the stories which he had written for them. Maya has a good theme but falls flat when she’s only an object for Kreig to lust over. Nisha is Burch’s sexual fantasies coming true in a gross way. Athena in Tales is made only stone cold, no-fun character who is a liar to someone who loves. Janey in Tales is made to be an overbearing girlfriend trope but it’s progressive because she’s a lesbian. Vallory is a collection of tropes. So on and so forth.

Hence right from the beginning, I was very skeptical of a book by Burch which will have the most female-driven cast in all of Borderlands. My skepticism was proved not only to be right but also that it was much worse than I had realized. Because I haven’t even shown you the issues of Fiona and Sasha and trust me, there are some even in Tales. However from Tales I could very easily tell you what character traits Fiona and Sasha have and what differentiated them.

Fiona, as described in Tales promotional material is a con-artist with a heart of gold. She has been raised on streets, she loves money and she has a silver tongue to get out of every situation she’s in. Fiona also cares about those she loves a lot, as an older sister she can get overbearing but her situation in life made her realize that it’s justifiable. She can also be a nerd, she’s curious and fun, likes to joke around. Sasha is a character who loves danger far more than Fiona. She likes guns and has great knowledge of them, she’s more a doer than a talker. Sasha doesn’t want the con life and longs for something tangible, rather than just be a prize in the books. She also has an inferiority complex, due to Felix’ abuse which she masks with her forwardness and action personality. She shines through when she can do things she loves, becoming headstrong, honest and independent.

Do you really think we’ll get any of this in this book?

The answer is no and it’s very easy to tell it right from the start. I know I keep getting back to the Vault scene but trust me, this is the culprit from which I knew this book will be a failure. In this scene, Fiona doesn’t know what to wish for, so she “wishes” that Sasha was there. This wish is granted and it’s now both sisters in the Vault. From this you can see the issue – this book does not treat Fiona and Sasha as separate characters. They ALWAYS have to be together, always mention each other, they’re basically never given a room to breathe because whenever a scene calls for just Fiona or just Sasha, their internal monologue will keep mentioning the other.

I can’t even really make a case for either of the characters individually because this book itself makes such a bad case with them. I’ll give it my best shot because when these moments occur they are, well, bad. I’ll start with Sasha because I have less to say since the book itself had less to say about her too. There is a certain moment in which Sasha, being tired of Fiona’s carefulness, goes Vault hunting with Gaige. I was very happy at this, since I have shipped Sasha and Gaige before and I thought their personalities would mesh well. Yet, in this particular instance, Sasha isn’t enjoying anything regarding Vault hunting and the danger, while constantly thinking of Fiona. Why is that, why wouldn’t she be thrilled for the adventure and getting to know another person like Gaige more? They could bond and start a friendship but in the end, they barely talk and Sasha isn’t into it. Even guns don’t excite her that much. What happened to her?

I think even her reflections towards life after death are very much shallow and omitted. We get a sense of it, we get that Sasha is terrified that there’s nothing when she dies but we’re not given anything of it. I figured this would be her turning point, that Sasha will realize that if there’s nothing afterwards, it’s best to live her life to the fullest, going on adventures, not wasting chances. But nothing like this has happened. Sasha doesn’t enjoy Vault hunting, she shrugs at guns, she can’t have her own fulfillments, her relationship with Rhys is wishy-washy. You’d think that with sudden realization of death, Sasha would have a breaking point and start thinking if it’s all worth it and how her life should now be like. But that would require interesting philosophical questions that Burch doesn’t want to answer. Not when they lose the life-giving crystal, nor when Sasha dies a second time when she chooses to. It’d be such an interesting discussion of the meaning of life, how Sasha approaches life and what it all means to her but no. Not given any thought to this. At the end it’s not even unique to her as Fiona dies and is brought to life too so again, no point.

Another faucet to her character is the on and off relationship with Rhys and just… I was never a fan of shipping Sasha and Rhys together and this book reminded me of it in the worst possible way. Sasha is disinterested with Rhys’ world and they never mesh well together, having such different goals in life. She doesn’t even want to acknowledge their relationship, leaving Rhys to look like a sad wet sock (more on that later). It’s described how she’s used to acting a certain way and that’s fair, that’s a huge roadblock in a relationship. But we never see this roadblock get pushed. Sasha at the end of the book is still terrified of the potential relationship and doesn’t want this. We only learn that one time she calls him her boyfriend off screen, which is just such a cop out I can’t begin to describe it. I’m so sorry, Sasha, you deserve an actual relationship not just Burch’s fantasies.

So I move to the main character of the story, Fiona. And oh god, how badly has Burch treated Fiona, words cannot describe it but they will try. From the beginning, we see one of Fiona’s traits be amped up to 11 – her protectiveness which turns into overbearingness. Constantly, we are reminded that Sasha died and Fiona can’t forgive herself. Which is fair but again… We saw her happy and fulfilled at the end of Tales. But since Tales doesn’t matter and probably it’s better if it didn’t exist, it gets shrugged off. May I remind you, this book starts right as Tales ended. Which is a year later from the start. Which means Fiona is 30 and Sasha is 25. Their actions do not portray two characters of this age, especially Fiona’s towards Sasha’s.

Look, I’m 24 and I have a sister who’s 33, so close-ish range to them. If my sister would do the things that Fiona did to Sasha I would be pissed off as all hell because guess what, my adult sister does consider me an adult woman. Unlike apparently Fiona and Sasha. Because for Sasha’s “safety” Fiona puts her into a fucking jail on a planet they do not know, just towards her “safety”. Yes, it’s regarded as dumb and wrong in the book and that Fiona knows that Sasha would pull through but it’s just mind boggling to me that Fiona would even do that. She should know her sister. But then throughout the book we see Fiona acting like know all be all authority to her, constantly second guessing her actions and opinions and being completely overbearing. I’m sorry but her apology at the end doesn’t make it remotely okay to be so controlling of Sasha.

I guess that’s the point. In my opinion, this book is a character assassination for Fiona. People will whine and moan over how Rhys got ruined in Borderlands 3 and New Tales but no, I had and will always disagree with this. But Fiona in Debt Or Alive? Burch truly showed how he has no clue how to write female characters because she is completely ruined here. None of her actions make sense, neither do her choices, the little character she has is so unlikeable and I just can’t believe he thought it was all good.

The best way to show you how Fiona got ruined is to have a little overview of Fiona as a character before and her background. She is a Pandoran, born and “raised” there, through the life of crime and bribery. Her biological parents died, she only has Sasha with her. Thus she feels responsible for her and their wellbeing. Fiona also had Felix, a man who brought her and Sasha with him and raised them in a very abusive manner. Fiona all her life had lived in poverty, struggling to get by with her cons, constantly having Felix make her think she’s responsible for the failures or successes of the group all on her own. She lived in a caravan, she barely had any money to her name. She’s no stranger to the climate and cruelty of Pandora, having lived there all her life, though she herself prefers the “word” combat.

Got it? Well, now forget it because that’s what Burch did in his book.

I know that wealth can change people, I really do and the sum of money Fiona and Sasha received is enormous. What I don’t understand is that they both did a complete 180 on their perspectives. I do realize that living in poverty all their life, Fiona would start spending money on dumb things but to hammer home this fact, Burch tries really hard to show us how dumb some of the purchases are. But would she really act like this in this setting? First, it’s hard for me to believe that she would willingly move to Eden-5, seeing the corrupted system and life in which it operates. It’s just Pandora but with chrome paint on it. Yet, Fiona doesn’t see red flags and just continues on living, buying dumb shit. We don’t learn anything new about her through this either, it’s just a dumb thing after dumb thing. Why couldn’t it start with things that she really wanted and then move on to unnecessary things? I think it’s because Burch couldn’t even establish what her wishes would be from Pandoran times.

What also made me just want to throw this book away was that it took Fiona around 200 pages to realize that people who work for her are also bound by debt. It’s such a nearsighted thing, I cannot believe that she would do it. Especially since I think we’re led to believe that this book happened in the span of 4-5 years. For Fiona to be this bound by greed and wealth doesn’t fit her character at all. How could she just not see that people who work for her have been tortured by poverty? Up until this point, Fiona lived in poverty herself, she should KNOW that this is a thing people struggle with. Not to mention, in the book there are talks about how people have multiple debt cuffs on them. It’s unacceptable that Fiona wouldn’t care about those who were beneath her. And if she really did, do you think this makes her character any more likable? And do you think that her turn around is a moment of triumph when we’re led to believe she ignored those people for YEARS?

I think the story itself just makes you shrivel at one moment in particular. Fiona purchases a sapphire kitten, which shatters. Classic Borderlands humor, right? This moment truly disturbed me but not in a way that Burch wanted but for the implications. Fiona spends money on bullshit she doesn’t want just to have it. Who else spent money on unneeded bullshit just to show wealth? Handsome Jack. And when you’re comparing your hero to the most vile villain from the series, I don’t think it’s a good sign. Especially since in canon Handsome Jack loved and cared for Butt Stallion. Unlike Fiona.

Even the breaking point moment of Fiona, the destruction of Rustville, felt shallow. Reading this, I couldn’t help but to go back to the moment of Helios’ destruction in Tales. It was such an incredible moment for Rhys, seeing the destruction of a place that was close to him, death of people who he knew and respected. And seeing this “reprise” of sorts with Fiona just felt shallow. At this point, Fiona was in Rustville around 3 times if I can recall? She met people but didn’t form any meaningful relationships (because Burch doesn’t want either of the sisters to have meaningful relationships besides each other) or got to know anyone better. These were all one off interactions with random people. Unlike Rhys, it wasn’t Fiona’s choice to destroy Rustville. It was only an act that she maybe sort of allowed to happen but it was an action of one rich woman. Fiona had no agency in her actions, there was nothing she could’ve done to neither prevent it nor cause it. Thirdly, Fiona is a Pandoran. She should know the carnage, death and destruction, as it is ingrained in Pandora’s system and society. For her to act so devastated and shocked, it simply doesn’t make sense.

Another thing is that this story really dumbs Fiona down, to the points that I couldn’t comprehend how dumb she was. She goes alone to Tetanus Wilds, even if with Sasha she’d have more chances. Especially since she was going to Gaige’s stash and let’s be real – Sasha knows guns, Fiona does not. Fiona goes to destroy Rustville without any weapons and without any protection which of course results in her basically getting killed. Fiona takes a leap of faith thinking she’d die in the ditch but forgets that Deathtrap can fly and catch her. How would she forget if she was tinkering with him before? The same way she’d forget her weapons it seems.

I also wanted to mention how it always made sense to me that Fiona and Sasha would have a falling out in some part of the story, so both of the sisters would become independent and chase their own destinies. It would require Burch to stop thinking of them as a singular character, which does not happen. This part in particular made me especially angry. A skilled writer would make Fiona’s overbearingness and constant promises to be a start of Sasha realizing she needs to live her own life, Fiona as well. Anthony Burch is not a skilled writer so nothing of such happens.

Within Debt Or Alive we don’t learn anything new regarding neither Fiona nor Sasha. We are spoon fed information that we already know, seeing characters we love either devolve to their pre-Tales state or make terrible, nonsensical decisions. There are no moments in which  either of the sisters can breathe on their own. They are thrown into situations where something just has to happen. Thus, we don’t learn anything about them as people.

I also want to point out that the writing of Gaige is fine. I’ll talk more about this later but she truly was fine and I didn’t see issues with how her character was carried. Granted, I think it’s very hard to screw up writing Gaige but it’s Burch, he can do it all. I’m still sad that she’s a lonely outcast like in Borderlands 3 but in general, I didn’t have issues with either her writing or the story.

3. There will never be another Handsome Jack and the death of a good villain

Some of you have already started to roll your eyes at the mention of Handsome Jack but trust me, I have a point here to make. Whenever you hear people talk about Handsome Jack a special kind of sentence emerges – a villain you love to hate. I think this sentence is a great guide to creating your villain so that they’re impactful, fit the story, be likable enough to want to be with them but you’re happy when you get to kill them. And nothing made me feel like it’s a craft long gone than reading Debt Or Alive.

Countess Holloway is a nothing villain. She truly doesn’t represent anything and I can’t tell you anything of what she is as a person. Actually, it can boil down to one sentence – she’s rich and she’s evil. That’s all there is to her character but I guess it goes to show that even then, Burch cannot write women.

Going a little deeper, we gotta discuss the parts that make a good villain. I’m sorry for the comparisons to Handsome Jack but we really need to talk about what makes him great and what makes Holloway shallow.

On the surface level, the points are there. A villain needs to be connected to your heroes in a specific way, having an impact on their lives. Holloway does meet that quota, as she’s not only the motor for this story but also is actually the reason why Fiona and Sasha got rich in the first place. She is a vain person, who loves to live for shallow things and doesn’t care about the rest. From this point of view, we could think that Holloway serves as a reminder to Fiona and Sasha of “be careful who you can become” but neither of them have this revelation. Throughout the story, Fiona and Sasha basically do turn into Holloway, yet nothing of it is neither stated nor explored. It’s not a revelation that characters have, it’s what we think when we connect the dots.

When we start to think more, it all begins to fall apart. The key thing that lacks here is motivation. Looking back at Handsome Jack, it was clear how his goals were stated – he was a nobody who became somebody by his charisma and cunning ways. Now he projects his awful world views on others and it’s your job to stop him. There’s also the fact that his daughter Angel works for him and killing her for Jack is the breaking point. You see him be cruel, vain and abusive but you see his more “human” side that does not excuse his actions (I am looking away from Tales) but makes you understand how much of a terrible person he is and how he deserves to die. It’s effective and fantastic storytelling and his personality makes you want to be around him, even if he’s an awful person who deserves to die.

Let’s go back to Holloway and examine her as I described the traits of a good villain via Jack. Holloway’s motivation is that 7 years ago Gaige murdered her daughter Marcie and now she wants revenge on her. This is already a problem, as this is a passive goal. Holloway is presented as an arrogant woman who doesn’t like to get her hands dirty, hence she can’t kill Gaige on her own. Understandable but also she doesn’t seem very interested in it anyway? She wants to kill Gaige but passively. There’s a bounty on Gaige but Holloway doesn’t have a squad to look after her. Wouldn’t it be more interesting if Holloway had people looking for Gaige and when they die she swiftly replaces them with another one? It would be active but instead we’re presented this information as “well, maybe Gaige dies or maybe she doesn’t, idk, it’s alright either way”.

Another point is that Holloway is a very shallow character. In general, yes but in her actions too. What do we really know about her? She is rich, vain, vengeful, powerful and likes to spend money on frivolous things. Sure but that’s so basic you could tell this about so many other villains it wouldn’t make a difference. There is nothing in her nor in her behavior that would be an indicator of any interesting persona or character. Holloway just exists and we’re told that she’s evil. Wonderful character writing, gotta say.

We’re introduced to Countess Holloway in a way that she is the potential buyer of the Typhon DeLeon Vaultlander figure. Why would she want this? We’re not told nor shown. Thinking of it logically, we could say that it’s supposed to show us that Holloway likes to spend money on whatever bullshit she wants, which is fair. But wouldn’t it make it more sense if after the death of her child, Holloway became obsessed with Vault Hunters, knowing the murderer of her child became one? How did she start researching stories of Vault Hunters and think about how much she hates them, which would lead to her gaining knowledge? This way, Holloway could’ve been prepared for the attacks of Vault Hunters and Vault Hunter wannabes, since she would predict it all. Or even set a lure with a promise of amazing loot. Nothing like this happens.

Even the death of Marcie isn’t exactly a driving point to Holloway. When Angel dies in Borderlands 2, you see the impact it has on Handsome Jack. You know he’s an abusive parent yet even within this, he still acts as sort of father of the year type and constantly manipulates you, saying this is your fault. For Holloway, it seemed that the death of her child just happened and yeah, she’s pissed but you know, things happen. She doesn’t mention who Marcie was, even in her shallow understanding of it. It could’ve made a very interesting character bit where she would tell lies about Marcie, as she was more of a commodity to and of Holloway than anything else. Instead, Marcie’s death isn’t really a drive for Holloway, it’s just a thing that happened and she’s kinda bummed about this.

Is Holloway an imposing force, a ticking clock of sorts? No, she is not. We’re told that during all their stay on Eden-5 (again, around 4 or 5 years), Fiona and Sasha are neighbors with Holloway and nothing is done with it. They’re not anxious that she could strike at any moment or that she could catch Gaige. They don’t care about Gaige actually. That’s why Holloway makes a very poor villain in the imposing sense. There’s no impact of hers and her power felt throughout the book, when Fiona and Sasha can happily live next to her and nothing happens.

The only interesting display of her power is during the gala at Fiona and Sasha’s place, where Holloway shows that she can very easily change the whole Elite’s perspectives regarding the sisters. Yes, it’s a good moment for Holloway but it also truly makes me think how shallow she is as a character. First, the fact that Fiona fell for the Claptrap Vaultlander is another testament of how dumbed down she was. Burch, you made a whole joke about how Claptrap sucks at the beginning and how Fiona hates him, the least you could do was to think that she’d immediately throw this away (especially since you’ve established that Fiona is frivolous with her possessions now).

Second, it’s such a bait and switch moment for Holloway and the whole Elite. I get what it was trying to accomplish, it was for us to see that the Elites are stupid and will follow anyone as it goes. But wouldn’t it be better that out of her hatred for Fiona and Sasha she would work behind the scenes, telling other Elites how they are just stupid Pandorans who can’t achieve anything? It could’ve been a carefully plotted plan with instances that the blackmail was happening hinted at throughout the story but that would require the time when Fiona and Sasha spent on Eden-5 to mean something (it does not) and Holloway to have an ounce of personality and planning skills (she does not).

Another thing that Holloway for me lacks is the backstory. To create a good villain you must make us believe that they had a reason to do all that so we can hate them even more. I think in general, Borderlands does a great job with this, with Knoxx, Handsome Jack, of course, Colonel Zarpedon and the twins. But Holloway? We do not know anything about Holloway’s life. It was probably done so the billionaire character is just a shallow representation of this world but it makes for a very boring and one note character. We don’t know how she got this money, if she lived all her life like this and hates outsiders who she thinks are unworthy of this. Or is it a thing she got later in life thus is so cutthroat about this because she doesn’t wanna go back to poverty. No, you just get a one note shallow villain with no motivation and nothing to play off of.

Even her death is such a nothing death too. Throughout the book we see everyone trying to get at her and eliminate her and not succeed. It’s why Gaige is here, it’s a whole moral dilemma for Fiona and Sasha to grasp upon. As much as Holloway is baiting them to do this but calling them cowards and the sisters just lamenting over how they should’ve done this, you’d think Holloway would get her way. Possibly being quite literally torn to shreds by the sisters, Gaige and the poor people of Eden-5. I mean, it’s Borderlands, deaths like these could happen! But no, she just falls to her death. Even Gaige didn’t deserve to get a shot at her, it seems.

4. The themes of why all billionaires deserve to die or lack therefore of

In a now deleted tweet, Anthony Burch describes Debt Or Alive as a book about how “all billionaires deserve to die”. Why he had deleted this, I have no idea and I’m not here to speculate. However, I did not forget this tweet and throughout reading Debt Or Alive I kept reminding myself of itt. It should be the credo of this book, right? Or at least it once was. That is why, I wanted to simply sit down and speculate, what does this tweet actually mean for the themes of this book.

(This screen isn’t mine, I didn’t get to screenshot it when it was up)

I am a leftist, my politics are very much so on the left. My expertise lies in environmental issues and I know less about socio-economics but it’s fine because it seems that Anthony Burch himself doesn’t know much about this. Hence while reading Debt Or Alive, I asked myself the same question over and over. Let’s say I’m a person who likes Borderlands, likes Fiona and Sasha, isn’t too involved in politics and now I read Debt Or Alive – will this book convince me to learn more of the theory or think that all billionaires should die? In a way yes but in none of the right meaning of such speculations.

On the planet of Eden-5, it seems that life is determined by money and social status. Even the smallest crimes (or rather inconveniences towards the wealthy) will result in you getting a debt cuff. The imagery is already very ham-fisted but let’s go forward with this idea. What are the debt cuffs? I can’t really tell you how they work. While reading I couldn’t have deduced how exactly they operate with that premise. 

First thing is that a person can have multiple debt cuffs but it is never specified if the cuffs ever reach their limit in amount of money on it. As we see Fiona and Sasha get their cuffs and then we learnt you can get multiple, it truly got me thinking – how is that possible? How is it possible to get another, if the screens are digital (and they are described to be digital) how can they reach the limit and be forced to get another? In a highly technological society like Borderlands, nonetheless? How are the body parts chosen for this process? Fiona gets one on her ankle (I think, either this or arm, I forgot) but Sasha gets one on her neck. There are people who have so many cuffs they can’t walk anymore. How can they have so many?

Truth be told, we won’t learn anything about the cuffs or how people operate with them. We simply know they are very common and every citizen of Rustville is described to wear one. Even children, in an incredibly not subtle way, are described to wear “debt cuffs 4 kidz!”. We’re told the cuffs are very heavy but people live with them. We won’t learn who manufactures them, who is in charge of the law to give them away. We’re not even told about the ones who have paid their debt without help from Fiona and Sasha.

The moment when the book takes us to debt prison and the guard says there are some prisoners who can’t even walk because of their cuffs, I realized what these truly were. The cuffs were nothing but the least subtle visualization for us for the statuses of Eden-5 citizens. A literal ball and chain to be exact. For me it just serves as a very ham-fisted metaphor for what could’ve been an interesting concept. We could’ve seen someone pay up their debt but the cuff stays on because the Elites don’t want anyone to be free. We could’ve seen Elites wearing some as a “fashion statement”, mocking the suffering of the lower class. We could’ve seen an Elite who has an actual debt cuff and can’t pay it away, resulting in them hiding it from others. We could’ve had anything but the complete disregard Fiona and Sasha had for their workers and not realizing all of them wear at least one.

For all it’s worth, the book has a very black and white approach towards wealth and money, one that is very unusual for Borderlands. Though we get the usual for Borderlands “everyone is an asshole”, we have such a divide between Rusters and the Elites, it’s hard to mistake it for anything else. Because of this, world building suffers with this incredibly. There are only the poorest people around or the richest people around. There is no nuance or a conversation, there is either this or that. Even Gaige doesn’t offer any insider information towards it, even if she was born and raised there. Nowhere does her very outspoken politics mention the structures and Elites of Eden-5 which she should be completely against. And the fact that she knew Marcie and that she doesn’t wear any debt cuffs that are omnipresent on Eden-5 and the fact that Elites don’t want anything to do with Rusters makes me wonder – is Gaige actually rich? Because everything shows this, and if so, great work, Burch on creating a character whose identity is all over the place.

That was my big issue with showing the problems of wealth and social structures it creates. With no middle class, the conversation lacks another point of view. There are either the wealthiest around or the completely poorest lowest class imaginable. With getting rid of the middle, Burch fails to show us how daily life operates and robs us of the potential conversation. Where are the people who chase wealth and fortune? Where are those who would betray their whole class just to have that taste of top dog life? The only thing we are offered in this conversation are Face and Pick (you don’t have to know anything about them), who want to give Fiona and Sasha away for Holloway, just for the money. But that’s treated as a plot twist, rather than an actual plot point and the siblings already paralleled Fiona and Sasha, so there’s no conversation, just a very shallow shock.

Another point is how the Elites are presented to us. The Elites are the villains, of course and just like billionaires in real life, they aren’t good people. It’s more of how they are presented to us or lack of such presentation. Debt Or Alive doesn’t show us insides to the minds of the Elites because frankly, they don’t have any. I do understand that Burch wanted to show that these are stupid, cruel people, I get it, but even in real life, billionaires are stupid but not necessarily unintelligent.

In the book, we don’t see much of Elites, actually. We see them on the gala Fiona constructed and on Holloway’s gala at the end. At first, they are mindless people who cannot think for themselves. They’re either doing what Fiona wants or what Holloway wants. Secondly, they are quite literally used as meat shields for our heroes to hide behind. So in all senses, they have no personalities, either as a group or individuals. I think the biggest crime is that even in their rich years, Fiona and Sasha don’t interact with the Elites. We could see them be cruel to the lower class citizens, purposefully making them do things that would rank up their debt. We could see them spending money on idiotic things which Fiona and Sasha would point out as dumb. We could even have descriptions of Holloway’s house that are garish and grotesque because she has so much money, she doesn’t know how to spend it anymore.

Truly, the only billionaires whose mind we can read are actually Fiona and Sasha. But for this kind of story, you need a strawman, which is absent. I genuinely thought that Gaige could become their strawman but their relationship is so shallow and so one note I quickly realized it’s impossible. In stories like this, usually when the protagonists become rich and get to make stupid, meaningless purchases, there are already signs that something like this is bad. And though there are plenty of moments in which the girls make stupid choices over their greed, it takes them so damn long to wake up from that dream.

There’s also no critique of overconsumption or consumerism in general. It should be an easy task, regarding how Fiona and Sasha spend their money but though we never see the effects on them, for example throwing away new things or we don’t see the workers (besides that one lady) in such conditions. It’s all a very interesting subject that is brushed away at rich ladies’ boredom. Though we are told that these purchases are stupid, we aren’t given an answer to what they should do instead. And the only point of activism Fiona and Sasha do is to finally free the workers from cuffs. Took them long enough.

I simply can’t understand why this plot even had to involve the sisters, since it truly makes them worse by association. All throughout Tales we hear that Fiona and Sasha hate Hyperion and don’t want anything to do with Rhys. It’s a fair assessment, they’re Pandoran and Hyperion destroyed Pandora as they knew it and is personification of greed. So… Why were they so eager to live a rich and boring life? Was their issue only with Hyperion? Even more so, why were they so hateful regarding Hyperions? For all we know, Rhys is just a simple white collar worker who also gets screwed over by the system, yet they hate him for being part of the system even when it’s to also get by. Reading this story, I had a feeling that Fiona and Sasha simply hated Rhys for being a white collar worker and they had no problems with greed and destruction of lives via riches.

The story also really doesn’t want to take sides in this whole debacle. Fiona and Sasha lose all their money and want to start a revolution, killing all the Elites. This thought isn’t given any time to sink in or develop. At some point, the sisters realize no, we shouldn’t kill the Elites because that is how we’re gonna liberate the people, with their money. But then Gaige tells them they’re wrong? It’s very all over the place and the story really doesn’t want to take sides in this. 

That does make me think, what kind of impact will this story even have on both Fiona and Sasha? All in all, it seemed that they didn’t learn anything. They have to be on the run because the Elites want them dead but also they’re still into the riches and spoils of the Vault. Since Rhys is rich now, wouldn’t they not want to associate with him? Or are we gonna play the “not all rich people” card? I love Rhys and I actually like fictional rich people. But while writing a story like this, you have to stick with your principals and make them call out Rhys’ practices, not side with him because he’s one of the good guys. You can’t lead a revolution and then make puppy eyes towards a rich capitalist.

I have left out the discussion of race, because I am white and I feel like this isn’t my place to be talking about this. Don’t listen to me regarding this, listen to people of color. I want to, however, point out that Burch stayed within the racial ambiguity of Fiona and Sasha and their racial identity is not spoken of, while we learn the ethnic identities of two white characters (Gaige and Felix). Not to mention that I can criticize that having two women of color be painted as rich assholes and drawing parallels between Fiona and Handsome Jack who is in canon called a fascist is incredibly insensitive. And within the revolution literally having them be called out on being “outsiders who want to lead revolution that isn’t theirs and they talk over the native people” is so bad I can’t believe Burch thought of this. 

All in all, would this book convince me that all billionaires should die? With its heavy-handed metaphors and subtlety equal to a trainwreck, I truly don’t think it would. It’s a mess of themes and missed chances on having actually said something regarding the fact that billionaires should not exist and that they are vapid people who can’t look out for others. The story is just complicated when those people you criticize are also your protagonists, like Fiona and Sasha here.

We could’ve had interesting stories of class struggle and differences. The Elites could’ve been destroying the land, long before that laser hit Rustville. Destruction of land and resources for people to live is one of the oppression strategies real life rich people do. And just like the environmental issues won’t be solved with only everyday people making a change, it doesn’t mean we shouldn’t try to make things better. Write better stories with better themes. Maybe it’s just a tie-in novel for a game from 10 years ago but it could’ve said something instead of giving us a caricature of a rich person who spends money on little whale serving dishes.

See how I mentioned my passion for environmental issues at the beginning and it came back here? Set up and pay off. Something this book lacks.

5. Writing not just a better story but A Story in general

I am a writer. Sure, I write fanfiction but that doesn’t disqualify what I’m about to say. Not everyone is a showrunner, you need screenwriters too. What is this book if not officially commissioned fanfiction regarding Fiona and Sasha? When I myself am writing a story to explore, I always ask myself what is my theme, what am I building towards. Every story is fundamentally about change, right? That was why, when I stopped asking myself if I think all billionaires should die, I started asking myself – what did I gain from reading this story? What did the characters gain from this story being told? The answer is actually nothing.

Some of you probably had thought “this is just a tie-in novel to the games, it’s not supposed to be high art” and I agree with this but it is supposed to be art, no matter what. You could’ve said the same thing about the original Tales From The Borderlands, it’s nothing but an addendum to the main stories within the Borderlands. Yet, it moved a lot of people, inspired them, wanted them to create and follow the stories of these characters. For years, I’ve seen people longing for a story of Fiona and Sasha post Tales and this is what we get. Maybe in this regard Debt Or Alive is a high art, since it’s been making me nothing but angry these past couple of days. Or maybe it truly is a nothing piece of art, since at the end of the day, the feelings are just of shallowness.

Coming back to the fact that every story needs change to be worthwhile, I mean it even in the smallest of sense. It doesn’t have to be a huge change, but there has to be one no matter what. After I read Debt Or Alive I realized there was completely no change involved in the process. We start this book with Fiona and Sasha not knowing where they are in life and at the end, they decide to be Vault Hunters. You can say it is a substantial change but think about it like this – it’s the same kind of character arc they’ve had in the original Tales From The Borderlands.

Nothing had changed, they’re still at the same point they were almost 10 years ago when we finished episode 5. What Burch does is a classic shitty storytelling technique of the sequel that is just forgetting everything that had happened before and rehashing the character arc from the first one, just worse. Fiona goes from a self-reassured con-artist to a confident Vault Hunter. Sasha goes from a closed off younger sister to someone with agency. Those are the same kinds of stories we’ve already been told but when there’s no one to bounce off of, you realize that the sisters didn’t need this journey to realize it, they just needed to think for 15 minutes.

There’s also no change to the dynamics between Fiona and Sasha, and every attempt at it is shallow and pointless. At the beginning, we see Fiona being anxious that Sasha literally died before her eyes. Fiona is basically patronizing, Sasha goes Vault hunting but dislikes this, goes back and they make up. There’s no sense of change between them or maturity. I’ve already discussed the sense that their “class consciousness” is meaningless when they at the beginning were lower class. But even between each other, it’s the same song and dance. Fiona is a little overprotective, Sasha wants to show that she’s not just the younger sister. I’ve seen this already, Burch, you’ve told me this in Tales.

It doesn’t help that Fiona and Sasha really are treated constantly as the same entity, so their “changes” just don’t appear. They’re bound by the hip, unable to grow because of their limitations of the relationship. It’s too bad that a story about siblings has to treat them like they can’t exist without each other, when it could be an interesting story about independence. What if Sasha decides that Vault hunting is for her and actually goes away with Gaige? What if Fiona realizes that she’s been too caught up in her sister’s life that she forgot how to live her own? Those are all interesting questions that get tossed off the window, when you realize you have to do Tales but worse.

Just like that, the sisters can’t form any meaningful relationship. Not with the cardboard cutouts of the supporting cast, not with Gaige, there really is nothing. Fiona and Sasha don’t interact with their environment in an interesting way, it’s just a ham-fisted need to show that rich people are bad. Yes, I know they’re bad, I just want to see them discover it on their own. But we get nothing.

You can also argue that Sasha’s story regarding Rhys is just a rehash. As I’ve said, I was never a fan of this couple but I can’t imagine being satisfied with a solution that Burch brings to the table. Through the story, we see Sasha denying her feelings, not being ready for a relationship until Fiona steps in and says “actually, you are or you’re not” and off-screen we see that Sasha decided on their relationship. It’s truly insulting to see the “will they, won’t they” scenario with adult people and solved not before us.

What you have to understand is that this period of life that we’re seeing, with Fiona and Sasha is not a brief period of time. Maybe Burch doesn’t want exact numbers but this is clear when you think about a certain fact – Rhys has a mustache. I’m bringing this up because in Borderlands 3, Lor is actually surprised to see him like this, which means that the Maliwan invasion is well on its way. Which Rhys doesn’t bring up, of course. But deducing from this single comment we can calculate that between the beginning of the book and the ending, 4 or 5 years had happened. That is a damn long time and the fact that during this Fiona and Sasha do not resolve anything, do not develop and only go forth with their very surface level resolution is just a slap in the face.

We finished when we had started – it’s just that Burch doesn’t want you to realize that we had started at the ending. And this itself has consequences that he doesn’t ever want to acknowledge.

6. Show me my silver lining

I think at this point it’s very clear to see that I very much so didn’t enjoy this book. It’s just that I can’t bring myself to give a fully negative review, when there is one thing that I have to actually compliment. That thing is the arc of Gaige and what she’s been through in this book.

How we see Gaige is an actual arc and change of the character. We start with her being petty and bitter, returning to her home planet of Eden-5 for revenge. She wants to kill Holloway for destroying her and especially for the fact that she had imprisoned her father. We see Gaige’s smarts play the role against Fiona and we actually see the unbeatable Vault Hunter lose. Her father died at the prison. She has to hide, plotting her revenge. At the opportunity to bring her father back with the life crystal, she takes it immediately. But when it fails, Gaige is avoidant and quiet. Not wanting to see that she had failed yet again.

What was a terrible point in Fiona’s characterization, the destruction of Rustville, is the moment where Gaige shines through. Being presented with a choice by Holloway, she actually altruistically chooses to get caught, so she won’t hurt anyone. Sure, Holloway doesn’t keep her promise but it’s what Gaige is doing what is important. Instead of her usual snarky demeanor, we see her give up, something she had never done on her own. And in prison we see her still fighting for her life, screaming at the top of her lungs, even if at that point both her father and Deathtrap are gone.

The one genuinely great moment was when at the gala, Gaige gets a chance to open up about her feelings to her ECHOtube (I think that was what it was called?) subscribers. She talks about her love for her dad and how much he meant to her. How she misses him but wants to avenge him and wants him to be proud of her. It’s a very powerful moment, in my opinion, the best in all of the book. Gaige, surrounding herself with cheap thrills and adventures, seeks something that is real and opens up. It’s a beautiful moment of humanity for her that is just lovely to see.

Why she decided to take up the job of a party planner, I have no idea. Even with her explanation it still didn’t mean much to me. Thinking of how sad and once more, avoidant and lonely she ends up in Borderlands 3 does make me feel regret but I wanna hold onto that moment. Of Gaige’s sass and positive spirit, the only thing that made me go through that book.

Also there was a moment in which Rhys admits that he had a voice surgery. Made me go “what the fuck” at first but then I kinda laughed. Nobody needed that but whatever. Also fuck Troy Baker, all my homies hate Troy Baker.

7. Lightning round of criticism

Having said all of that and more about this book, this little section is about criticisms I had but didn’t want to dedicate a whole section to them. It’s just a list of things that bothered me as hell there but that will be shorter to sum up:

-        The humor of this book was unbearable. After several of those “jokes” you could very easily predict how the next one would go. It’s one person making a statement, another person contradicting it and then the outcome is a contradiction or first person admitting to the contradiction. Imagine this dry explanation but repeated over and over again and you get at least 40% of the whole dialogue. I don’t think it’s a good thing when you can sum up your entire humor in a descriptions like this

-        The new side characters are so paper thin, I cannot tell you anything about them. I can guarantee that if you ask me who they are in a month or two, I simply won’t know. All of them were characterized by a gimmick and not given anything real to do. The sisters, too, don’t have interesting interactions with them. Side characters here exist for cheap scenes that sorta progress the bad plot. In the words of a streamer Oboeshoesgames “Katagawa Jr. What a crazy character. He’s almost as memorable as Chet Smith.”

-        The way this book handled Rhys is horrendous. Equated to the kicked puppy who desperately wants Sasha’s attention, constantly described as stupid and worthless and then acting like a teenager when he’s pushing 30. I don’t think Borderlands 3 ruined Rhys. I don’t think New Tales ruined Rhys. But this? This is the worst written Rhys I’ve seen in years

-        Speaking of, Burch trying his damn hardest to write as if he’s a gen z person throws out words that make him look like Steve Buscemi “how do you do fellow kids” moment. In one moment, he even calls Rhys a himbo. Burch, do you know what words even mean

-        The narration style suffers from “tell don’t show”. Look at this example, here. Not only is this just flat out bad writing, we don’t need to be told three different times how badly Holloway treats people. A good writer would just show it to us via her actions towards her staff and juxtapose it with how Fiona treats her staff but of course, none of this happens

-        Being a video game writer, Burch doesn’t know how to progress a story. For him, the more important things are side quests and instant gratifications, not real emotional bits. The story rushes to the next point and leaves no room for you to breathe. You can’t spend time with those characters, you can’t learn anything new because you have to do another thing

-        Maybe that’s just me but I hate the non descriptive narration style. The world of Eden-5 feels shallow and pointless because the sisters don’t explore it and we don’t get any descriptions of it. Those are just empty phrases of wealth and dirt and nothing else

-        Last but certainly not least, I gotta ask, what the hell was Burch thinking with making this healing watch be the same thing as the healing crystal from New Tales? I always hated the deus ex machina of the watch but here it just had gotten ridiculous. It makes no sense, it’s a contrived way to bring it together. How does it connect? We never know, it is never explored. Maybe in Borderlands 50 or something

8. Conclusion

I hated this book. I wish I could’ve said something more profound but sometimes being direct is better – I truly hated this book and I won’t consider this canon to the Borderlands storyline. You can take my word that the canon won’t acknowledge it either. It’s a shallow cash grab directed at people who love Fiona and Sasha, engineered to be as meaningless as it could be and not to say anything either about its themes or its characters. It’s not a character study. It’s not a jumping off point for meaningful class structures and struggles discussion. It’s not even a fun popcorn adventure for fans of the series. With huge letters stating that it was written by the writer of Borderlands 2, I think we gotta ask – maybe it’s time to stop relying on the past and have someone write a spectacular story on par and better than Borderlands 2? Just anyone but Anthony Burch. 

[miela]

I do not think Jegulus is inherently misogynistic but I think their existence as a popular ship perfectly showcases the larger problem of misogyny in the Marauders fandom.

This fandom is painfully male centered with an unhealthy obsession with mlm ships, no matter how nonsensical they are. Jegulus, with all due respect, is a nonsense ship. I know some people like to ignore canon and make everything up but I don’t. Jegulus can work fine in AUs but not in canon compliant fics. And whenever Jegulus shippers speak about what makes them compelling, they always bring up tropes - brother’s best friend, sunshine x grumpy (don’t even get me started on thinking James Potter is a sunshine but that’s beside the point), enemies to lovers, etc. All that is meaningless to me. Shipping based on tropes is ridiculous because none of those tropes matter when James and Regulus, from what we know of their characters, are completely incompatible as people. I won’t speak on Regulus because we have little information about it and it’s easy to treat him as a blank sheet (although I think he’s too whitewashed) but we know a lot about James, including that he despised Slytherins, Death Eaters and the dark arts. So, in order for Jegulus to work, James has to become an unrecognizable character from what he actually is in canon. You are not writing about James Potter. You are creating an OC and slapping James’ name on it. Jegulus was born out of this weird necessity the fandom has for mlm ships. Take Drarry and Wolfstar as an example. Those ships aren’t canon but they have some canon basis because those couples interacted, had a dynamic together, had interactions and lore that could be interpreted in different ways. With Jegulus, it’s all made up.

And this leads me to Lily and by extent, the other girls. Lily was the main female character in the Marauders Era and Jily was the second biggest ship. Since Jegulus gained popularity, Lily has been sidelined, her story has been co-opted, even her own child gets snatched from her and given to Regulus. The girls that before had some developed (nowhere near enough because this fandom has always been misogynistic, let’s not get it twisted), have been shoved to the side or used as tools to further mlm ships. The reason why there’s such a pushback against sapphic!Lily, per example, is because unfortunately some people (definitely not all and definitely not sapphic women in this fandom) really only use that to get her out of the way of Jegulus and that’s the case for many wlw ships in the fandom. All they get is the yearly “I love [insert wlw ship]” tweet but get no more content or develop, unlike the men.

The general treatment of the girls is terrible too. The biggest Jegulus fic, Choices, has Regulus covering up Mary’s SA and James cheating on a pregnant Lily and yet we are supposed to root for them in the end. ATYD has Mary being routinely humiliated by both Sirius and Remus and we are supposed to be okay with it because they’re just two closeted teen boys navigating the world. Pandora and Dorcas have been placed in Slytherin and made besties with Death Eaters to make horrible men more sympathetic and so they can serve as therapists and saviors to people who joined a wizard terrorist group.

I could go on. I am genuinely not trying to be rude or aggressive, just giving my opinion. As I said, Jegulus shippers are not all misogynistic but Jegulus’ popularity showcases the implicit biases against women in the fandom. Other mlm ships and I will keep using Drarry and Wolfstar as examples have also led to the erasure and mistreatment of women. But it’s harder to justify Jegulus because unlike those other two ships, Jegulus is a completely random pairing that feels like was born out of the desire to pair James with a man rather than any interesting interactions those two characters had.

Hi!

Firstly, thank you for sharing your thoughts on it! I see your perspective well and agree with a lot of your points.

(Excuse my yapping below, it helps me get my thoughts out better and to better understand your points!)

For anyone reading this, please note that there are spoilers for atyd and choices below!

This fandom is definitely male-centered and I see your point on how focused the mlm ships this fandom is on. With the ships of wolfstar, the joke-gone-serious ship of jegulus, and the babygirlification and pairing of rosekiller, etc, etc...

I understand the canon compliant vs fanon complaint argument. I think that's where the lines get blurred when it comes to people's views on ships. Canon and Fanon are two completely different ball games when is comes with things making sense and what doesn't.

I lean more towards fanon compliant fics so for me that's where Jegulus makes sense to me because like you said, it's basically OCs with their names slapped on them. It's easier to mold them to work that way, so it's easier to ship them. Also I just love the idea of Sapphic!Lily too which was a concept I thought about before I even knew about Jegulus, honestly.

For canon-compliance, I am all for Jily 100% because it's canon-compliant. You can't fight with it. Even though wolfstar isn't canon, it makes sense to have them be something where as James and Regulus wouldn't have been anything. And I agree with you, they only work in AUs or fanon concepts.

With that being said, I also recognize the misogynistic nature of the fandom. I definitely don't agree with Jegulus raising Harry, because that's literally Jily's child (if anyone does, no hate towards you It's just doesn't sit well with me personally) and it begs the question, what happened with Lily that Jegulus has Harry?

I also agree with your point about how the girls/wlw ships in the fandom don't get a lot of development. I think it's a shame, truly. However, I have, recently, seen some people have different Headcanons of how they are as people. So I'm hoping that develops into something more than just ideas floating around. I also am not sure how they are in canon-compliant fics besides atyd (which I do have my opinions on too and im only halfway through it). I haven't read choices yet so I can only take your word for it.

I do at some point want to make a full long, academic-esque essay about the misogynistic nature of the fandom, because I do have A LOT to say, ESPECIALLY with the treatment of Mary. There's definitely a lot to unpack.

I'm fairly new to the Marauders fandom, so I'm trying to learn what I can. Again, thank you for sharing your perspective! I appreciate it!

[seriousfic]

Furiosa And Its Response: A FAQ

Q: What’s Furiosa about?

A: Ironically, for all the claims prequel Fury Road wasn’t ‘about’ Max, Furiosa isn’t entirely about Furiosa. The first hour or so features Furiosa as a child, kidnapped from the Green Place (an idyllic oasis whose people live in peace and abundance, zealously protected against the post-apocalyptic depredations of outsiders) and then becoming the prisoner of Dementius. Dementius is sort of the villain protagonist of the movie’s first half while Furiosa is on the sidelines.

He seems like the last gasp of the savage warlords like Toecutter and Lord Humongus that we saw in the Mel Gibson Maxes. He is entirely about increasing the size of his horde while taking and consuming any resources he can find. He comes into conflict with Immortan Joe (the villain from the ‘sequel,’ Fury Road), who is more of the iron fist in the velvet glove, and one of the interesting points of this movie is how Joe seems like a reasonable administrator in contrast to Dementius. He’s an awful person, obviously, but at least he keeps the trains running on time.

Furiosa grows to adulthood caught in-between Dementius and Joe’s feud, eventually moving to escape and return to the Green Place.

Q: Is it as good as Fury Road?

A: Not quite. It has a new cinematography look that tends to give things a plasticky CGI sheen, like Attack of the Clones or something. I know that they did a lot of the effects practically and that Fury Road used a lot of CGI itself, but yo, what's the point if it looks fake?

Also, towards the end, Dementus gets into this "we're not so different, you and I" deal with Furiosa that feels like a reach, considering he hasn't seemed to be motivated by revenge at all throughout the story, just bog-standard ambition and lust for power, so trying to make him a dark mirror to Furiosa now seems like a strain for profundity.

Q: Is it woke?

A: I’d say not unless your definition of woke is so expansive that it’s basically meaningless. The themes of the movie are too universal to belong to any one political movement.

-Rapists, tyrants, and warlords are bad.

-In a radioactive wasteland, it’s good to live in a self-sufficient oasis.

-Good people try to avoid violence when possible and want to live in peace.

It does have a female protagonist, but so do Aliens, Terminator, Kill Bill, and a buttload of Michelle Yeoh movies. If you say that you’re fine with female protagonists, just not with poorly written ones, then I don’t see how that’d be a problem here.

In fact, it’s stated that the reason Furiosa is so badass is because a straight white man, Imperator Jack, saw her core toughness and mentored her. He’s not at all a simp and is treated as a paragon of masculinity—reasonable, respectful, self-controlled, and hypercompetent. He and Furiosa are in an implicitly romantic relationship.

That’s right. Furiosa is so cool because a boy fell in love with her and taught her everything she knows.

Other men help out Furiosa on her quest and some women are enthusiastically villainous. In that respect, it’s even less ‘feminist’ than Fury Road was.

Q: Okay, how’s it doing at the box office?

A: Not well.

Q: Why is that?

A: Opinions vary. Some say it’s because, despite the movie’s quality, it’s getting caught up in a backlash against ‘gender-swapped reboots’.

Q: Is it?

A: Possibly. I should note it isn’t meant as a ‘passing the torch’ ‘legacy’ ‘rebootquel’, just as a spin-off. The next movie that director George Miller wants to do is a prequel to Fury Road focusing on Mad Max, entitled The Wasteland. So this movie is more like if, between Batman movies, they made a movie about Catwoman going on a solo adventure.

Q: It can’t be doing poorly because it has a female protagonist, the most successful movie last year was Barbie!

A: You’re telling me female audiences showed up for a wacky comedy with a big showstopping musical number, but not for a gritty action movie focusing on death and revenge, despite both having female leads? It’s almost like girls like girly movies while men like manly movies (most of Furiosa’s audience is male—and I wonder how much bigger it would be if they’d advertised Imperator Jack’s presence instead of keeping it a secret).

Q: All movies are doing poorly this year!

A: Godzilla X Kong did well, as did Kingdom of the Planet of the Apes, Dune 2, The Beekeeper…

Q: It’s been a long time since Fury Road came out, people forgot about it!

A: It was a long time after Beyond Thunderdome that Fury Road came out.

Q: Well, people are only going to the theaters for big event movies!

A: Chris Hemsworth and Anya Taylor-Joy in an epic action movie follow-up to Fury Road isn’t a big event? Look, I’m not saying these aren’t factors, but I remember seeing a movie before this came out and overhearing an elderly couple looking at a poster for Furiosa and muttering, in a disgruntled fashion, words to the effect of “Oh, great, they made Mad Max a girl.” I think it’s very possible that Hollywood has killed the market for female-led action movies by making people think they’ll get a deliberately assaultive product every time they try their luck.

Q: But aren’t woke people turning consuming politicalized product into a secular religion?

A: Umm… maybe? I think most people who are fans of anything get pissed off when quality work goes ignored while slop (reality TV, Michael Bay movies, Call of Duty games, comics about Batman) get hugely appreciated. Everybody should probably not take the box office so seriously, since the important thing is that we have a fun movie to enjoy, even though it is frustrating that we could’ve had a whole trilogy of Rocketeer movies if just a few more people had bought tickets. Jennifer Connolly, in her prime, playing a thinly veiled Bettie Page!!!

Q: Then you think I should see it?

A: Yes. You don’t have to if you don’t want to, obviously, but if you like action movies or prior installments in the franchise, it’s hard for me to believe that you won’t get your money’s worth here.

Q: Does it have good disability representation?

A: Uh. I guess? It’s in the context of people having birth defects owing to radioactive fallout from nuclear war, but sure. Why not?

[soupthatistohot]

BSD: An Absurdist Analysis - Chapter 2

Atsushi 's entrance exam, a test of will

[BSD 001] [Masterpost]

This chapter is about Atsushi’s entrance exam, which is basically the test of his will and whether he has the moral compass necessary to join the Armed Detective Agency. 

Also, personal sidenote: It’s really funny to read this chapter with the full knowledge that everything about it is completely staged. 

Anyway, we start with one of Dazai’s infamous suicide attempts.

Please excuse the watermarks on some of the pages/panels I provide. The online version of the manga that's easily accessible to me has these watermarks and I’m not going to remove them, nor do I know how to. 

I’d like to take a moment here to explain the difference between something being “silly” and “absurd,” because BSD toes the line of this a lot, and I think this is a good example. Silly is more lighthearted and just plain stupid, whereas absurd is something just plain illogical or insensible. Dazai getting himself stuck in the oil barrel while attempting suicide is silly in of itself, but this becomes absurd when he explains that he wishes to die painlessly.

This is because of the fact that while it’s technically possible to die painlessly and even commit suicide painlessly, it kind of goes against what we consider to be logical or normal. Death and pain live in the same family in our brains, so, therefore, Dazai wanting to die and consistently attempting to take his own life but not wanting to deal with the pain of it is kind of absurd. 

It’s the hypocritical nature of Dazai’s suicidality that lends to absurdity, especially because it’s sort of a “boy who cried wolf” situation (Dazai explains that his coworkers don’t come to save him anymore because of the number of times he has attempted, and even treat him callously when he tries to ask for help). While I’m not a huge fan of this trait of his and how others respond to it because of the lack of sensitivity it’s handled with (especially earlier in the story), I do think it plays into the overall theme. Asagiri’s intention likely wasn’t to make light of suicide or the fact that Dazai’s irl counterpart succeeded in taking his own life, but rather to emphasize the absurdity of such behavior within the framework of absurdist storytelling. That being said, this can also co-exist with the fact that a lot of manga Dazai’s suicide jokes are really insensitive, to say the least.

Anyway, Atsushi helps him (begrudgingly), and they head towards the agency, where Tanizaki is pretending to be a bomber, threatening to blow the place to bits unless he is brought the president of the agency. When Kunikida tries to approach him, he “recognizes” him as an agency member due to his “grudge” against the organization and threatens him. It’s then decided that Atsushi should go out to confront the bomber since he wouldn’t be recognized as an agency member. 

I’m going to pause here and take this opportunity to explain the difference between absurdism and nihilism. While it's true that both philosophies contend that life is inherently meaningless, the difference lies in what we do with this information. The nihilist believes that because life has no purpose, it cannot be found under any circumstances and therefore you can basically do whatever you want. Life is what you make it, essentially. The absurdist believes that in order to find meaning, one must both embrace life’s inherent absurdity and use it as a means to fight back against it. 

So with that context in mind, Atsushi basically tries to tell Tanizaki that there’s meaning in life, to which Tanizaki responds “It’s better if everyone dies!” Atsushi then goes on a self-deprecating ramble, but still ends it with “but I’m desperately trying to live!” 

Essentially, Tanizaki is playing the part of the nihilist here (it doesn’t matter if I and everyone here die), while Atsushi is presenting an absurdist argument (my life sucks, but I’m still trying, regardless). 

And then we get the most important part of the entrance exam: Atsushi throwing himself on top of the bomb. 

I know I talked about suicide being something that absurdists hate in my chapter 1 post, but I will note here that I think context matters! Dazai’s suicidality is different than Atsushi trying to sacrifice himself, because for Atsushi it’s a last-ditch effort to save everyone. 

Realistically, would his body be enough to dampen the explosion? Probably not, but what matters is that he did the “idiotic” (read: absurd) thing, and tried anyway. He didn’t give up hope that he could do something to protect everyone in that room, despite barely knowing any of them. 

Luckily for Atsushi, it’s all fake, and this was a test of his will, basically. Fukuzawa and Tanizaki are formally introduced and he gets offered a job at the Armed Detective Agency… which he basically can’t turn down because otherwise he’s completely penniless. So, Dazai has kind of trapped him there by wanting to hire him, which I think is kind of funny. 

And thus ends the second chapter! As I mentioned in the previous post, I might not be doing one chapter at a time like this as I go, but for some of these earlier, establishing chapters, it feels necessary. I’ll be considering it on a case-by-case basis, pretty much. 

Thanks for reading! Please feel free to reply or send asks, I love talking about this stuff :)

[Previous] [Next]

[shadowbriar]

Druig - Delirium

Pairing : Druig x Reader (she/her) Word Count : 4.3k Warning : Medications. Hallucination. Angst. Let me know if I miss anything. Synopsis : He is her favourite worst nightmare, dressed as her knight in shining armour at night before fading as the sun rises. Notes : Inspired by Ceilings by Lizzy McAlpine. I recommend listening to it while reading. Please let me know if any part of this fic is offensive. If you like this story and would like to support me, please visit my kofi page and perhaps get me a coffee?☕

There it is again. The sense of familiarity, comfort she couldn’t find elsewhere, warmth that fills her heart full like no other. It was not because of the peaceful night nor was it because of the cup of hot chocolate in her hand. It was not because of the heat from the fireside. Certainly not from the shrieking sound the fan was making. It was not from the ticking of the clock by the table. It was not from any of them.

She stares at him with heart eyes. He was resting his chin to his palm, elbow posted on the sofa. It was as if she was gazing into a mirror. He reflects the admiration, the same intensity of affection and love she tries to show him. They were smiling. Basking into the beautiful sight of each other’s lovesick expression.

But her heart was heavy. She could feel the bitter truth that is slowly seeping in. A cold raging storm with no chance of mercy, one that would pierce through her skin and leave marks she’d never be able to heal. No matter how hard her head tries to turn deaf from all the warnings in the back of her mind, she knows that this too will end soon.

“You’re kinda cute,” She comments.

The boy laughs, “Kinda?”

She only nods. She places the mug to the table, now running her hand to his hair while the other rests on top of his arm. She watches as each strand escapes her gentle grasp. The way they seem to fall into place like puzzle pieces, each contributing to the beauty of the bigger picture— him.

“I..” She whispers, her tone shaking from intense emotions “I love you.”

He smiles. The kind of smile you see on people who are deeply in love. The kind of smile you give to someone you’d lie your life on the line for. The kind of smile she could never get from anyone else, one he never showed to anyone else.

He took her hand that was running through his hair and kissed her palm. He places it to his cheek, closing his eyes as if he wanted to melt into her touch. She could sense that he wanted to stay too. To live in this moment forever. She’s seen that look on his face one too many times, hear his reluctant sigh for one too many times too. But in the end, he would always be the one strongest of them two. To be the one to get up from the sofa first.

“I love you,” He says as he stares into her eyes “I love you beyond your imagination.”

“I know.”

That apologetic look now clouds his face. The very expression she hates most to see from him. It has become her constant reminder that this was all just a dream. A recurring dream that haunts her night, daunting her days as she tries to find the underlying answers. In a minute or two now she would wake up and find herself alone in her apartment, clutching into her blankets as she tries to fill in the void in her chest with its meaningless warmth. The void where he’s supposed to fill in.

“Can’t I just stay here?” She pleaded even though she knew what his answer would be. She’s heard it a million times now “I don’t want to leave.”

The boy didn’t answer. Instead, he pulls her for a close embrace, resting her head to his chest. She could smell his perfume, feel the steady beating of his heart, and painfully hear the shuddering sigh he let go. He doesn’t want her to leave either.

“You know where to find me,” He cuddles her tighter, afraid that she would look up and see the tears welling on his eyes “I’ll always be here.”

—-

“Are you okay?”

She blinks as her friend reaches for her hand, bursting her bubble of thought. It took her a couple seconds to process her surroundings. Lord knows just how long she was out of touch. She couldn’t recall the last thing her friend was saying. Her mind was busy trying to cling onto the crumbles of last night’s dream that is slowly slipping out of her grasp, erasing the details of her blissful moment with him.

“Yeah, sorry,” She says with a tight smile “You were saying?”

Her friend sighs, eyebrows pinched on a worried expression, “Are you sure you’re alright? Is it about that dream again?”

Her shoulder tenses. She knew just how ridiculous she looked in her friend’s eyes. To be so bothered by a dream, a silly dream about a boy so perfect yet she couldn’t really recognise who. She knew that no one would understand the distress it brought her. She knew that no one would understand how happy she was in that dream, only to wake up feeling empty and hollow. She knew that no one would understand how tortured she was inside.

Back when she first had those dreams, she didn’t know how else she could find out about him but to ask around. She’d asked her friends, even her family, if they ever knew him. A boy with dark brown hair, clearest blue eyes, and the most beautiful smile. She’s tried all the possible approaches to find the least bit of information about him but it was to no avail. No one knew him. Not even a name.

“Are you taking your medications?” Her friend asks softly “Are you still going to therapy?”

Medications. Therapy. The two things that are just as pointless as her effort in finding him. None of it works. Not even after she got bigger and bigger doses than the previous. Her sleep was always peaceful yet her mind was troubled. There was no way out. No escape from this maze.

“Yeah, I do.” She nods, lying “I’m seeing my therapist again next week.”

“I’m glad to hear that.”

She smiles, looking away from her friend.

She knew that she was losing it. That the line of reality and fantasy has blurred ever since he came to her dreams. He was just a piece of her illusion. A vision of a perfect life where she shared it with him, a life where she is his and he is hers, a life where she knew his name.

You know where to find me..

—-

His hand was holding hers while the other was on the steering wheel, driving her home under the heavy rain. The night was cold but it never bothers her. Not when his warm smile and gentle strokes are here. The world could freeze to death and she would still find herself blissfully in love.

“Could you stop the car?”

The boy raised an eyebrow, “Why?”

“I want to feel the rain.”

He turns to her with a growing grin before parking the car to the side of the road. Her giddy squeals erupted as she opened the car door, running out and feeling the rain drops on her skin. She was soaked in no time, showered under the rain that seems to be falling even harder with each of her laughter. Her shoes are now full of water but she couldn’t care less. She was happy.

He joins her not long after, scooping her by the waist and turning her around. They were dancing under the rain to a silent song that only the two of them could listen to. The whole world was theirs. No other pair of eyes to judge, no other mouth to question if she was sane, no other disapproving look of others. Just them two and the rain.

She clings her arms to his neck. Her vision was blurry from the water drops on her lashes but her attention was fixated on him. The way water drips from the tip of his nose, the crinkles around his eyes as he smiles, and the flush of redness on his cheeks. Beautiful would be an understatement for the sight she’s seeing right now.

“I love you!” She yells with a big smile.

“I know!” He yells back “I love you too!”

She pulls him for a kiss. A desperate, hungry one as she tries to eliminate any possible space between them. He was warm, the only source of heat in this cold night. He was her sun, her light, be it a dream or reality. She knew that she would always gravitate towards him, orbiting around him like a satellite.

The happiness he’s brought to her has always been so intoxicating. It always came like a tidal wave, washing over her with delightful electricity. Her skin burns in glory whenever they touch. Heart full and content and it was because of this pleasant hypnotic moment that she always forgot about the one thing troubling her mind— his name.

“I love you so much.” He breathes out “I love you, I love you, I love you.”

—-

“Do you still have that dream?”

She looks up to her therapist with blank eyes. The question feels like a buzzing sound in her ears. She knew what he was asking, one of the template questions he always asks, and she couldn’t care less about it. Her mind is once again stuck in a loop, playing the bits of dream that slowly dissipates to thin air.

She could still feel the raindrop on her skin, the heat of his body, the way his lips taste as they kiss under the rain. She could feel the damp feeling of her socks. How her clothes were sticking to her skin uncomfortably. She could recall the way his eyes twinkle under the road light. He was beautiful. A sight she could never erase yet unable to engrave to her memory at the same time.

“No,” She lies “I don’t dream about him anymore.”

Her therapist nods, making notes to his book, “And are the medications working well for you?”

I wouldn’t know, I never take it. “Yes.”

“Good,” He says again “I’ll write you the same medications then since it’s worked best so far.”

She turns her eyes out of the window, trying to distract her mind. She could see cars passing by, people walking and the way the leaves move from the wind. Everything seems to be so normal. So dull compared to the life she lives in her dreams. Everything is amplified there, brighter and much more astonishing than her real life. If only she could live there forever.

“Can I ask something?” She says, still looking out.

“Go on.”

“How would one know when they’re going mad?”

Her therapist’s brows furrow, “Why?”

“Just a thought.” She says with a shrug, now looking back at him “What differs a mad person’s mind than a sane one? Do they have a different world in their head?”

“Is there something you wanted to tell me about?”

She bites her inner cheek. Frustrated at the questions thrown back at her. She wanted answers. She wanted to know that she wasn’t going insane. That it was normal for someone to feel lost and empty the way that she’s feeling. That it was normal for someone to crave the touch of someone she knew nothing about. That it was normal for someone to be chasing the dream that is haunting her for the worst.

“No,” She shakes her head “Like I said, just a thought.”

Her therapist nods once again, dismissing her question. She let out a sigh, unsure if she was relieved of his apathetic gesture or if she should be offended that her own therapist gave no regards about her questions. She bites on her nail. A little part of her heart was looking forward to tonight, to feel his pleasant touch and hear his delightful laughter, but she knew that one of these days she’d succumb completely to insanity.

A price she wasn’t sure is too high to pay for.

—-

She stares at his bare back with a smile. He was still sleeping, an arm placed around her waist securely. His light snoring sounds like a beautiful lullaby that would lull her to sleep. Her finger lightly traces his exposed skin, joining the dots of his moles that seem to be a beautiful constellation of its own.

Beautiful, beautiful, beautiful. She was mesmerised to say the least. Everything about him is just so enchanting. Like she was bewitched body and soul, having no power to fight his stirring charms. Never has she ever felt such intense emotions for someone, be it in dreams or reality.

“Take a picture, it’ll last longer.”

Her smile widens as he starts to wake up, “Hello, you.”

“Hello, my lady,” He says lazily, still with closed eyes but with a growing grin to his face “You’re beautiful.”

“You haven’t even opened your eyes.”

“I don’t need to. I know that you are, you’re always beautiful.”

She let out a chuckle. Now inching closer to him, planting a small kiss to the tip of his nose that made his smile even wider. She studies his face, noticing all the beauty marks and features of his face. She knew that she’d stared at him one too many times already but it feels like the first time everytime. Feeling the same deep admiration and awe every time. He was the definition of perfection itself.

“Open your eyes,” She whispers “Let me see them.”

He did as he was told. They were so close now that their breath fans each other’s face, tickling each other as they rub their noses. His forehead now rests on hers. Her hand finds its way to his hair while he is pulling her body closer to him. Their legs were entangled together, locking each other in place.

“I love you,” He says.

She nods, smiling. He’s told her those three words for a millionth time now yet it still gives her the same butterflies as if it was the first time. She could never tire of hearing it. How melodious it sounds whenever he utters it, be it in a whisper or a shout. Those words will always be the anchor to her world.

“I love you,” He says again, giving a peck to her left cheek “I love you,” A peck to her right cheek “I love you,” A peck to her forehead “I love you,” A peck to her nose “I love you,” And a kiss to her lips.

Her heart nearly explodes. He is everything to her. The answer to all her questions, the angel to all her nightmares, the cure to all her torments. This boy is everything and more. She wishes that she could tell him. She wishes that she could tell him just how much he means to her. Perhaps then he would be willing to stay, to come out of her dreams and be in her life at last. But it was just too high of a price. To risk everything by cutting a straight line on their blurred lines. It was lovely to be laying here with him between comfort and chaos, and for now it was enough.

“I love you,” She whispers back “I love you beyond words.”

He was still smiling, now drawing circles on her back with his thumb. She feels safe in his embrace. Nothing could harm her now, no troubles would be in her mind if he’s here. He is her lifebuoy, her light in the end of the tunnel. Everything is perfect, just like he is.

But that glimmer in his eyes soon dims down, as does his smile. That apologetic look clouds his eyes once more and she knows that her time is running up. That this comfort is once again taken away from her grasp too soon.

“Please,” She begs, closing her eyes “A little longer.”

Tears were starting to form. She knew that she could only take so much of this beating. That her heart was growing weary, mind aching from all the torture. It is only a matter of time now before she completely goes mental and the only thing she fears of that outcome is if he wouldn’t be there anymore.

“We have to go.” He says softly, voice creaking from the reluctance.

She opens her eyes, staring into him that is now fighting to not let the tears fall too.

“I love you,” He whispers “You know that, don’t you?”

She nods with a weak smile.

He kisses her once more. She could feel the heartbreak in his lips. How the bitterness seemed to be poisoning them yet they couldn’t stop sucking it in. They need this, no matter how broken they would be in the end. They would do it a thousand times more even if they have to glue the shattered pieces of themselves with their bare hands.

Now he was driving her on a route that felt familiar but she couldn’t recognise still. She knew that he was taking the long way home, trying to stall time as much as he could. One of his hands is interlocking hers, giving it squeezes of assurance every now and then yet it seemed to be losing its touch tonight. The troubles in her heart seem to amplify the moment she peels herself off of the bedsheets. Tonight wouldn’t end as their previous nights, she could feel it.

“Could you stop the car?”

The boy raised an eyebrow, “Why?”

“I just—” She pauses, losing her words “Please, stop the car.”

It feels like a bitter déjà vu. The car stopped on the side of the road, light illuminating them from outside, but the comfort couldn’t be further away. Before, it was filled with warmth, golden, like gazing into the first light of the sun in the morning, but now it feels distant, like a dark cloud is slowly pooling above their heads, ready to strike them with thunder.

She looks down to their hands. He was still holding her. His eyes glued on her, she could feel it without looking up. He must have that worried look on his face, how his brows would furrow and lips formed into a light frown. It pains her to know that she’s causing them this much turmoil.

“I love you,” She whispers with pain in her tone “But I’m fading.”

She could see his jaw tenses. Like the rug has finally been yanked off of his feet. He looked like he had anticipated this but was still unnerved nonetheless. He holds her hand a little tighter as if fearing that she would let go. He turned his position, fully facing her now with that pleading eyes but still remained quiet.

“It’s over, isn’t it?” She asks silently.

The boy bites his tongue.

It was an unfamiliar vile feeling. She’s never gone down this path, always going with the flow the dream wants to carry them that night, but tonight was different. She was slipping away. Her fortress was crumbling and though she wouldn’t mind sacrificing sanity for him, she knew that happy ending wasn’t on their stars.

“I love you,” He chokes out “So much.”

“I know, I know.”

He pulls her close, resting their foreheads together. His eyes were closed but she couldn’t find it in her to do the same, wanting to take in everything about him before she lost him completely. She would miss the way his nose would brush into hers, the way his chest vibrates every time he laughs, and the way his eyes would radiate so much love that she swears could fix her broken bones.

“It’s not real,” She whispers in defeat “You don’t exist.”

He opens his eyes, staring back at her as if he has so much to say but unable to let it escape his lips.

He cups her cheeks, cradling her gently and pulls her close, grazing her heart with every touch of their lips. His fingertips feel cold, burning her skin and tainting it with invisible marks. The salty taste of tears began to pollute their kiss as she couldn’t hold them any longer. He still kisses her slowly, gently savouring their last moment whilst silently praying that time could freeze itself and let them live here instead.

“Druig..”

It was as if he was stupefied. She opens her eyes, blinking to let the sudden call of his name sink in. His body froze, colour draining from his face. Everything suddenly makes sense. Like a wire was finally plugged in, the missing jigsaw falling into pieces. She knew everything now, understood everything but one.

He licks his lower lip, a habit she’s come to understand that he does when he is nervous. The boy, Druig, now looks away. He pulled away and created some distance between them. Now her heart was filled with anger and disappointment. As if she’s finally catching him red handed, busting him in such a crime she could never forgive him for.

“Druig,” She calls again, this time with a firmer tone “Why?”

“This wasn’t supposed to happen,” Druig says, his eyes brimming with tears “I’m sorry, I’m really sorry.”

“About what?”

He froze once more. She could see the guilt washing over him like a sticky muck. He was crying. Gone was the bright and radiant Druig, corrupted by shame and sorrow he couldn’t conceal from her. He was broken. Perhaps much more shattered than she was. The burden crushing him down was much greater than her.

Perhaps it’s true what those wise men said. With great power comes great responsibility. Great sacrifices one could never be able to pay for yet are still taken from them.

“You weren’t supposed to remember,” He croaks “I’m sorry. I shouldn’t have let this happen for so long.”

His eyes were starting to glow. A foreign form of fear crept into her, as if she understood where it would lead them but hardly recognised it. She places her hands to his cheeks in instinct, trying to cancel whatever it is he was ready to do. She can’t lose him. Not like this.

“Druig, please,” She begs “Look at me.”

He remains still, cold as stone.

She rests her forehead on his, begging, “Darling, please, give us just a minute.”

The glow on his eyes slowly dims down, returning the blue colour of his irises. He stares at her with a pained look. Like whatever he was planning to do hurts him physically. She could see the ache he’s trying so hard to ignore. He was always the strongest one out of them two, always the one with the stronger moral compass, but it never meant that it hurt him any less.

“I have to do this,” Druig chokes out, tears staining his cheeks.

“I know, my Love, I know.” She replies “But just give us a minute, yeah? Let me remember you for the last time.”

Druig reluctantly nods. He pulls away a little, studying her features as if he couldn’t draw her from memory. He’s lived on this planet for thousands of years, met countless people, seen millions of faces but none could ever be as significant as her. No one could ever hold half the beauty she has, hold a smidge of magnetism she has. No one could ever be as much of a weakness for him like her.

She runs her fingers to his hair, combing it gently and trying to record the feeling of each strand escaping her grasp. A sorrowful smile now decorating her face. One he likes least of her but still finds it beautiful nonetheless. It was all the both of them could really hold onto in this moment, beauty.

“I love you, Druig.” She whispers, her lips tugging into a melancholy smile that would be the death of him tonight “I love you so much that I pity you.”

He closes his eyes, trying to melt into her touch.

“I might forget all of this, but you.. You have to live with it for the rest of your time.” She cries as she holds him tenderly “My poor boy.”

Druig’s tears fall even harder. His body was trembling, trying to bottle his emotions that have certainly leaked out now. He hates how she understands him so well. He hates how she understood his pain, how it feels like she could feel the torture he’s been in eversince he erased her memory the first time. He wished that he could just take all of their pain away, make him be the only one to succumb into the ironic trope of star crossed lovers they seem to be fated in.

“I never wanted this for you.” Druig sobs “I’m sorry.”

“I know, I understand.”

He lets out a pained chuckle. She was supposed to be screaming at him, punching him and hurting him from all the pain he’s brought into her life. He couldn’t decide if the deep devotion she has for him was a blessing or a curse. It hurts him either way yet he wouldn’t wish for any other outcome.

“My beautiful, beautiful girl,” Druig calls, taking the hand that was combing his hair to his chest “Know that my heart beats for you, always.”

She nods, smiling, “I know.”

Druig lets out a shuddering sigh. He squared his shoulders, getting ready to do what has been demanded of him a long time ago. He flashes her a warm smile, the most genuine he could to try and help ease her worry. But she was never worried about herself, not about this. All she could think about is the loneliness that would engulf him once more. Navigating his way on this planet alone without her to hold his hand.

“Are you ready?” He asks.

She nods weakly, smiling.

He leans in with a smile, kissing her gently and tenderly. His thumb caresses her cheeks, trying to erase the tears that are still flowing down. He hoped that his touch would provide her the same comfort and love as the one she’s giving to him. He hoped that his strokes could distract her mind from the bitterness of they’re upcoming ending. He hoped that his kiss would be a good enough gesture to close their chapter.

And on that morning, she wakes up without a void in her heart for the very first time.

[yuseirra]

This manga makes me feel like Cassandra. I keep talking about it, about this same thing over and over, PLEASE, I REALLY THINK THIS HAS TO BE IT GUYS.

I think I know what this manga is trying to say.

When "Fatal" (the song) came out, I got the gist of it and kept reading. But the story keeps spinning in circles, and people are confused. That does include me too, but I think I still know what this is supposed to be.

Early July? July 1st or maybe the 4th? So, it's been a whole three months now. I've been repeating this same idea over and over ever since Fatal was out-

If Kamiki has a motive, it must be for Ai, right? That’s obvious, isn't it? People had guessed that even before the song came out. But they thought it was twisted into something like “Anyone surpassing Ai must die.” But that’s not it. I never thought that was the case. Not only would that be meaningless, but Kamiki never admired or loved Ai as an idol in the first place. There hasn’t been a single scene where he’s shown to enjoy watching Ai perform. He's one of the two characters who directly presents the idea, along with Ruby, that Ai was just an ordinary girl, with her own cruel sides.

So, what would he do? What would he do if the person he loved died? What’s his motive, then? What’s driving him? In the songs, there’s this character who longs for someone far away, or someone who’s already dead, and who desperately desires to bring them back to life. They’re willing to die if that would help. And if you look at what Kamiki says, it’s like he doesn’t care much about his own life, but he’s still doing something, right? In Chapter 155, he says he’ll do something for Ai.

He’s probably been living like that all along.

Shouldn’t we be paying more attention to this? Why isn’t anyone seeing it?(sorry this is a stretch..I'm being strong with my words here.. You see my point.) I've been screaming about it this whole time…goodness. What other motive would this character have? Why would he hurt Ai? Sure, maybe we could stretch the idea and say he might sacrifice Ruby to save Ai, but judging by his reactions, I don’t think so. He seems proud of his daughter and genuinely loves his kids. I think that's true. He cares about Aqua, too, which is why he’s pretty keen of what Aqua’s thinking right now. From what I’ve seen, he’s surprisingly gentle and passive. I doubt he did much at all. Ai worried about him until the very end. He would be the type to get attacked, unable to fight back and fend for himself, which is why she decided to take everything on herself to protect him. Ai, who was just a small middle schooler herself, didn’t want to burden him with anything, so she took on everything to save the guy from suffering, THAT'S how she feels about the guy. If anything, that implies that this guy must have a really tender and soft heart, I'd even go as far as saying timid....idk, he might be someone who couldn't even hurt a fly in the past. But Ai was everything to him you know?? So that's why he's been pushing himself to become cruel and suffer in the process. That's why he relates to his son and tells him we are the same. I think he pities Aqua. They've been forcing themselves "for Ai" and that's what they share in common, thus explaining how Fatal has two singers. It reflects both him and Aqua's circumstances, although I feel the song leans more towards Kamiki's feelings overall because of the type of love the song displays.

Continuing on, it seems like Ai felt really protective about Kamiki, I guess he was the sort of person that makes you feel that way. He was sweet and frail. The things they say seem to drive people mad in some weird way, making everything go wrong, but they don't seem to gain much from it. If anything, they've only become more miserable. Isn't there a lyric in *Fatal* like that? Something about happiness draining away even when it's filled? That's exactly what this character's life's been like! Even when something good happens, it quickly disappears, leaving them feeling empty and unhappy again. There's no way they wished for that kind of life themselves. They need some sort of exorcism.

If you could remove that kind of bad luck, I think there’s a really good chance that Kamiki is surprisingly gentle and kind. I don’t think they’re someone capable of strong, forceful actions. They seem like the type to just talk and wouldn’t be able to handle a physical fight. They might have a sharp tongue, but when you dig deeper, you could interpret them as actually being quite kind. Honestly, I think they’ve been very consistent. Watching them now, it doesn’t seem like they’ve changed that much from their young self. People get fooled because of how ominous he looks now, but if they had kept the same round eyes as when they were a kid... He might not have seemed this intimidating. They’ve just become more hollow after losing Ai, so they give off this dark aura but I don't feel like they actually are capable of being so evil;

This story... it’s impossible for the boyfriend to be the culprit. More than that, if he *was* the culprit, it would completely undermine the entire theme of the manga. I mentioned this in a different post, so I won’t elaborate here. Anyhow, that’s not the direction this is going.

Ai and her boyfriend truly loved each other. If anything, I feel this guy may have been trying to save Ai in his own way, you know? In a world where reincarnation exists, something like that is theoretically possible, right? Honestly, for those who wish for Ai’s reincarnation, I feel like you should be supporting Kamiki. Because out of all the characters, I think this one is the only one who might seriously try to bring Ai back. Aqua is devoted to Ai in his own way, and Ruby as well, but they aren't trying to meet her or make her live again; Someone in the songs have made attempts to do it though??? Then it must be him!! I feel like he's tried, but it didn’t work out, and that’s what the speaker in *Mephisto* is lamenting about. *Fatal* is about how he still wants to reach Ai, to see her somehow even after such failed attempts. That’s why and how the idea that Ai wants this guy to be saved ties to the plot. This guy needs saving.

I’m not lacking in insight. This hit me all at once, and I really think this is where the story is heading. There’s no guarantee yet that this isn’t the case, so I believe this is what’s happening till it gets proven otherwise because!! I really do not see how the story can tie things unless it isn't this!! It all works so beautifully if this is how it is!!

[emblemxeno]

Definitive “Feelings On 3H” Post

So I’m making one big post on my feelings on major things worth discussing about 3H and how I feel about it. Don’t feel obligated to really interact with this one much, it’s mostly just for my sake, as something I can just link to and say “go to section X about how I feel about Y”.

The reason behind this is I just don’t really want to actively engage in 3H discourse anymore. I feel as if I’m a broken record at this point. If I have new things to say about it somehow, I’ll say it, but for the most part, I’ll refer people to this if they wanna know how I feel about general 3H talk. 

Story

Story Section 1- General narrative feelings on each route.

Azure Moon is, in my opinion, the most solidly constructed route in terms of writing, character development, and storytelling. It knows what it wants to accomplish and, aside from a few gripes, I will always applaud it for that. Verdant Wind and Silver Snow meanwhile, aren’t bad and I certainly didn’t have a terrible time playing through them. However, the unique story bits in each route don’t justify the gameplay experience you have to work through in order to get to them. Still, the big reveals in each route were nice to hear for the first time, and specifically for VW I enjoy Claude very much. Crimson Flower I don’t enjoy that much at all. Its story is what I can only describe as a static, eye-roll inducing victory march, which makes up for its lack of length with its seemingly intentional negative character development; everyone is ignorant, an asshole, or sad as fuck aside from the CF exlcusive cast. I would give the route props had the game bothered to stand in its foundation rather than flounder and make numerous attempts to depict every perspective as absolutely equally valid and righteous. 

Story Section 2- In trying to appeal to every perspective, the game lacks focus, foundation, and respect for itself.

It should be expected that a game with multiple routes tackle different specific subjects. However, in Fire Emblem, there always, always manages to be a unifying theme or foundational story philosophy-an Aesopian type moral if you will-no matter the route. Alm and Celica learn that their one individual philosophies can’t exist on their own, and that leadership requires strength and compassion of equal measure. Eirika and Ephraim learn that personal wishes must take a backseat for the good of Renais and Magvel as a whole, as their routes in FE8 use their own weaknesses to develop them as leaders and royalty. Corrin’s one constant in the Fates games is that conflict is inherently meaningless and does nothing but perpetuate a brutal cycle of hatred, vengeance, and violence. 

Even in games like FE7 and FE10, where the technical ‘route splits’ are more unconventional, there’s still unifying themes that manage to wrap back around at the end (7′s ‘single-minded pursuit of justice and strength/power to protect can actively hurt you and those around you, especially if you are ignorant to the pain others are going through’ and 10′s ‘people have as much capacity to be good as they have to be evil, they will hurt each other due to petty misunderstandings and bigoted views, however, they are worthy of living as they are because of the ability to grow, change, and aspire to something better’).

3H, to put it simply, does not have any grand unifying theme unique to itself. The closest examples I can think of is ‘It’s worth it to reach out to those around you to share your pain so you don’t become engulfed in it’ and ‘no matter what side you fight for, war makes everyday life a living hell for everyone’.

But to me, both of those things are just... basic truths and story elements present in every dialogue heavy FE game. War has been showcased as being terrible since FE1, where characters were held hostage, threatened to fight for a cause they didn’t believe in, innocent villages were destroyed, there was a literal child slave market, etc. And sharing your pain with those close to you in order to bear life’s challenges has been a constant trope with many FE characters, story significant or otherwise, since at least FE6 with Guninivere (probably earlier if I’m missing something from FE4 or 5). The only difference is that 3H has a fun little song to go with it.

That leaves the specific themes of each route and perspective, but because each leading character is so different from the other, and the writers didn’t want to overtly favor one over the rest, every dialogue regarding these things feels compromised; half baked, or lacking a point. 

‘Crests are symbolic of a harmful power structure but also are a symbol of justice used to ward away threats but also are a tool used to gain social and political capital in order to change the world but also are an ancient power obtained through destruction that must be used with wisdom.’ Four different perspectives from four different routes that the game attempts to depict in a balance in almost every single dialogue regarding them. And this same process is applicable to the game’s attempts at discussing race/ethnicity, xenophobia, classism, religious views, mental health, etc. There always has to be two, three, four, or five sides to every story in 3H, and that results in an exhuasting and stretched thin narrative that, in its attempts to appeal to everyone, ends up lacking substance in every point it tries to make.

Now, that itself would make for a fascinating and meta theme for the game to uphold, where ‘attempts at trying to balance and accept every perspective leads to an ineffective world that desperately needs unwavering, unconditional, and compassionate leadership’ but 1) that would require the game to play up the need for ‘seeing every side’ as something to be deconstructed, and the game doesn’t do that, it’s played painfully straight, and 2) when it’s one major power (Edelgard) vs. three major powers (Dimitri, Claude, and Rhea), the attempt at balance fails no matter what you do. This lack of focus reads to me that there was lack of respect for the game’s story itself.

Story Section 3- “It insists upon itself, Lois.”

Every time I think about the finer details of story bits in 3H I don’t care for, my brain always comes back to that Family Guy scene where Peter talks about not caring for The Godfather and saying that it’s because the movie insists upon itself. Now, that was done for comedy, but for 3H I must say that it’s a perfect sentence to use. 3H insists upon itself. This is in spite of the fact that there’s no one unifying point that it’s trying to convey to the player, beyond what any other FE games was able to do. So to make up for that, each small instance reads like the game beating the player over the head with whatever minute moral or lesson it’s trying to convey.

Crests are bad? Roll out the Edelgard, Sylvain, or Lysithea dialogue saying so. Church is sus? Get Edelgard or occasionally Claude. Nobles are pretentious? Get the sad NPCs or the few actual commoner characters to imply it. War is bad and cruel? Fire the next “Sad Dorothea” dialogue at the player’s face. Interactions feel artificial, ostentatious even. Part of that is because there’s no other way to get these points across due to Byleth being a silent avatar, the other part though? Feels as if the writers were overtly proud of themselves. “Wow, the war means Bernadetta leaves her room more often, isn’t that a sign that it really changes people?” Yeah, no shit. 

Perhaps the most egregious example is the endless instances of the game pushing the idea that there’s “no good side” in war or that “war is a battle of ideals and no one is fully correct” or other moments that want the player to know how deep and Morally Gray the narrative is. It’s cheap and inauthentic, especially when you have a faction like the Slithers. You can’t prop up Gray Morality and have an inarguably evil underground terrorist group. 

To be crude, this game explains things to you like you’re five despite being rated T for teens in a series catered mostly to young adults. I get the point you’re trying to make, you did it poorly, now stop repeating yourself, your final grade is a D+.

Story Section 4- 3H likes spectacle over substance.

3H revels in being showy over being constructive. There’s great moments, but there’s not a great plot. 

For example, Byleth has many flashy moments that show how awesome they are! They’re connected to a goddess, they can wind back time, they have a super cool historical sword, they’re a top tier mercenary, they’re a great teacher, they’re next in line for Archbishop or the throne for all of Fodlan, their Crest is the game’s version of the Fire Emblem!

Cool! What’s the significance behind all these choices in the writing room? Seemingly next to nothing other than it sounded cool. That’s how it feels anyway.

The SotC doesn’t do anything in the story beyond be Sothis’ bones, likewise the Crest of Flames is nothing other than symbolic since it lacks gameplay or story significance beyond “main characters have it”, Divine Pulse has weak narrative justification for what should be a simple gameplay exclusive rewind, the goddess in question is an underutilized character who checks out before part 1 ends, there’s no gameplay basis showcasing that they’re any better at fighting than their students, and every high level position Byleth is granted makes no sense for them to have given what little established character we get.

That’s 3H in a nutshell. Crests don’t matter other than to be a story device. Being noble or commoner doesn’t matter. The hidden technology doesn’t matter. Abyss is a joke. And on and on and on. 3H profits off of being enticing and cool looking for the sake of it, without actually utilizing or explaining any of this flashy stuff that matters for a video game medium. It makes for underwhelming gameplay and artificial characters. Example, for as much as I love Yuri, take a few minutes to read his backstory; it’s batshit and nigh unbelievable. And it’s indicative of the fact that 3H cares more about including things that sound cool than it does about making sense of anything. We see the impact, but never any material significance, which is the opposite of what you want in a detail oriented narrative like this.

Story Section 5- 3H has very gross tropes.

During 3H’s first year of being out, I desperately wanted to stay true to a view that “hey now, just because it’s depicted like this, doesn’t mean we should blast it, it’s just a video game” but, y’know. I grew up. And part of growing up is recognizing the nuanced parts of these kinds of things. 

I won’t accuse the writers of being actively ignorant or bigoted, cuz I don’t know anything about them. But fuck. Fuck, does this game read worse and worse over the years in terms of how utterly terribly it handles sensitive issues.

Multiple brown characters treated like trash by the white/pale majority, with countries said brown characters hail from described as savage and animalistic. Rampant misogynistic tropes, most notably selling women off to be married. Strange, and incessant sympathy for the character starting a war that upends the lives of common people, said character also allowing human experimentation to occur. The offensive and archaic handling of mental illnesses, specifically anxiety disorders, personality disorders, and PTSD in certain instances (IMO only Dimitri and Marianne are done with any sort of grace). And that’s just the explicit stuff! Just the other day I was talking about how there’s incredibly disturbing anti-Semitic undertones regarding the Empire (confirmed to be based on Germany btw) and the Nabateans, something that’s, at times, uncritically repeated by people in this game’s community. This game is mired in terrible allegories and metaphors, which make me cringe the more I think about the real world implications that these lines of thought can have on people in volatile corners of the Internet.

And the kicker is that the writers are so committed to making these things relate to Crests or nobility, as if either of those things are strictly the reason why oppression or discrimination occurs.

The game employs drastic harmful stereotypes, and undercuts all of them by foisting its half-baked unique gameplay/lore toy onto the conversations. It fumbles the ball and didn’t even clean up the mess well.

Characters

I have a tier list of how much I enjoy the characters right here. 

Long story short, when the characters are good, they’re good. Like, holy fuck, love them. But when they’re bad? Throw them away. Can’t stand them. And sometimes characters fall in the middle where I see the good but they’re at times written in ways that piss me off.

Worldbuilding/Setting - More is not always better

First off, when you make a character tell the player “Go read in the library for lore”, you’ve lost me. There’s nothing fun and interesting in 3H as a game for you to read in the library.

Fire Emblem’s gameplay cycle doesn’t mesh too well with the typical JRPG standard of storytelling, so the common solutions to building the world and crafting the stories was 1) make as much use as possible of cutscenes, art/cgs, and narrations to communicate the important details before and after battles and/or 2) make an intuitive inclusion to ‘break the pace’ between maps, such as a home base, in order to supplement what’s already present. Alongside this, support conversations were an ingenious tool to develop the characters and the world at the same time, as your varied and quirky cast can help you infer what their place of origin is like. Plus, the game actively rewards the player for seeking this auxiliary information out, granting extra stat bonuses when you purposefully put characters next to each other.

3H, on paper, understands this well. However, the game has too many minute details for a typical FE game structure to handle. The devs themselves even said the game became a “living creature on its own” and claimed no one on the team knows everything about 3H’s story or world. Ignoring how that’s a serious flaw for a video game narrative, what this ultimately means is that since cutscnes and a standard base can’t cut it, we need more and more and more. Libraries, side quests, tea time, ally notes, gifts, NPCs that exposit at you, etc. The DLC even added another damn library for you to sift through, as if the first one wasn’t a pain already.

And though these little flavor texts, landmarks, and set pieces are fun to read about... that’s it. The game hardly uses any of it. It’s flavor without substance, once again. It’s why half the fucking fandom is confused every other day when you bring up these tertiary details as evidence to prove a point, since the active story is too busy trying to weave the other 600 plot threads together to use any of it. That means, for all of this supposed great details regarding each nation and the important territories, we hardly see a damn thing that’s actually different. More is not always better, and in this case, it’s actively worse for both the game experience and the community experience. Not a good look for a game that the devs explicitly wanted people to talk to each other about.

As a fan of FE ever since 2013, who has gone back to play several of the games to see how they tick, 3H’s methods of describing its setting are just so antithetical to what makes the series enjoyable, and for so little reward. It sounds hypocritical given that I love Fates and Engage, but those games actively set up their glorified bases to be as unintrusive as you want them to be. 3H, however, has its gameplay built around a boring and unintuitive cycle.

Gameplay- Fire Emblem but half the time you’re not playing Fire Emblem

Gameplay Section 1-Monastery

The monastery is the most debated gameplay aspect of 3H, and IMO, for good reason.

It sucks.

Worldbuilding wise, while it makes sense that an important location is the hub for the game, that doesn’t account for how dull it is. 12 months and 4 seasons pass and does the place ever look different? No. A shame, since an improved aesthetic would drastically help ignoring the fact that the place is a bitch to traverse. For as fast as Byleth can run, they can’t outspeed the load times. Quick travel only makes the issue more apparent, as well. From door to door, and from week to week, you’ll endure more load times in one in-game month than an entire playthrough of a GBA FE game.

The other aspects of the monastery gameplay, such as teaching, activities, professor level, and motivation, while freshly fun in a first playthrough, become a repetitive slog in subsequent playthroughs. Giving gifts and lost items, eating meals, planting the right things for the garden, optimizing support point gains, using the sauna, taking care of the statues, etc. This cycle is not something I enjoy in an FE game, and unlike Fates or Engage, I can’t actively ignore it without huge penalty. 

You can skip right to each main mission, but you’d be giving yourself a huge handicap by doing so; not actively teaching students at max motivation in order to maximize skill point gain is a huge detriment in the long term. It means longer wait for better weapons, longer wait for better spells, longer wait for class change, and longer wait for better skills and battalions. Now on Normal you can get away with this, not as much on Hard, and sure the fuck not on Maddening. To me, it feels like sloppy balancing on top of an already exhausting and dull game cycle. Why let the player skip months if you didn’t bother to carefully balance the game so that the players who do skip months could have even a small chance to clear the game? Honestly, it just feels as if they thought “people might find it annoying so let’s just tack on a skip feature”, and that’s disappointing and lazy.

Overall, I hope nothing similar to the monastery’s implementation is included in any future Fire Emblem game. It’s too antithetical to FE’s main gameplay structure, IMO.

Gameplay Section 2-Battles

To be honest, Fire Emblem has never been the pinnacle of balanced gameplay, and frankly I don’t want it to be. It’s a single player game with fun anime sword guys, magic powers, and dragons. So long as it’s not dreadfully easy or overly complicated, I have no qualms about certain classes or characters being better or worse than others.

3H though is a mess. A fun mess, but still a mess. Movement decrease to foot units means you want a mount cuz the game’s maps are big, and the speed penalty for cav classes means you want a wyvern or a pegasus. Physical units do just that (or maybe War Master for Quick Riposte), you get your dancer, have a Stride unit, have your Magic units and warpers where you need them, and congrats! You solved the 3H meta. 

Half-joking, honestly. The game is extremely easy to break, the hardest part is getting to that point (after all, slugging through the monastery is a bigger test of your patience than anything else). Maddening mode, of course, you have be extra careful in the beginning (cuz they probably didn’t play test it cough cough) and utilize your combat arts and gambits effectively, and being extremely conscious of positioning. But, much like Awakening before it, 3H is very easy to snowball. Especially on NG+. That doesn’t mean it’s not fun, but it can get mindless. I don’t personally play that way, but even still, tools such as weapons mostly not being class restricted, Crests, combat arts, gambits, and accessories make the game incredibly simple. It’s a breeze, and only gets harder when certain things are stripped away from you or your debilitated somehow. Again, it’s still fun, because FE is always fun, but challenging? No. Not in a way that I find meaningful, anyway.

The maps themselves? Meh. They look pretty! Lots of small missable details that you wouldn’t see if not for the zoomed in view, that was a neat feature. Not at all useable for actually playing the game, of course, but fun to mess with and to sight see. It does make me resentful, cuz again, we could’ve potentially seen lots of rich, detailed, and varied locations bustling with townsfolk and entering villages to really feel each location. But alas, this is as good as we get.

Anyway, the maps are...fine-ish? Part 1′s maps are seared into my brain, for better and for worse (mostly worse) cuz you have to play them at least 3 different times for all the routes. Prologue through Chapter 5 are either boring, terrible, or both. Chapter 6 is the first map on my most recent playthrough that I say I had fun with in Part 1, then it continues for 7 and 8, then nosedives for 9 and 10, before picking back up for 11 and 12. In short, more than half the story maps for part 1 I find are either unexceptional or plain bad.

Now Part 2? Hunting By Daybreak is atrocious, Garreg Mach defense is pretty fun, Ailell is boring as fuck, Myrddin Bridge and Deirdru are good, Gronder Part 2 ebbs and flows between being awesome and awful, Merceus, Enbarr, and Fhirdiad are okay but tend to drag, Tailtean is alright, Shambhala is hot garbage, CF endgame is pretty fun, AM endgame is okay, VW endgame is awesome, Snow endgame is terrible. I think all routes’ part 2 is better than part 1, but not by much.

All of Cindered Shadows is peak, every map was good IMO.

Paralogue maps I have no opinions on, they are recycled maps with nothing meaningfully interesting about them that I remember aside from Dedue’s, Ashe’s, and Petra’s. 

In short, the battle maps in 3H are okay for FE standards. It’s just pretty fucking insane how many times they get reused, so I got tired of them very quickly.

Fandom

Last but not least, just a shoutout to a very unpleasant community experience. Though it might be the best selling FE game as of now, it comes with the price of having some incredibly disrespectful, vicious, and ignorant fans.

Never have I been witness to or been the target of as much harassment on the internet as I have with certain 3H fans. Entire discord servers made to make fun of groups of people with differing opinions, taking over old blog domains to mock people, deliberately seeking out people who want nothing to do with you just so you can defend your favs, etc. And that’s just on this site! There’s editing wars on TV tropes and the wikis, mods on various sites having to do deleting sprees of 3H discourse, artists being harassed on Twitter, and in general just... inserting yourselves into places and spaces where you were not invited nor encouraged to comment. Some of these people lack basic human deceny, respect, and boundaries, and it’s not cool.

Part of the reason why I’m breaking away from 3H now is because this behavior is something I got wrapped up in too, and I’m deeply ashamed of it. It’s toxic, and not at all something I want associated with one of my favorite video game series anymore. I got real life things to worry about and other games to play.

-

Anyway, that’s pretty much it. All of my general thoughts on 3H, localized on one post. Sayonara, Fodlan Discourse, you won’t be missed. 🤗

[posttexasstressdisorder]

The simple yet powerful way Tim Walz just exposed Donald Trump

John Stoehr

September 20, 2024 6:51AM ET

US Democratic vice presidential candidate Minnesota Governor Tim Walz speaks at Temple University in Philadelphia on August 6, 2024. © Brendan Smialowski, AFP

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Tim Walz was in Michigan recently. In a stump speech, he noted differing views on the meaning of homeownership. He said that for “the real estate mogul, the venture capitalist, whatever,” a house is “just an asset to be traded and sold.” To everyone else, however, it’s “a place to gather around the kitchen table to talk with our kids about what happened at school.”

The message was simple but powerful.

Donald Trump (“the real estate mogul”) and JD Vance (“the venture capitalist, whatever”) stand together as normal men who care about and understand the normal struggles of normal Americans, but they are not normal, nor do they care about or understand normal people’s struggles.

They don’t even know the meaning of owning a house and what it takes to achieve that dream. To them, it’s not real. It’s an abstraction. It has no value beyond its market value. But “to us,” Walz said, it’s so much more.

“That’s what Kamala Harris wants for you,” he said.

ALSO READ: Let's call Springfield what it is: Republican-made terrorism

Leigh McGowan, a social media influencer who goes by “Politics Girl,” watched the speech. She saw how Walz uses simple words to capture a common experience to rally normal Americans toward the common good and against “the real estate mogul, the venture capitalist, whatever.”

Then McGowan did something useful.

She named Walz’s rhetoric.

“It feels like he cannot possibly be real,” McGowan said. “Here’s this man who is masculine without being weirdly alpha, who hunts, who shoots, who was a teacher, who is a veteran. He’s just a good dad and a great husband, and he believes in the nation. He’s not trying to be president, he doesn’t have bigger ambitions, and he’s happy to be second banana to a woman. It’s like you made him in a lab as the perfect candidate.

“He talks to us in common sense,” she said.

Trump’s uncommon languageIf Tim Walz talks in common sense, what does Trump talk in?

Well, it’s common in that grievance and hate are ubiquitous. Beyond that, however, Trump does not communicate using words everyone can understand to relate the joys and sorrows they have experienced.

Virtually every word he chooses says more about him than it does anyone else. So while you don’t have to know anything about Tim Walz to understand his speeches, you have to know a lot about Donald Trump to understand his. Indeed, to talk about his speeches requires a kind of specialized language. And if you don’t know the lingo, you’re lost.

After nearly a decade in the public eye, Trump’s presence has become commonplace. It took someone like Walz speaking in the language of common sense to jolt us out of the normalcy that is Trump. Walz helped us realize we don’t really understand what the man is talking about.

I would even say the impact of that jolt is why McGowan said Walz “feels like he cannot possibly be real.” But it’s not Walz who doesn’t feel real.

It’s Trump.

Thanks in part to Walz, it’s clearer now than ever that Trump’s speeches have gotten longer, windier and more rambling. They start out grounded in discernable reality but eventually, they become so abstract as to be meaningless. Here he is, explaining, well, I don’t really know.

I don't think I've ever said this before. So we do these rallies. They're massive rallies. Everybody loves, everybody stays till the end. By the way, you know, when she said that, well, your rallies people leave. Honestly, nobody does. And if I saw them leaving, I'd say, and ladies and gentlemen make America great again and I'd get the hell out, ok? Because I don't want people leaving. But I do have to say so I give these long sometimes very complex sentences and paragraphs but they all come together. I do it a lot. I do it with Raising Cain. That story. I do it with the story on the catapults on the aircraft carriers. I do it with a lot of different stories. When I mentioned Doctor Hannibal Lecter, I'm using that as an example of people that are coming in from Silence of the Lambs. I use it. They say it's terrible. So they say so I'll give this long complex area for instance that I talked about a lot of different territory. The bottomline I said the most important thing. We’re going to bring more plants to your state and this country to make automobiles. We’re going to be bigger than before. The fake news and there’s a lot of them back there. You know, for a town hall, there's a lot of people but the fake news likes to say, the fake news likes to say, oh, he was rambling. No, no, that's not rambling. That's genius. When you can connect the dots. Now, now, Sarah, if you couldn't connect the dots, you got a problem. But every dot was connected and many stories were told in that little paragraph.

A normal person’s common language

Trump may not sound like a rich man, but he’s still a rich man.

When he talks about normal things, it sounds weird.

He has never gone back-to-school shopping. He has never pumped his own gas. He’s never written a check for the electric bill. He does not know what it’s like to be sticker-shocked at the supermarket. He has no idea what it feels like to go from renting to owning. He sure-as-hell doesn’t know how it feels to be forced to choose between food and medical bills.

He does not even know the meaning of a $10 bill. He does not know what it can buy, because $10 to “the real estate mogul” isn’t money. It’s power.

Indeed, $10 means nothing, just as tariffs mean nothing. Tariffs aren’t real economic tools presidents use to address real economic problems. They are abstractions. As such, whether they work makes no difference to him. Whether they cause suffering doesn’t matter. Suffering is abstract, too.

To a normal person, the price of things is about as real as it gets.

To Trump, the price of things is as real as fairy dust.

So he can say, as he did this week, that he will lower “energy bills” by 50 percent. He can say, as he did in January, that the cost of gasoline has gone from under $2 a gallon to “5, 6, 7, 8 dollars.” He can say, as he did this week, that he will decrease the price of food by decreasing the food supply (via tariffs on imports). To a normal person, that makes no sense. To a rich man, sense is beside the point. Money isn’t money. It’s power.

In the end, you don’t have to know much about Tim Walz to understand his speeches, because Tim Walz is himself a normal person. He knows the meaning of a $10 bill. He knows the meaning of owning a home. He speaks in common sense, because his own experience is so common. When he says, “that’s what Kamala Harris wants for you,” it makes sense.

It feels real.

[blue-b-bro]

The use of genre as unreliable narrator in ofmd

„But it’s a comedy!”

(I had to, sorry)

Ok, people usually take this argument out when talking about there being jokes, or getting a happy ending. It’s not dark fantasy like Game of Thrones, it’s not a mature drama, like Better Call Saul.

But in most stories the darker genre is justified by the fact that that’s realistic, that’s how the real world works. Going with that explanation, writing a fantasy like this is like an oxymoron (I’m not saying it’s a bad choice, just pointing out). Recently tho, it became popular to think that a story is meaningful or mature only if it’s realistic, the dark-way-realistic, if you get what I mean. If the story is too optimistic, the ending too happy, it’s apparently not realistic enough and so - silly. If the story wants to talk about something deep but there’s not enough misery, someone will inevitably come and point out how in real life it wouldn’t be like this and so the message is meaningless.

Going back on track: in most stories the genre is like the laws of physics of the story. Once set they’re absolute. You can subvert the tropes, cliches, expectations, but the genre stays intact. If in a story taking place in a genre expected to be more serious, more grand the author puts too many jokes, it’s bad writing. It’s against the laws of this world and shouldn’t be there.

And usually it’s ok, we have a lot of genre, we can take new approach to them, make them fresh, mix them. But I haven’t found that many stories that use A genre (not “Their genre”) so much as a tool, so explicitly as a tool to show characters perspective and worldview.

Let’s just quote what I’ve already said, because it was rather well put imo:

“Season 1 is more comedy like, because it’s from Stede’s point of view, mostly. Sometimes the lighthearted music actually doesn’t fit the scene, unless we take into account that it’s about how Stede sees this. Stede’s flashbacks aren’t funny, his marriage isn’t funny. Stede cares about Ed and so his flashbacks are treated seriously too, even more so (cause you know, Stede doesn’t care about himself much). But Izzy is treated as a joke. Stede doesn’t like him and isn’t afraid of him (because he doesn’t know he lives only because Ed forbade Izzy from killing Stede) and so scenes that are sad and depressing from Izzy’s perspective don’t get an appropriate music (like in e6 for example). The world is shown through Stede’s eyes. Ed is cool and scary and treated very seriously, Stede tries to hide his very real pain under his adventures and Izzy… He doesn’t care about Izzy. The scenes where Stede is scared make him look pathetic but when it’s Ed, it’s completely serious, because Stede treats Ed’s fear seriously, but finds his own shameful and, well, pathetic. The comedic tone is the unreliable narrator here.

Episode 8 isn’t so much comedic anymore. Stede feels out of place, pushed aside, and the whole episode feels like that. Episode 9 isn’t a comedy either, it’s seeped in self doubt and lingering regrets. Episode 10 has comedic vibe mostly during Stede’s adventurous escape and kinda during Ed’s pink robe phase. Kinda, because alone with Lucius, there’s no jokes, with Izzy too. The comedy stays on deck, with the crew, Stede’s crew that as a whole goes under the adventurous light vibe. But at the end of season 1 the vibe of the show completely changes. There’s no jokey comedy anymore. Yeah, Stede’s still a bit silly now and then, because that’s how he feels about himself. But at Ed’s Revenge there’s only 100% drama.”

Another thing is, with every episode, we get more and more alone time with Ed, he becomes a protagonist of his own. His alone scenes aren’t funny. Usually those are somber or depressing. In e10 their two perspectives part the moment Stede runs away. Since then there’s Stede’s world and Ed’s world. It’s Ed’s sky that’s pink. It’s Stede’s world where the assassination attempt is funny. Ed tries to maintain Stede’s reality on the Revenge, but it turns out bleak in comparation. There’s no comforting blanket of escapism and naivety. No one to nourish the optimism and the atmosphere of safety without Stede being here. It’s becoming more and more Ed’s world again. Depressing, dangerous, more realistic. Because Ed lost his faith in Stede’s world, it the value of love and comfort.

The divide is even more visible in episodes 1-3 of s2. Just what people were laughing about: Stede’s crew gets soup and Ed’s fights for their life. Stede most of the time bottles up his negative emotions, keeping his “realm” light and adventurous. Very rarely he let’s himself to actually feel his real emotions (in the rain, during the night talk with Lucius, maybe with Zheng, tho I’m not sure if it’s not more thinking than feeling at that moment really). Stede’s keeping his darkness hidden, focused on hope. When they meet Lucius and then Ed’s crew, the little cracks starts showing up. We start to see less of a humor and more of sincerity. Season 2 is less comedic and more sincere in it’s form. Because that’s how Stede feels, after realizing his feelings for Ed, after realizing what’s important to him, after getting him back. (He couldn’t accept Ed’s dead, so he wasn’t << “I’m not ready to believe that”) His world is more real. It’s not ignorance, naivety or detachment anymore, rather hope, optimism and having an actual goal. In season 1 Stede just wanted to run away from his life, now he had a specific goal to fix what he destroyed (no matter how much of it was really his fault).

Going back to Ed’s perspective in e1-3, we are told about his emotional state, for example, by weather. It’s also interesting how at the beginning of e2 Ed’s crying session is treated seriously, showing him feeling empty, abandoned, longing all at once. But the next day, when he recalls the incident, it’s framed like a joke. You know, how when you get an emotional breakdown and then later think “damn, that was embarrassing and unnecessary”? It was something like that. When he torments Izzy, it’s dark af, because he sees himself as a monster. The tone of a scene doesn’t say how actually important/serious/deep/meaningful the scene really is, but how the character sees it. Just as Stede saw his fear as pathetic in s1, Ed treats like that his sincerity. His abandonment is only deserved and him crying about it is pathetic, his self hate and violence in the afterlife just a dry fact, his fisherman era suddenly taking a jump into comedy the moment he feels he failed.

We can see Ed’s and Stede’s realities getting more similar, because their view on reality is getting more towards the middle. Ed gets more forgiveness and softness and it isn’t depicted as ridiculous. Stede's adventures get more bloody (the cursed ship), threats more real (Ned Low’s tortures). Buttons change was so out of the blue and unrealistic, because that’s how Ed saw the concept of change. He was so sure it’s not real and that’s why it was like a magic. That’s why he was alone, while witnessing it. Izzy was able to survive all that happened to him, because Ed believed he's indestructible and will always have his back, even if he doesn't deserve it. (if I'm right, then it's the presence of Stede that killed Izzy)

The weather, the colors show Ed’s emotions:

While Ed’s emotions were muddled and confusing in e5, we got the fog, when he was happy in the beginning, but then started to feel more and more unsure in e7 – the colors changed from yellow to gray, when he was happy about how Calypso’s birthday turned out, but then Ned Low appeared -  the colors changed from romantic pink and purple, to disturbing green and blue suddenly, as if his past, his sins poured a bucket of cold water on his head. When he thinks he will finally die, finally made that decision, he’s relieved, and sunny weather mirrors that, but in his last moment, when he has to face it, they’re in the middle of a storm. His gravy backet is cold, cloudy and so windy it’s hard to hear anything. Hell, the first time we see Queen Anne it’s in its own dark weather!

Stede, becoming “real boy” and then “a man” makes the world around him more realistic as well. After Ned tortured his crew and Ed, Stede kills the guy. After becoming suddenly famous, the world takes a step back and everything is light and funny around him again, no real danger, Stede kills the guy without even trying and it’s funny and cool, because He feels cool about all of it. But when Ed says that last night was a mistake and then leaves, there’s no more cool Stede. Suddenly his happy adventure is falling apart, his crew doesn’t want to follow him just because (because why were they always together since the end of s1?), his behavior isn’t cool anymore, but pathetic, Steak knife probably died, his tricks don’t work, because he doesn’t believe they would, not really. He doesn’t feel like it’s some cool pirate duel from pirate tales, like in e6. He feels like a failure. Everyone left him, whatever he does, apparently it’s not enough for people to stay, and when he hit the rock bottom, the Republic of Pirates gets destroyed.

The way the world works is related to what Stede and Ed believe in atm. But if they're together on screen, it's Stede's beliefs that shape reality.

So I don’t think they changed the rules of the world in e8. The rules were changing all the time, and the world became deadly during ep 6-7, somewhere there. The tone of the episode didn’t warn us, because Ed was happy most of the time, and so the color palette of the episode is light.  The left-side rule didn’t work, because Stede wasn’t as naïve as in s1 (he wasn’t sure Ed was right, but decided to believe him). Stede’s crazy plan didn’t work as in e1&2s1, because he was more aware of the risk. Stede knew they could die, knew it’s dangerous, and so it was. Ironic really.

[fayewongfuzao]

[TRANSLATION] Harper's Bazaar Hong Kong, March 2001

Faye Wong’s ‘I do what I want’ demeanor might give one an untouchable feeling that is so high it can’t be reached. She even projects an image of being a thousand miles away. But is this only an 'image’ or is it the truth?

Facing the pressure of the media who often distorts stories of celebrities’ private lives, does she have to directly put her feelings, her happiness, and her sadness in everyone’s faces? Is this the responsibility of a public figure? Perhaps in her own self-protecting way, like anyone else, hidden in her is a heart full of passion.

Maybe this interview will allow us to see what Faye Wong’s deep thoughts are.

About fashion/image…

Do you think you are beautiful?

I never use the word “beautiful” to describe anything to do with myself. I understand that everyone has different definitions for this word. But for me, I don’t even use this word to describe some people that I like very much. Maybe “beauty” feels too external to me! If the individual is attractive to me, it is beyond the level of “beauty”.

The media often lauds you for being a stylish singer. Every time you appear in public, your looks are often reported on by the media. What is your opinion on this? Are you bored by it?

I always try to be indifferent to any media reports. But there is no denying that when your image or appearance is appreciated or recognized by others, I believe it’s not hard to accept! However, I think these media reports are just gimmicks. They are really meaningless and will not cause me any emotional distress.

Do you think that as a singer, your clothing style and image shouldn’t be manipulated by a stylist?

Not only singers, but even ordinary people. If our appearance is only manipulated by stylists, it wouldn't be gratifying. The person who knows yourself best is always yourself. If you only allow outsiders to guide you on how to dress, then your own style will be completely lost. At least I would feel uncomfortable. I firmly believe that no matter how much an image is designed, the most basic truth should be based on personality. What’s the point if you can’t even understand yourself!?

Do you have any fashion designers you admire or love?

Never thought about this. Basically, I start with the “garments”. I rarely buy a certain designer’s design every season just because of my love for them. The most important thing depends on whether their seasonal works [collections] can meet my personal preferences.

From the days of  "Wong Jing Man", your image was “ordinary” at the beginning, and now you are recognized as a person with outstanding style. How did you cultivate such a unique personal taste?

I have never tried to cultivate any unique style. Are you speaking of the changes from my debut to the present? I believe that everyone will inevitably go through different changes as they mature. From beginning to end, what I wore was purely out of my different preferences at different times, and I never cared about the likes and dislikes of the public.

Do you think the public is more interested in your image or your music?

There are two aspects.  For example, for some who love to listen to my songs, one day I might wear some clothes that do not suit their “eyes”, but I believe they will still support my music. It is also possible that some people loved my style and started trying to get familiar with my music and fell in love with the songs I sang. For me, it doesn’t really matter which way they start [as fans].

About the media…

What do you think about the media in Hong Kong?

Compared with Hong Kong, the Taiwanese media gave me a “quiet” feeling. Gossip news is inevitable. But it is obviously not as severe [as Hong Kong]. The Hong Kong media pays particular attention to the development in this area and it has even become a common practice. Local competition is fierce, so they often have to “win by a surprise move” [aggressive tactics].  But in fact, there is fierce competition everywhere! Why is it only the Hong Kong media [that does this]? I am not denying the need for this type of reporting. But it does seem to be too widespread now and it has reached the point of “going overboard”!

Often harassed by paparazzi, it seems that you have lost your private life! It may be as simple as eating a bowl of wonton noodles and the media will make an exaggerated and inaccurate report so that it becomes another “drama” to entertain the audience. How do you feel about this? Is it tiring?

In these circumstances, the only thing you can do is try your best to protect your privacy. I can only look a little bit at these false reports! I believe that the audience and readers just smile after seeing these reports, so why take it too seriously? Besides, its purpose is only to entertain the public. I know how to separate it from my private life.

Is the price of fame worth it?

There is certainly a price. To become a public figure, you have to face the curiosity of the public, and naturally you will be affected by these curiosities. I understand this and it is human nature, but I don’t think that because of this reason, I need to lose all privacy. This is not my responsibility. If the media and the general public think that just because I am a celebrity that I “should” have no privacy, then it is a very wrong idea.  I believe they should also adopt an open attitude towards their own comments and criticisms.

If you have the opportunity to choose again from the beginning, would you rather choose the fame you have today or just be an ordinary person?

There is no choice! Even if you start from scratch, it will only go with the flow. Actually, everything that happened, I didn’t “choose” it, maybe it’s fate…

About myself…

What is your goal in life? Is it everything you obtained now?

I hope that in any environment and situation, I can be carefree and at peace. Actually, this is very difficult to achieve. I am only trying to learn the principles of being a human being from every moment.  

Was it your childhood wish to be a singer?

It was not. I never thought about becoming a professional singer. But I loved to sing since I was a child. It was an inevitable thing.

Do you love making movies?

Actually, sometimes I don’t have much confidence in acting. But at the same time, I am strongly interested. The situation is very contradictory. So I will only take a film if I have enough confidence. Singing is always more natural for me.

Ever wondered what you would do if you were not a singer?

Never thought about it. I am not a person with a long-term plan, so I am more comfortable going with the flow.

Do you like living in Hong Kong? Or is there another place you want to settle down?

It has been 13 years since I have settled in Hong Kong. It has been a long time and I have become accustomed to everything that happened in Hong Kong. And in the future, I hope that I will not settle in only one place….Hong Kong… or Paris which I love… That’s what I hope!

At the present moment, what do you think is the most important thing in life?

Same as what everyone else wants every moment: carefree mind and healthy body.

Are you satisfied with your current life?

Satisfied. Actually, I have a lot now, so I should be satisfied! The only other thing is hoping that oneself can be better. What I mean here is not wealth or career, but spiritual experience and pleasure…I just hope that I can “practice” this better. Right!