#the emotional impact of Loop in the narrative also like

[hplonesomeart]

Heyo swiftly going to post some rushed Loop fanart here and the return to solitude! :)

Was interesting figuring out the position of all the head spikes so it stays relatively on model

Actually this was my first attempt at it, but realized the eyes where looking in the wrong direction compared to other reference images whoops

[lakesbian]

it's the moment like 4 of you have been waiting for:

i finally rotated pact creature design in my brain enough to post about it. to all the people who sent me asks wanting to hear my thoughts explaining Why Pact Creatures Are So Good this ones for you.

the core of pact's monster design boils down to one very good fact about pact's worldbuilding: in the world of pact, the universe canonically loves a good story. magic literally runs on themes and ideas. subsequently, strong themes aren't the end result of pact's monster design so much as they are the most fundamental aspect of it--meaningful themes and narratives are such a textually important part of how pact monsters work that one bogeyman outright tries to start a conversation with blake by, upon noticing the birdhouse in his soul (tm), asking if birds are important to him.

what really seals the deal on this being fascinating is that pact monsters aren't invented wholesale--a lot of the book hinges on offering its own explanations for preexisting folklore or urban legend. pact takes a variety of common threads in the way cultural myths & monsters are presented, picks out the conceptions with compelling implications, and distills them into one design so thematically coherent and clarifying that it makes you go "ohhh, why aren't All ghosts/dragons/fae like this? this is Exactly What They're Supposed To Be."

like, we all know that ghosts are dead people, and oftentimes the appearance and/or behavior they're written as having is either implicitly or explicitly based on reenactments of their past life/how they died, and sometimes they're depicted as lucid but more often than not they're depicted more like broken or warped remnants of a person, and sometimes they make things colder/give off Bad Emotional Vibes/etc. those are generally true assertions about how ghosts are often culturally presented.

pact takes that and explicitly declares that ghosts are what happens when something so bad happens that an imprint of the resultant misery is left on the fabric of the universe. some ghosts appear horrifying because their appearance is warped and exaggerated beyond what's realistically possible to match how awful whatever happened to them felt. some ghosts are more lucid because their imprint is more recent, or has been strengthened and fed by human attention instead of left to decay. some ghosts are less lucid because they were forgotten. when ghosts make the atmosphere feel awful to be in, that's because the ghost isn't just the imprint of the person, it's an imprint of the awful thing itself. incredibly interesting! it feels so very much like the absolute heart of what ghost stories are about--about the grief and horror of being impacted by the ever-present echo of something terrible, about something so viscerally wretched happening that reality itself cannot forget it, about the emotionally powerful interactions between someone still-living and the memory of someone already long gone.

(pact also gives an aside that, in very rare scenarios, neutral or arguably even positive occasions which leave a sufficiently strong enough impression can also become ghosts. genuinely fascinating expansion.)

& the thing here is that pact does this for creatures like ghosts that are already richly thematic and iconic, but it Also does it for creatures with less obvious theming. how do dragons work? what's pact's underlying explanation for their position as immortal, powerful, regal, fire-breathing* fantasy monsters?

*&, depending on the media, sometimes ice-breathing or poisonous or whatever else

well, you see, dragons are recursive loops. "dragons are recursive loops" is perhaps one of the Top All Time sentences in the entire book, and the delightful thing is that, in addition to sounding excellent, it makes sense.

that's how they generate and spit out so much of whatever their element is. they're snarls. they're ouroboroses. they're something feeding into itself, self-sustaining for thousands of years, drowning anything which threatens it in torrents of whatever the self-feeding element is--fire, sometimes, but it could be poison, or ice, or whatever else, and that's why you've probably heard of ice dragons in addition to classic fire dragons. Dragons Are Recursive Loops. recursiveness is, after all, a form of immortality.

or, like, fae? we all know that faeries are incomprehensibly old/outright immortal Tricky Little Bitches who like to manipulate people while posing in an inhumanly/horrifically beautiful fashion and going "teehee." pact takes that to a fantastically surreal level of extreme artifice, one that's almost grotesque in its dreamlike nature--they have all lived for so very long that, to them, boredom is worse than death, and so they have complicated social games spanning centuries, and speak in the most practiced of misleading wordplay, and perfectly curate their forests so that even the smallest pebble is an intentionally-chosen setpiece for their play. they graduated from handjobs a couple dozens of millennia ago--now they're more into erotic-poetic descriptions of full-body degloving. you will not notice when a faerie steals and replaces your child, because you are very young and stupid compared to them, and playing-pretend at being your child is only the briefest of trifles in their unfathomably long lifespan.

the other good bit is that pact explicitly acknowledges that faeries run on what is colloquially deemed Bullshit--the universe likes a good story, and faeries have gotten very good at telling it a moving story. if a faerie tells a good enough story about having a sword that breaks the laws of physics, then that is what their sword will do. and so the way to combat faeries is not to out-bullshit them--because no one is out-bullshitting a being with thousands of years of bullshitting practice--but to say "no, that's fucking stupid and made up" until their implausibly long sword acts like a sword of that size actually should and shatters on the spot.

& all of these writing decisions feel so naturally truthful to what these creatures are Supposed to be--they're really not wholly new takes, they're a presentation of preexisting ideas in a way that gets why those ideas appeal to people and goes full-throttle on all the most thematically rich or otherwise narratively interesting parts. It's Good Writing. I Like It. you could spend an entire essay breaking down the presentation of literally any single one of pact's creatures, it's that compelling in its reflection and organization of Ideas About Creatures.

[demento-mori]

Alright! Now that ive finished Act 3 ive put together some of my general thoughts and feelings from this section of the game.

First off, I absolutely love how much the dialogue, descriptions, flavour text and so on changes and evolves throughout the loops. There are so many little details and plot threads, such as Siffrin repeatedly hitting their hip against that one corner, and getting increasingly frustrated each time, or learning that the dying plant is Mirabelle's and being able to compliment it in the next loop. It makes the characters and the world seem so organic and alive, and provides a sense of progression as you are able to learn more and more about the world around you. Even though the game gives you the option to loop directly to certain floors and areas, I find that I prefer to go through the house the 'legit' way each time, simply because I'm so eager to see whats changed.

Siffrin's psychological decline has been devastating to watch play out, especially since you, the player, are right there alongside them. You're also hoping that each new dialogue unlocked, and each change in the loop means that you've found the right solution to end the loops, and everytime you're disappointed and feel like your efforts were all for nothing. This especially hit home in regards to the party/family members. The first time you do each of their friendship quests its so heartwarming and emotional, you feel so happy that you've been able to get to know them better and become closer with them. But then, in each subsequent loop the impact of those quests lessen, and its easy to begin seeing them as just another hurdle you have to overcome in order to progress. It mirrors how Siffrin gradually stops seeing them as autonomous beings and rather as actors in a play, who he is "manipulating" to get his own happy ending.

The changes in the game's artwork that show Siffrin looking more worn down and tired is equally devastating. Its a small but very effective detail that drives in how the loops are wearing down on them. It almost feels like the game itself is becoming more and more corrupted as the loops wear on.

The worldbuilding is on another level. Like, you can tell that so much thought and care has been put into the world. The countries and their different customs, the religions and their practices and mythology. The language, the fashion, the magic system, the history. One thing that really stand out to me is how Vaugarde is clearly a very wonderful place, but its far from a utopia and there are still societal issues and injustices. For example, rather than taking the route of "there is absolutely no prejudice, all races genders and sexualities are equal", the game shows that gender and romantic/sexual attraction are all widely accepted and seen as fluid due to the change belief, but conversely aromanticism and asexuality are not as common or accepted as they clash with the religions practices. This makes the world seem much more fleshed out and believable, as it provides clear and convincing justifications for why the society is the way it is. And all of this isnt even getting into the more spoilery worldbuilding elements, such as colours and the island north of vaugarde, or even simplier stuff like the other countries and their cultural differences, or the various different vaugardian towns and their unique customs.

I feel like Isat is the only video game Ive ever seen that utilises the time loop concept to its full potential, let alone accomplising that in a way that still translates to a well-made and engaging gameplay loop(ha). Both the gameplay and the story make full use of the time loop gimmick in order to craft a compelling narrative, to explore the characters, their backstories and development, and the psychological effects of the situation upon them to their maximum potential, and to ensure that the gameplay loop never becomes stale and is able to consistently keep the player invested with new things to explore each loop. Its truly a masterpiece of game development.

[biasbuck]

BiAsBuck’s ficrec Fridays

Happy I started drafting this when it was Friday everyone! Can you believe there's just three weeks left to go before we're back with BEENADO?! Here's another round of the fic I've been reading this last fortnight to tide you over in the meantime. You can find previous rec lists here.

7 September 2024

Baking is a Science but I Studied the Arts by @letmetellyouaboutmyfeels the reason why I'm late posting this week is that I opened up AO3 to start gathering links, realised this was completed, dropped everything and read it start to finish. Sugar Daddy Tommy is ready and willing to pamper Eddie with trips to Vegas, and Eddie is in need of a distraction from all his pining over his best friend. Buck's feeling a little envious of Eddie and Tommy's new friendship, but with an open line of communication Tommy's happy to introduce him to his bisexual awakening, and unlock a new level of kink along the way. But of course, there's crossed wires, and neither Buck or Eddie actually know who the other's mysterious new casual boyfriend is. Deliciously indulgent, sexy, and feel good polyamory with 9-1-1 what is your emergency levels of misunderstandings and self discovery along the way. Lincoln's buddietommy threeway fics just always hit the spot.

Summer's End by @dunnonorlly back on my Eddie's summer of introspection without Chris bullshit, with a wonderful self recommendation that I'm so glad was brought to my attention. I love fics which really showcase all the ways this ensemble love each other and there's such a gorgeous wealth of extended firefam offering support here, including a particularly impactful Eddie and Bobby dynamic, with his advice and experience shared, and deep understanding from Maddie. Talking things through with those he trusts, and some beautifully written gentle steps towards finding peace and embracing love with Buck at his side and his family reunited.

Counting Pulses by tinyydancerr also recommended to me by dunnonorlly, this is an alternate take on season 7 written early on in the series, in which crucially Eddie has OCD, based on the author's own experiences and carefully woven into all the idiosyncricies that make up Eddie Diaz. It's a beautiful and painful character exploration that allows Eddie to examine his own past and present with fresh eyes, in the hopes of moving to a future without tripping up on all that's held him back. I particularly loved the backstory elements, and how his mental health and Catholic guilt create a maelstrom he's painstakingly riding through life. Such a moving fic. The same author also has a GORGEOUS anniversary Henren fic Up, and Down, and Around which sees Karen through Hen's eyes, with a rollercoaster of emotions.

about the present by @runawaymarbles if there's one thing you need to know about me it's that I LOVE me a timeloop narrative, and wow does this two parter The Scroll of Saint Barnabas and Theoretical Corpses, Laughing deliver. "The day of the shooting, Eddie got stuck in a time loop. But that was three months ago. He's completely fine now." In which Eddie absolutely has PTSD, but when you're caught in a timeloop where you see all of your loved ones picked off by a sniper, and every attempt you make to stop it just ripple effects someone else to be harmed, what do you even do? Plus along the way there are confessions they won't remember, secrets that are impossible to keep locked up forever, firsts that they'll be forced to forget, and overwhelming survivors guilt. An absolute masterclass in consequences, understanding, and healing together through the hurt.

Being Eddie by @cal-daisies-and-briars sticking with the timey-wimey theme, I also read this Being Erica inspired fic, in which a mysterious therapist grants Eddie the opportunity to go back in time to fix a list of his regrets, confronting repressed memories, and gaining an understanding of himself and the people in his life he feels like he's wronged along the way. Of course the butterfly effect is in full force, and sometimes changing the past means losing a future and a love you're growing to cherish.

like a river that doesn't know where it's flowing (i found where i'm going) by @queerdiazs VIVE LE MOUSTACHE! 'After coming out as gay, finally, Eddie has a well-deserved hot girl summer witnessed by his closest friends and family. Everyone is supportive and encouraging, except for Buck. What could that possibly mean?' Truly full throttle embracing the concept of latter in life coming out second pubity and slut era Eddie, this is so much fun, so delicious, and Buck is full on out not having a good time. Eddie can't help that the moustache makes him so irresistible! (I also had a great time with their fic no one else on earth because I love me some Eddie vs Josh).

Stay Until the Morning by @semperama oh my god, once again smacked in the face by my demiromantic Eddie and resulting emotional trauma feels. This is established (almost) buddie, written for the @summerofbuddie "breaking cliches" week. The author says it best: "The cliche that's broken here is that friends-to-lovers is as simple as two people realizing they love each other and then it's happily ever after. In this instance, things are a little more complicated!" I really really deeply appreciate this examination of simply finding your person doesn't magically fix all the things that have reinforced your emotional barriers and mental walls, and Eddie has a lot to unpack around how he's approached sex and relationships as does Buck. Small but mighty, this packed a punch.

suddenly the only thing i saw was you by @diazisms finally ending on a wonderful sapphic rarepair wildcard, this is a 5+1 fic featuring May Grant and Adriana Diaz! Bless you mysterious Diaz sisters for being such a rich fictional ground to play with - In this, Adriana is dropped off in LA for college, feeling out of place having taken a year to work. She bumps into May Grant, a beautiful stranger in a coffee shop. As they grow closer, they soon discover they have more in common than they thought. I loved this so much.

Okay that got long, but as usual insert call out for more henren fic here. Feel free to self rec! And please share and reblog :) See you next week, probably with HOTSHOTS recs bahaha!

BEES!

[percheduphere]

Hi! Firstly, I wanted to say, I LOVE your analysis, and your detailed deep dive into characters!!! I love your view of Sylvie, and I especially love your metas on Mobius (my beloved). I always jump with happiness, when your new meta shows up! :D Anyway, I wanted to ask - I know, you mentioned it many times but - how do you think the timeline of falling in love for the other looked like? I was thinking about it a lot. Like when Loki started to fall for Mobius? How s2e1 and the fact, that Mobius didn't remember him impacted him? What you think, that was THE moment, when Loki fall for Mobius as heard as he could? And what was the moment he realized he loved him? (and what did he THINK ABOUT THAT????) Also how do you think he was copying with this love for Mobius for those centuries in a loop?? ... And same for Mobius :D When do you think he actually fell for THIS specific Loki? When did he had that OH moment? :D (when he realized he love him) (Also how the 1893 DATE impacted them??? xD ) And lastly, what they think the other is feeling? They seem to me, like classic IDIOTS IN LOVE trope, but I would really REALY love to see your thoughts on that!!! Once again, I thank you for all your work, you're brilliant (I fell in love with your meta on sense and sensibility) Have a great day!!! ❤️ PS: I'm sorry for mistakes (I'm terrible at English) Tru

LET'S TALK ABOUT WHEN THEY STARTED FALLING FOR EACH OTHER

As always, thank you to all the lovely gif artists who make my metas possible.

Thank you so much for your patience @trutrustories!

With respect to the individual timelines of when Mobius and Loki "fall for each other", obviously my take is subjective and there are plenty of viewers who don't see any romantic angle between them at all. That's fine because even without the romantic angle, I think the timelines I map out still demonstrates key moments in which Mobius and Loki's relationship with each other deepens.

As a warning, since this is a timeline request from the perspective of two characters, this post is MASSIVE.

NARRATIVE TECHNIQUES

As a general note, the Loki series uses a few narrative techniques fairly regularly.

A.) REFRAMING / REVERSE PAY-OFF

The series has a habit of reframing the interpretation of previous episodes with the presentation of new information in future episodes. That is, reverse pay-off. Here are key examples, which I discuss in the "timelines" later:

Sylvie tells Loki she can't sleep in front of people she doesn't trust in S1E3; Loki falls asleep in front of Mobius in S1E2

Loki describes love as a dagger in S1E3; Mobius gives Loki daggers in S1E2.

Loki timeslips "uncontrollably", yet manages to timeslip back to Mobius with increasing accuracy in S2E1; Loki realizes timeslipping can be controlled by thinking about "who" in S2E5.

B.) MIRRORING

Loki mirrors Mobius's emotional trajectory from S1E1 - S2E1 (S1E3 has no Mobius). Episode 5 in BOTH seasons is when they both give each other up for the sake of the other.

Sylvie (chaos) & Ravonna (order) and Loki (chaos) & Mobius (order).

C.) REPETITION

Loki loses Mobius after realizing he wants and returns his friendship. Mobius is pruned. (S1E4)

Loki loses Mobius after realizing he and Sylvie "don't see things the same way". Mobius has no memory of him. (S2E1)

Loki loses Mobius after realizing he (Loki) loves him. Mobius (as Don) spaghettifies. (S2E5)

Loki loses Mobius after realizing he has to give him up to save everyone. Mobius is left behind. (S2E6)

Let's keep these narrative techniques in mind as we proceed!

MOBIUS

Mobius is pretty straightforward. Though I didn't perceive any romantic love in my first watch through of S1, the angle of romance feels more credible when reviewing S1 after having seen S2E1. S2E1 reframes how we can view Mobius's emotional motivations.

The inferred backstory, as the audience understands it, is that Mobius has studied Lokis for eons. Loki is his area of expertise. His pet project. His special interest. As I mentioned in another meta, it's perfectly reasonable for someone to gradually fall in love with the subject matter of their work over time. In this case, that subject matter happens to be an actual person.

By the time Loki is apprehended by the TVA, Mobius already had a plan in motion to save him from deletion. This wasn't a spur of the moment decision for him. Mobius had been preparing for this encounter for a while. Likely centuries. This is inferred through the fact another TVA agent seeks Mobius out immediately with Loki (L1130)'s file. Why bother doing that if all variants who cause a nexus event get "reset"?

And boy, is Mobius eager to have Loki by his side once he has him. In what world would anyone offer 2012 Loki a handshake? Mobius's, apparently.

Mobius also doesn't hesitate to touch Loki right off the bat. When Loki pauses to look at the TVA "world", Mobius lays a guiding hand on Loki's back. (Unfortunately couldn't find the gif for this).

It also doesn't take Mobius long to get emotionally compromised once he has Loki under his wing. I talk about the exact moment I believe this happens here.

This reaction from Loki, in response to Mobius's praise, is a big moment for both of them. They genuinely like and enjoy one another in this scene.

Moments later, Mobius absolutely gushes about Loki to his best friend boss lady, Ravonna.

He's so proud of Loki's breakthroughs and is really happy with how well they work together as a team. So much so that his judgment gets clouded and he insists on bringing Loki out into the field, where Loki's most likely to betray him.

NOTE: The moment above is when I believe he's officially compromised.

By the middle of S1E2, Mobius fell first. However, I don't think Mobius realizes the exact nature of his feelings for Loki until S1E5. From a platonic standpoint, Mobius definitely started thinking of Loki as a friend by this time. Otherwise, he wouldn't have called Loki a "bad friend" in S1E4.

In a S1 interview, Tom describes Mobius as having love for Loki, and Loki, at that point in his character development, "not wanting that" (you can see a compilation of interviews with Tom and Owen here). Based on this, I think it's safe to say that Mobius's love for Loki is not only genuine but also unconditional and abiding.

This unconditional, abiding love is what allows Mobius to want to believe in Loki despite his evident betrayal in S1E4. In the same episode, he implies via rhetorical question that Loki doesn't deserve to be alone and accepts that it's Sylvie that Loki wants to be with.

If Mobius hadn't accepted this, he wouldn't have made it his focus to bring Sylvie to Loki in S2E5.

And as I mention elsewhere, the moment below was the first instance in which I felt there could be unrequited love. I think Mobius's realizes it, too, in this scene:

Mobius maintains his acceptance of Loki's feelings for Sylvie throughout S2, however grudgingly. A microanalysis of the McDonald's scene may be reviewed here.

In S2E1, Mobius's love for Loki is demonstrated throughout. I discuss how pivotal this episode is here.

In terms of Mobius's personal perspective on their relationship. I think Mobius believes he will only ever Loki's friend and #2, as opposed to #1, a position he believes Sylvie holds.

While Mobius knows Loki will support him as a friend and can count on his protection on the field, I don't think it ever crosses his mind that Loki would prioritize him (that is, place Mobius as #1). Their last private interaction would reinforce Mobius's notion that Loki will take Sylvie's side if given the choice to choose between the two of them:

And while Mobius might not like it, while Mobius is clearly hurt by it, he doesn't allow this interaction to ruin his friendship with Loki. Because he loves Loki deeply.

It can even be argued that, in addition to personal guilt due to his role in the TVA, Mobius doesn't fight Sylvie's accusations because to do so would hurt Sylvie, and hurting Sylvie would hurt Loki, which is unacceptable. Therefore, Mobius just takes it, even though it would be very easy to point out to Sylvie that killing HWR triggered the crisis they're in.

As far as Mobius is concerned, he mostly likely thinks his love continues to be unrequited and has made peace with that since S1. His final scene could be interpreted as grief over the loss of a friend as well as grief over the loss of what could have been.

LOKI

Loki's feelings for Mobius evolve much more gradually, and the emotional journey of those feelings is accordingly more complex.

In S1E1, I believe Loki appreciates Mobius's directness. I know I've stated this multiple times, but I think it bears repeating: a lot of Loki fans absolutely hate Mobius's treatment of Loki in this episode, but I think it's important to remember where Loki's state of mind is at.

There was no way 2012 Loki would have been receptive to soft compassion. He doesn't understand soft. He sees softness as a weakness and refuses to engage with it because he doesn't want to be seen as soft. What 2012 Loki does understand is cruelty. He will listen and pay attention to cruelty because cruelty is a gesture of power, and power is control. His default mode is the desire and respect of power, which Mobius has over him. He respects that he has been bested. Crucially, Mobius balances his cruelty (to get Loki to listen) with genuine kindness. This is what allows Loki's first breakthrough of choosing to be vulnerable with Mobius. Admitting he doesn't like hurting people, that he is weak, (that he isn't happy), requires trust on Loki's part that Mobius will not mock him for it.

Unlike Mobius, Loki does not have access to files and tape recordings on Mobius's life. As such, Loki starts out with less power in their dynamic. All he knows about Mobius is what he gleans from Mobius's treatment of him and others. And Mobius, even when he is frustrated and annoyed with Loki, consistently gives Loki chances to demonstrate his ability outside of the context of being a villain. He never gives up on him.

Mobius, through his consistency of compassion and refusal to abuse his power (until he's betrayed in S1E4), proves he is trustworthy to Loki.

Nevertheless, the power imbalance puts Loki in a corner where he can't afford to place all his eggs in the Mobius basket. There's manipulation happening between them, and they both know it, so their interactions in S1, while entertaining for both of them, are also colored with mutual distrust.

For this reason, in addition to raw curiosity and poor impulse control, Loki runs after Sylvie and betrays the friendship with Mobius he didn't know he already had.

In S1E3, we have our first instance of new information paying off the meaning of a scene from a previous episode. On the train, Sylvie informs Loki she cannot sleep in front of people she doesn't trust (can't find the gif with the quote). Since Sylvie is a Loki, the audience can infer the same baseline nature may apply to "our" Loki as well.

In S1E2, we find Loki sleeping across Mobius. The significance of this is implied but not confirmed until S1E3.

When Sylvie wakes up (having fallen asleep despite herself, reinforcing the relational impact of Mobius to Loki to Sylvie, as well as affirming tentative trust on her part), she finds Loki drunk. When people are drunk, subconscious feelings come to the fore.

It is here that we have our second instance of new information paying off a scene from the previous episode. Or alternatively, Loki's interpretation of a previous moment with Mobius defined in a scene with Sylvie: "Love is a dagger."

Personally, I don't think Loki feels any love for Mobius when he makes his infamous metaphor. What I think happens in this scene, is that Loki has subconsciously interpreted the gift of daggers as an act of love.

Why?

Because daggers are for stabbing people in the back. For someone to give another a dagger implies absolute trust. That level of trust entails love.

But at this point in the story, Loki's experience with love and trust is very new. Perhaps it stands to reason, at least in Loki's hindbrain, that those feelings would be better directed at someone familiar, someone like himself: Sylvie. It certainly helps that he's immediately fascinated with her to begin with and he genuinely cares for her.

Significantly, upon Loki making the dagger disappear, Sylvie describes the dagger, love, as "it isn't real". This is an answer Loki intentionally draws out of Sylvie, because he and Sylvie are the same, which reinforces the thought that the love he subconsciously feels from Mobius cannot possibly be real. I think this may be what Tom is alluding to when he describes Loki as not wanting Mobius's love (because he isn't ready for it yet, even if it's purely platonic).

Loki and Sylvie's capture in S1E4 lead to the interrogation scene, which in turn leads to the tension of mutual distrust and mutual desire for trust snapping. This is articulated when Mobius calls Loki a "bad friend", which startles him. Within the MCU canon, no one has ever called Loki a 'friend'.

The tension breaks when Mobius returns to Loki, and they make very clear, active choices about what they want:

They choose to forgive one another

They choose to trust one another

They choose to affirm that a friendship between them exists

They choose to be on the same page and side

They talk through their fight in a very direct and healthy way. In addition to being called a 'friend' for the first time, it's highly likely this is the first time Loki has successfully mended fences with someone who isn't family. Thus, in one episode, Loki has had not 1 but 2 substantive milestones that contribute not just to his relationship with Mobius but his personal healing and growth.

But the narrative demands that as soon as the main character experiences triumph, they must experience tragedy, too.

Loki loses Mobius a total of 4 times in the series:

Loki loses Mobius after realizing he wants and returns his friendship. Mobius is pruned. (S1E4)

Loki loses Mobius after realizing he and Sylvie "don't see things the same way". Mobius has no memory of him. (S2E1)

Loki loses Mobius after realizing he (Loki) loves him. Mobius (as Don) spaghettifies. (S2E5)

Loki loses Mobius after realizing he has to give him up to save everyone. Mobius is left behind. (S2E6)

If you notice, Loki's emotional journey, at least as far as romantic reciprocation is concerned, is more or less a season behind Mobius's. Its progression is also punctuated by loss almost as soon as the personal epiphany occurs.

After Sylvie, for lack of a better word, "dumps" him, Loki has time to reflect on what has transpired, the dire consequences likely awaiting, and who has chosen to support him all along (a review of Mobius's decision-making where Loki's well-being is concerned may be read here.)

With this in mind, Loki runs in search of Mobius.

Which makes encountering a Mobius who doesn't know him, that much more devastating.

Tom's acting here is something else. Loki's desperation to have his Mobius back is visceral and foreshadows a similar desperation in S2E5. This moment, I feel, is the beginning of Loki's feelings tilting from platonic love to romantic. He's not fully there yet like Mobius already is, but it's starting.

And that gradual build-up of investment in Mobius spreads over S2E1 - S2E5. In these S2 episodes, Loki mirrors Mobius's emotional trajectory from S1E1 - S2E1 (S1E3 has no Mobius). Keep this mirroring in mind because Episode 5 in BOTH seasons is when they both give each other up for the sake of the other.

In S2E2, Loki protects Mobius physically:

And supports him emotionally:

In S2E3, Loki enjoys his magic and curbs its intensity for Mobius:

In S234, unbeknownst to Mobius, Loki defends his character and his efforts to save the timelines:

Now, S2E5 is where it all culminates.

I'm getting close to the gif threshold and the fit-check has been discussed at length, so I want to focus on this scene. Here, Loki tells Mobius that he "belongs" in the TVA and that he saved Loki's life when he first arrived. This shot of Loki saying Mobius's name echoes Mobius's look of unrequited love in S1E5's goodbye scene.

But I don't think Loki has fully articulated, in his mind, exactly what his feelings are because he's rushing. His sole focus for the time-being is getting Mobius back, and he does so, temporarily, through recruiting Don.

It's when Loki find's Sylvie that he has the time to once again reflect on the nature of his and Mobius's relationship and his regard for it as he did in S1E6. And it is, once again, Sylvie who acts as the catalyst for Loki's emotional epiphany.

When Sylvie challenges Loki to say what he actually wants, he struggles to respond. The want is too vulnerable to reveal.

I love Tom's micro-expressions in the above gifs (thank you @starrose17!) The pursed lips, the hard swallow, and the tears welling up in his eyes ... This is it, this is the moment I believe Loki finally realizes he's in love with Mobius.

He phrases his desire as wanting his friends back. That's true enough (an analysis of what the TVA means to Loki and Mobius may be read here). However, Loki later reuses the word "belong" and applies it to himself. Mobius, in his words, "belongs" in the TVA. Without his friends (the TVA) where does Loki "belong"?

This is outside of text and the sociopolitical conflict between the artists and the studio, but the case can be made that Loki doesn't entirely trust Sylvie with his feelings. Loki did, after all, witness Sylvie reprimand and humiliate Mobius. To directly admit love for the same person Sylvie harshly rebuked may not be received well, but I think Sylvie already knows and may have known as far back as when she commented "he cares about you" in S1E5.

From Loki's perspective, I think Loki knows Mobius loves him, but I am less certain if Loki knows Mobius loves him romantically. That said, prior to his sacrifice, I think Loki was emotionally ready to confess. I also believe Loki, while not 100% confident his romantic love would be reciprocated, senses his odds for reciprocation are good.

Unfortunately, their fate was to become star-crossed lovers.

(For now).

[phantomrose96]

Hey I have an Abot question!!!

So it’s established that epsers belief can influence their powers, and this is a big for Mob throughout the story - a big lie from Mogami produced a power Mob didn’t previously have, because Mob believed he had it when he was told he did

Does this affect all espers??? Like are you actively writing them this way?

I noticed Ritsu look at the spell tag Reigan use in the latest chapter, and probably put together what Reagan’s last minute plan was - how is this gonna affect how he acts?

If an esper knows belief affects their powers can they try to convince themself something is true so their power will make it true?

I’m so interested in how this might play out since we have 3 teen espers to bounce things off each other potentially

(also do you know/remember is this idea of espers being influenced by belief canon or fanon?)

Okay so!!!

Does this affect all espers??? Like are you actively writing them this way?

Yes. However, how innately powerful an esper is also matters. Like even if you convince a weak esper they have the power to randomly blow up the earth, that's not gonna happen because even 100% of their power isn't gonna be enough to blow up the earth. Mogami's lies to Mob (and Reigen that one time) are carefully scaled. And Mob, being so powerful, has a much higher range of susceptibility. Espers like Teru and Ritsu, being much weaker than Mob naturally, are much more limited in how they're influenced by this. But it absolutely does exist for them.

For someone like Ritsu, this actively works against him. His doubt in his own abilities hinders him. He'd hindered from even sensing auras for most of the narrative, and in part he's hindered by that negative feedback loop. "I'm a weak and useless esper who can't even sense auras" easily becomes self-fulfilling. While someone like Teru, who has brazen confidence in his own abilities, is bolstered.

Ritsu takes a step-up in his abilities once he started letting the horde possess him, and while much of that has to do with the actual spirits piloting him, he gets much better at honing his own abilities because of the newfound confidence in himself that he can. (Meanwhile, when he's shattered and at his lowest following Reigen around, he's barely an esper at all.) And in the latest chapter, when he's using his power and Teru's to confront Mogami, he importantly pulls this out as an assertion of confidence - in himself, and what he needs to do to make all of this right - and it's enough to knock the wind out of Mogami's sails.

I noticed Ritsu look at the spell tag Reigan use in the latest chapter, and probably put together what Reagan’s last minute plan was - how is this gonna affect how he acts?

Yup, Ritsu has figured out what happened. That'll be explored in coming chapters. There is, in my opinion, some moral conflict around the whole thing. Thematically, trust--and specifically exploitation of trust--are at the absolute center of the narrative (Can you tell by the title?) Mogami and Reigen, as foils of each other, are both immense liars. Are some lies okay? Is this a lie, considering Reigen stating it made it true...?

I’m so interested in how this might play out since we have 3 teen espers to bounce things off each other potentially

Honestly I think there's some DEEPLY funny potential of like. One of them trying to do something stupid and risky and commissioning the other two to hype him up into believing he can do it. Endless hell potential for Reigen at the center of it.

(also do you know/remember is this idea of espers being influenced by belief canon or fanon?)

I actually think it's just my own idea, haha! Unless I like subconsciously absorbed it from somewhere. I just really like the idea of psychic powers being extremely mentally influenced. And like mp100 already uses that theme, via how Mob's emotions impact his powers of course. But more specifically I just like the idea of "oh these powers come from your mind? well then they REALLY come from your mind. If these powers are psychic then they're tied right down to the core of your psyche."

That kinda thing presents so many fascinating areas of exploration. A depressed esper who's lost confidence in themselves truly becomes incapacitated. Delusions of grandeur are not actually delusions, because in matters of psychic power, only what's in your mind counts. Brainwashing, indoctrination, become massively more terrifying when a psychic is involved. I just think it's neat.

[suffarustuffaru]

my feelings on certain otto [redacted] flags in arc 8 👍

heyyy so this is gonna have major spoilers so ill put it under the cut 👍👍 again, this is all my opinion so youre perfectly welcome to disagree <3

ok so. i dont know if this is controversial to say or not but i dont think otto should actually permadie. instead, i think that he should have a fakeout death (also you know, deaths that get reversed by rbd if you want to go that route too). but not a PERMANENT one.

and ok i know anyone whos looked at my blog content lately would probably be like “oh you dont want him to die for real because hes one of your favorite characters ever???” and like no yeah, but its not that im opposed to punishing my favorites. im opposed to otto permadying because i feel like him permadying would be spitting on the purpose of both his character and certain themes in rezero.

otto is a very sacrificial person. hes a lot like subaru—he is willing to die for his loved ones. he would sacrifice anything, including himself. all of ottos deaths in rezero so far are reflected in that. he dies in arc 3 because he goes back to save subaru after pushing him out of the wagon in the white whale loop but he dies on the way back. he dies in arc 4 because he pushes subaru out of the way and gets killed by garfiel. otto writes a suicide note in arc 4 before confronting garfiel because hes perfectly willing to die for subaru. ottos been going on a darker path now, because now we know his absolute sacrificial loyalty extends to letting entire countries die, letting people subaru cares about die (louis/spica), and opposing subaru to the point where otto deems it his “reason for being”—aka his reason to be in vollachia, his reason to be in the emilia camp, and his reason to exist and live. otto is set up for a collision course with subaru, and this wont be ending well for him.

ottos faced consequences for his actions in the past—when him bringing the tome into priestella caused the siege, he was severely injured and left bedridden. this was a personal consequence for his actions there. but he hasnt faced any lasting consequences yet, especially when hes fully convinced that he himself knows whats best and is doing the “right” thing, and so hes perfectly set up to have lasting consequences at some point in the future. hes the perfect candidate for a permadeath, even—the arc 7 side stories brought him closure to the plot point of him being exiled from his hometown, and hes someone whos death will create ripple effects from his family and marone (who’ve featured in various side stories as well), the emilia camp (both as a friend and internal affairs minister), and subaru most of all (who, well, has rbd and is determined to save everyone, as we know, and subaru is aware of the possibility of otto ending up like chisha).

but i still have problems with otto dying permanently.

otto permadying punishes everyone around him more than it punishes HIM, the latter of which has been the buildup for his entire arc. otto permadying would only really have that as a narrative purpose—punishing the people otto cares about, particularly subaru. thats ALL that would be accomplished out of an otto permadeath when a fakeout death would not only still get the emotional impact across but also be a better writing choice in general.

as ive said, otto is prone to sacrifice. otto is prone to self-sacrifice on top of that. he always has been since his debut in arc 3. the way hes most likely to die is and always has been through self-sacrifice, especially for subaru, and especially since ottos death flags are a parallel to chisha (who died to save vincent). otto also parallels subaru a lot. more specifically, his current arc follows similar beats to arc 4 subaru or even greed if subaru - otto is, frankly, a control freak who thinks he knows best, refuses help from anyone else, and is self-destructive. but subaru gets called out by the narrative in arc 4 for going down this path, and greed if shows the complete consquences of this (aka - greedbaru ends up dehumanizing everyone, including himself, and tramples over other people's free will). so why is subaru allowed to learn the value of his life and continue trying to grapple with that lesson over the next couple arcs while ottos arc goes down the same path as subaru's but has the potential to end up with him ultimately dying?

then again - yeah, subarus the main character. and yeah, otto permadying wraps up his arc and character in a nice little bow. it's had a lot of buildup and would be a very perfect tragic character arc for him. however it is 1. i personally find this to be the more boring choice in a series where characters can die and come back to life, especially for a crucial side character to subaru like otto and 2. this is the more straightforward predictable choice given the Numerous Obvious Hints that something bad will happen to otto, namely permadeath, and 3. i think that the amount of characters being fridged for subarus character development should be kept to a minimum. we've already seen this with rem being gluttonyed. and being fridged for subaru's character development is something that otto would be very fine and happy with, so again, this is punishing everyone around him more than its punishing otto. ottos character arc buildup does suggest that he'll have to face consequences eventually. him permadying is not the most interesting narrative consequence that could happen imo, and given his parallels to subaru, i feel that this would not serve as a reflection of how otto is a dark parallel to subaru. otto permadying would be less a reflection and a warning to subaru and more so just otto winning over subaru in a story that supports subaru choosing companionship and trying to save everyone.

"what do you mean 'otto winning over subaru'?" otto is, again, a dark mirror to subaru. otto values his loved ones over everyone else, and he is willing to pay any price to save his loved ones. he is willing to destroy everyone else for their sake, and in arc 8, he has always tried to choose the more ruthlessly logical and practical choice over the morally right one that subaru embodies. otto goes nope, lets leave vollachia for dead but only take the people subaru cares about while subaru insists on saving everyone, as he always has tried to do since ARC 1. ottos even warned subaru in arc 8 - what happens if someone very close to subaru, like anyone in the emilia camp, gets hurt or dies all because they decided to stay in vollachia? otto permadying, especially as a result of the vollachia conflict, proves him right all along. that they shouldve chosen the more practical option over the morally right one. which i feel that would kind of miss the whole point of the STORY ITSELF supporting subaru trying to save everyone while holding onto hope and stayed determined since, again, ARC 1.

"but subaru needs to learn that he cant save everyone, and otto permadying would be a good way to show this." yeah. thats true. subaru needs to learn that he cant forgive and redeem everyone, subaru needs to learn that some things are just unavoidable, and that some things cant be forgiven. otto is very against subarus ideology to the point where hes decided his whole reason for being is to be against subaru. otto dying is very fitting, and if he does permadie, he'd represent the friend and loved one that you cant save - the friend that you try to help, refuses your help, and then ends up destroying themselves. its a very realistic, human thing. but 1. again, i think characters being fridged for subaru should be kept to a minimum bc the whole point of rezero is that they are ALL people with their own lives and 2. again, ottos parallels to subaru make this a little. odd, for lack of a better term. 3. subaru has other chances to learn that he cant save everyone, because ultimately the otto subaru conflict needs a middle ground.

so 1. about fridging characters for subarus development. again, its not as if you cant kill or hurt characters for another character. you can still do this. but i think this should be kept to a minimum - or at least have more than just "subaru will learn a lesson from this" as the narrative purpose behind it. subaru over the course of the entire main route learns that the people around him are just that - PEOPLE. not npcs or anything like that. and now once we get to arc 8, he has a lot of empathy for others. hes quick to forgive, especially because hes seen so many people at both their worst and best, and many of the worst times happened in timelines that no longer exist ergo those people are no longer those people. this is especially poignant in a series with so many damn side stories and side characters each with their own complicated lore; these are people. they still have lives outside of subaru. fridging characters for subarus development, i think, kind of undermines this if thats the ONLY reason youre gonna kill or hurt them.

especially when it comes to permadeath. it isnt a writing choice you can make lightly - especially in a series where, again, characters die and come back. so 2. given how much otto parallels subaru and his perpetual struggle with valuing life and valuing himself, neither of which otto values unless its his loved ones (and even then otto is willing to emotionally devastate them if it means theyre safe), i think an otto permadeath would kind of. undermine subarus struggle in that sense, imo - because otto is struggling with almost the EXACT SAME THING.

would it be interesting if subaru has to see otto end up permanently dying for similar reasons that subaru often dies for? would it be interesting if subaru has to see otto destroying himself in ways that hit a little too close to home? yeah. it would. and it WOULD continue that ongoing motif of otto mirroring subaru in the darkest ways. subaru has to look at otto and see not just himself, but see that he could end up like otto. but i think that this is ALREADY happening. subaru seeing the parallels with him and otto will happen, if it hasnt already, and it sure can happen without killing otto permanently. if otto tries to sacrifice himself and fails to do so, subaru can still see this and be impacted by it. if a fake otto death happens, subaru will still be destroyed by it. and of course, eventually subarus bound to figure out ottos thoughts and plans regarding louis/spica, along with everything else going on in ottos brain right now. theres no need to kill otto for good when all of the emotional weight behind it is still possible in many other ways without undermining subarus character development - because otto is going through very similar character development. and again, otto would be HAPPY to die for subarus sake. calling out subaru while letting otto do the same thing as subaru would feel a bit. odd. to me.

and 3. yeah. subaru has other chances to learn that he cant save everyone. he has multiple chances, in fact, and this already started with rem being gluttonyed at the end of arc 3/start of arc 4 (along with injuries that occurred in the white whale fight + crusch being gluttonyed). subaru learned that sometimes terrible things can happen and rbd wont be able to reverse it because his save point updated to AFTER it happened, and rem was a good example of this because she was the person he was closest to at the time. this continues on later, too - the injuries that happen in priestella, for one (such as the juukuliuses being gluttonyed, the dragon blood, numerous citizens, etc), along with subaru having to face this in vollachia when he tries to pull off his bloodless sieges and avoid as many citizen casualties as possible. or when he thinks about if todd can be redeemed only for todd to continue proving him wrong again and again. and this is on top of all the other people subaru befriends in vollachia, of course.

"but subaru needs a PERMANENT consequence." well, theres also the fact that subarus trying to save 50 million people, aka the entire population of vollachia right now, which is very much a herculean task. if he manages to save almost everyone but some citizens die, this would still get the point across. and if you need a bigger, more personal consequence to subaru than that - louis/spica is RIGHT THERE.

the current conflict over spica is already sowing the seeds for this, because this is a lasting, permanent conflict. people like julius and otto want spica dead and acknowledge that, given the amount of people she's hurt, that is the most likely scenario for her. people like the rest of the emilia camp acknowledge that spica is guilty, but that its difficult to punish her given her mental state right now and the fact that subaru and rem care about her. meanwhile subaru and rem themselves care for spica like a daughter and dont want her to be hurt or punished in any way. that being said, the louis/spica conflict - again, needs some kind of solution, and i dont think letting louis/spica scot-free is the right solution here from a writing perspective.

we already get robbed of an arc from louis in the sense that after she fucked around and found out (ie: experienced rbd for herself after messing with subaru), by start of arc 7 she just. became mostly a blank slate. of course its understandable that shes traumatized after experiencing rbd, but it is also kind of. a bummer. that we dont get an arc where she actually grows and changes gradually she just goes from Point A (pre-arc 7) to Point B (now having the mind of a toddler in arc 7+), but there is a slight intrigue to her now being a blank slate. how do you reconcile her past actions and past self with who she is now? is she still capable of doing those things she did before - is the person she was still in there? because you know, since she cant really communicate properly its hard to understand her straightforwardly too. but i dont think that louis should get off the hook - unlike many other people subaru has forgiven, she didnt grow. her past self basically got erased. and its not like all those people whove done things in other timelines that they wouldnt do now - things that ultimately only subaru was affected by because hes the one who knows and hes forgiven them of course. but louis? subaru and rem arent the only ones whove been hurt by her, theres SO MANY others whove been affected by louis and gluttony in general. every one of them has a say in what happens to louis, and her getting no consequences kind of misses the point.

that and. well, subaru can learn that he cant save everyone because 1. he is forgetting that he is not the only gluttony victim here ergo he is not the only one who has a say in what happens to louis and 2. if he sides with louis/spica over everyone else, this is going to have disastrous consequences for him. not just in the sense that you know, this is causing friction with his friends - and not even only in the sense that thisll cause a TON of uproar if this gets out publicly because again, a lot of people have been affected by gluttony - but also because theres the question of if that past louis is still there. or what happens if louis gluttonies someone on accident? or on purpose? can subaru still really side with her then? can he really save her when theres a LOT that shes done? and if someone like otto manages to kill louis and subaru is prevented from rbding - hes still going to be absolutely destroyed emotionally. spica is not freed from consequences just because subarus claimed her as his. and subaru is not freed from consequences after deciding to choose spica over many of his friends (julius is a BIG one, because subaru of all people knows how much julius - and joshua - were fucked over by gluttony). subaru cant save everyone. he has to learn that eventually, and spica is somewhere to start.

that being said, again, i dont want otto to win either when it comes to the vollachia arc in general. his habit of keeping secrets and doing things behind other people's backs and fading into the background whenever it suits him has gone on for a while, and he NEEDS to be called out for it. subaru and otto's moral dilemma conflict just needs to have a middle ground of some kind, and i really dont want ottos ruthless pragmatism to be the end all be all. but i also dont think subaru should win at EVERYTHING either, because his idealism needs to be reeled back a tiny bit. as it is in vollachia rn, its not sustainable and its not realistic. rezero is not a children's story about how no one dies and everyone's friends in the end, but it damn sure tries to be with its main route in the sense that the point is that you TRY to do that to the best of your ability. but if you cant - if youve exhausted all other possibilities and theres no other choice - then you just cant. the point isnt that you give up and abandon people to suffer and die. the point isnt that you hurt people on purpose either. the point isnt that you try to save EVERYONE even to everyones detriment. the point isnt that you try to be perfect and completely flawless at all times too, because thats not possible.

the point is that you do your best, try to save as many as you can, and thats enough.

"ok so if otto isnt permadying then how is he gonna get punished by his hubris???" easy. do EVERYTHING to hurt him shy of actually killing him permanently. that and like - if he decides to pull some shit similar to chisha and make a whole plan to sacrifice himself for subaru, but then he still lives afterwards... what do you do now? how do you live on now? thatd be more mortifying to him - living on and being emotionally vulnerable with everyone around him after planning to die - than ACTUALLY DYING. living and knowing all his loved ones see him as who he is in all his entirety - the good and bad and the really ugly - would, again, be a worse consequence for him than DYING. make him get close to death and then yank him back and youd get more interesting results than just straightforwardly killing him. because hes been planning for this since that time he wrote a suicide note in arc 4. if subaru doesnt get off the hook for this behavior, then otto narratively shouldnt.

therefore a fakeout death for otto would still get all the emotional weight and narrative punishment that a real death would, complete with being able to see the effect this has on subaru + ottos other loved ones. a fakeout death would be the perfect middle ground between a permadeath + letting otto live. and when otto comes back, he’ll still have to face consequences for his actions, including having to learn how to live for his loved ones, not die and sacrifice for them.

[kiteblue42]

Can Mobius, B15, Casey & OB return to their lives on the timeline?

So some of us have watched the mid-season trailer (so trailer spoilers ahead) which appears to show the team living lives somewhere on the timelines.

Loki putting the band back together?

It’s been speculation for a while that Loki would go back in time and recruit the team post S2e4 - and this looks like that playing out. Note this is in *the past* from our narrative pov - it’s obvious from the clip of Loki & Mobius that Mobius does not know what the TVA is.

So it looks like Loki is the person who took them from the timeline in the first place - but remember they will still need to live all their TVA lives. And it creates another paradox Loki is only taking them because of all their interactions with Loki in S1 & 2. It follows that s1&2 have to happen for them to be taken but they have to be taken for s1 & 2 to happen - round and round we go.

Branches have to be pruned

We know, from how the TVA operates in S1, this intervention by Loki will cause a nexus event and the branched timeline will be pruned. For example B15 appears to be a doctor on the sacred timeline. Let’s say Loki comes to recruit her to the TVA. This will cause a branch - one version of B15 will remain a doctor on the sacred timeline - the branched timeline created by the event will be pruned - and B15 is marooned in the TVA with no timeline to return to. The same is true of all the others.

There will exist a Mobius on the sacred timeline in his jet ski shop. But TVA!Mobius has undergone a nexus event, TVA!Mobius’ branch would have been / has/ will always be pruned - he is marooned in the TVA. There is no where for them to return. Example we have already seen is Renslayer. We saw sacredtimeline!Renslayer as a teacher in S1e6 - TVA!Renslayer can’t return because sacredtimeline!Renslayer is there (she never left) and TVA!Renslayer’s branch would have been pruned.

Does Mobius contradict himself?

I think this also explains the difference between Mobius initial reaction in s1e4 where he says to Renslayer if he could really go anywhere he’d go back to where he’s “really from.” The problem is (as he explains in S2e2) that’s actually impossible that is not “his life” it’s sacredtimeline!Mobius’ life and the branch would have been destroyed. It’s not a contradiction or continuity error - s1e4 response one was a fantasy and the other an acknowledgment of reality (according to the rules as we know them).

Options for the team

Unless they change the rules somehow (magic?) the TVA team should *not* be able to return. Options they have are (1) start a new life like a Sylvie did (or X5 though (2) I think there’s a possibility TVA!X5 killed sacredtimeline!X5.

If there’s a magic reset button allowing them to return to the point they left I think it would badly undercut the emotional impact of the central idea in season 2 - that pruning the branches was killing people. It would also be a more dramatic / heroic story for the TVA team that they literally gave up living that life.

From a character point of view - working for the TVA for centuries should also make it emotionally impossible to go back to a former life as if nothing happened. The only way to overcome that obstacle would be another memory wipe - possible as we know, but memory wipes give me the creeping horrors so would not be a “happy” ending from my point of view.

Of course they could push the magic reset and hand wave the character change issue but I really hope not - they have not been afraid to be dark his season and a reset “it was all a dream” sort of ending would be really lame.

Conclusion!

In conclusion I don’t think they will return to their lives (they can’t) but I can’t say what will happen or if they will even be able to break the time loop effectively.

Final note to add I now think Loki gives Mobius his name (“it’s what [he] answers to”). And I will watch Ep 5 & 6 to see this play out if for no other reason.

[chaoxfix]

whats your favorite trope to READ?

OUGH... thats a good one. damn...

i think i read a lot of the same things i like to write -- a lot of what i write is meant to fill a need i had to read about something but didn't see any fics about. and most of what i want more of is, in this order:

deep nameless bonds that don't fit neatly into a specific box. like sonic and tails, are they friends or siblings or guardian and ward or mentor and student ... or for sonally, are they divorced or are they rivals or are they soulmates or are they in love at all. or for catradora are they childhood friends or lovers or enemies or rivals. (all of the above <3333 otp of all time. i cant even write anything about them because their story is already perfect.) or for timkon, are they best friends or are they in love or are they rivals or are they codependent. anyways you get what i mean. i want to have to grapple with the very idea of how characters feel about the other. i want them to not know either. (other all time ships i will out myself by saying: makoharu, zelink, dickkory, and many of my own lesbian otp creations)

worldbuilding/theories. i LOVE seeing explanations, even little ones, in fics. i just like seeing extrapolation from canon elements and saying 'hey wouldnt it be neat if X was because of Y' or 'i think that there should be a history of why X is like this' and just trying to make sense of something. part of why the sonic series is like catnip to me is because theres SO MUCH LORE but so little explanation. almost none of it was probably meant to be anything but thats why its soooo satisfying to try and piece together a story despite that. i was like this with zelda back in the day too. the timeline was my bread and butter and i wanted sooo badly for it to make sense so i loved seeing people try to make it work. also... as an occasional treat, 'wouldn't it be fucked up if-?' type stuff. but only if there's some canon grounding or worldbuilding to set it up. (i.e., in my fics, 'wouldnt it be fucked up if the reason eggman only took 6 months after capturing sonic to take over the world, was because sonic powered his weapons? he certainly has the energy for it')

existential horror but in a character development way. i go NUTS for time loops or reality shifting. i have such strong feelings about reboots and rewrites that acknowledge theyre rewriting something; theres just something about the existential horror of having the world shift and only you remember it and it's your responsibility to let it live on through you, or your responsibility to fix time itself. the archie genesis wave fucks me up every time, same with dc rebooting and having superboy be one of the lone survivors of the spacetime rewrite. ......but in more smallscale ways, time loops, characters who haunt the narrative, 'you came back wrong', that kind of thing. i dont believe in ghosts but i believe in hauntings, if that makes sense. i believe anything can be haunted if there's something that shouldn't have been lost, and someone who refuses to let it go -- and that can have a powerful impact on scifi stories where reality itself functions a bit like magic.

i think i got a bit off the rails... this was fun! thank you for asking!!

EDIT: hi i realize upon re-reading your ask. ... that you said tropes and not, uh. just what do i like to read. in that case.....,,,,,,, fake dating, emotional hurt/comfort, and younger sibling complexes. ^^;;;;; jakdjkfsdjk i cant delete the previous answer though its too much to let go of

[annamarabella-grumble]

My 7 Favourite Games of 2022

It’s so close to the new year now and I’ve been taking a little holiday from streaming, making new videos, and writing anything longer than my grocery shopping list, but there was one list I didn’t want to miss out on making: my favourite games of 2022. Since I started streaming every week in January of this year, I’ve played — and actually finished — a ton of games, and I’ve collected my seven favourites in this post.

They may be favourites for different reasons: having an emotional impact, a gripping storyline, or outstanding world building. Game mechanics tend to be secondary to my enjoyment of the story of a game, but there’ll be shoutouts to games whose developers clearly put thought into quality of life and what most respects players’ time.

Not all of these games were released in 2022, as I came to a few of them late, but I first played them all to completion in 2022.

Number 7: Gotham Knights

See, here’s the thing: I don’t care about 60 FPS, I really don’t. I understand that the PC version had some performance issues; I play it on the xbox series x, and it looks and plays absolutely fine for me. Second thing: I also don’t really care which version of canon or continuity any Batman game gets its characters or story from. Third thing: I enjoy the Arkham games as a viewer, not as a player myself. If you also don’t make either of these things your entire personality, keep reading.

What kept me playing the game was the mix of open world and linear storytelling. The main story, the additional rogue case files, and the Batkids’ own storylines gave the game a solid scaffolding to keep you going whenever you were tired of running after Freaks and Regulators and the Mob in near-endlessly procedurally generating chases and preventing small-time crime. But if you just wanted to dip in for a bit, especially to test out new abilities, the open world was yours to patrol for a night, wreck some shit, and go home.

Yes, that stuff gets repetitive, and if your brain isn’t wired in a way that enjoys that, I absolutely understand everyone who says they got bored of the main gameplay loop after an hour; that’s totally fair. For me, though, who likes checking things off a list and not having to think too much while cracking skulls? Perfect, I’ll do a hundred nights of patrol out in the streets of Gotham to collect shiny things.

For what it is, Gotham Knights is a perfectly solid and enjoyable game. As soon as you step away from a narratively linear game experience and into an open world, with online multiplayer mechanics to boot, the main challenge is keeping the player interested. Keeping up any narrative arc of suspense is difficult to do, and as a consequence, the final showdowns with the rogues can feel anticlimactic. The main final fight only happens after an exceedingly long section of sneaking and grappling through underground tunnels; in that same vein a lengthy chase through the sewers ends with a rather standard boss fight, too. Gotham Knights isn’t really about the set pieces. Still, there’s a large variety of locations and I like the neon aesthetic of the main streets.

I’ve played as each of the heroes over time, though I mainlined the story as Batgirl first, and I’m enjoying the variations in their abilities and fighting styles, while the mechanics are based in the same system to allow for an easy switch-over. There’s a ton of gear modifications to really bulk your character up, and it’s just fun to get together with a pal and run around mashing buttons. There’s less of a focus on the combo system from the Arkham games, which personally suits me fine.

Gotham Knights got the Batkids right, I feel. Yes, for simplicity’s sake there’s a strong, almost exclusive focus on some of each of their core characteristics to explore in the short cut scenes tied to memories around the city or the Belfry. But each of those is also tied to Bruce’s memory, and how he approached training and, for all of them except Barbara, raising them. (And even she would say that she got half her stubbornness from her father, the other half from him.) We get to know them in part because Batman knew them so well. And there’s a lot of heart in those moments. They were, for all their struggles to hold things together, a family, and that comes across really well.

In a game focused more on narrative or simply on only one of the main characters, those aspects as well as the rogue case files would have been more fleshed out and explored more deeply than Gotham Knights has room to do. But I appreciate the effort put into making Gotham City itself more lived in and vibrant than in previous games, though sometimes it still somehow manages to feel deserted? It’s odd. The real upshot for me was, though, that it doesn’t feel grindy. The presence of other case files suited for different level caps, and an emphasis on other contacts and side quests, makes it so you’re not just endlessly levelling up in order to be able to progress in the main story.

The game’s single greatest failing is that it doesn’t let me beat up cops wholesale, even though literally all of them will immediate open fire if they see a cape.

Number 6: Eternal Threads

Eternal Threads is a narrative puzzle game that completely took me by surprise during the summer. One long summer night without sleep turned into a treasure hunt of memories — and many of them sad, upsetting, or at least foreboding.

The story of Eternal Threads hinges on six housemates that all died in the same house fire. And you, the player, arriving from the future not to prevent the fire itself, but to save the six people trapped inside.

There’s a way to save all of them, and then there’s a way to help each of them resolve either past trauma or point them towards a solution for the challenge they see before them. You can stop once all are projected to survive, but you can keep going to find the best ending for all six characters. It does eventually feel like trial and error, trying to find the crux in it all that shakes the remaining puzzle pieces into place, but thanks to the narrative and all characters having relationships with each other that contributed to the mystery, and if you’re following those lines, it’s not just randomly turning over random pieces of the puzzle.

The visualisation mechanic felt familiar from playing detective games but with an added twist thanks to the visual timeline of events you can scroll through and tamper with.

Each of the characters led fully realised lives — some with tropes bordering on cliché, and sometimes the writing gets a little edgelord — but you come to care for each of them. I’ve written a detailed review of Eternal Threads, if you’d like to know more; including information on additional trigger warnings.

Number 5: The Excavation of Hob's Barrow

Hob’s Barrow is a stunning indie folk horror game inspired by English folk tales. I mean, apparently I’m cursed because every time I wanted to play the second half on stream, either I got sick or my PC stopped working somehow, so I had to finish it on my own. But at this point, that’s honestly part of its charm.

There’s things in that barrow Saxnot doesn’t want me to see.

Hob’s Barrow is a great blend of an emotionally affecting storytelling and classic point and click adventure games. Thomasina’s story is told in a classic framing narrative, along with flashbacks to her childhood, that keeps its final twist close to its chest. It’s a game that tells you from the outset, “you are doomed by the narrative” and then doesn’t stop for questions. There’s a solid mystery at the heart of the story, which is satisfying to unravel. And then, we ourselves unravel as we enter Hob’s Barrow, and everything we thought we knew was true is turned on its head.

There’s plenty of mystery and folk horror here, including references to the fair folk and the Lambton Worm, a real folk horror story. Thankfully, however, the game doesn’t rely on jump scares — they are present, but they’re not overused. Equally, its twist don’t rest on shock value. They’re foreshadowed well, and whether you piece things together with a bit of lead or just before it happens, they are shocking. Just not because they come out of nowhere, not because the game is more invested in tricking you, the player, than telling a compelling story. They’re shocking because they’re impactful, because there’s emotional weight to them.

The voice acting is incredible, as is the sound design and music — it’s delightfully Twin Peaks in places, which makes me very happy. (You can support the artist, The Machine, on Bandcamp!)

The protagonist’s voice actor, Sam Béart, in particular, does a fantastic job bringing Thomasina to life: from a troubled upbringing, to becoming a confident young researcher, to the tragedy and loss she eventually experiences.

Play this game! Play this game!

Number 4: A Little to the Left

There’s a full review of this game up on my channel already, so I’ll keep this brief, but I really cannot recommend A Little to the Left enough if you’re looking for a cozy puzzle game to while away a few hours with, and especially if you find putting things just in the right order satisfying.

The adorable art style and the way these puzzles fit together visually truly make the serotonin go brrrrr. Plus, when you’re done with the main levels, there’s a daily tidy to keep you engaged and exercise the little grey cells. The music is adorable, and it’s just so chill.

I have a more in-depth review here: 8 Reasons to Play A Little to the Left.

Number 3: Stray

This landing high up on this list won’t be a surprise to anybody: A+++ cat mechanics, no notes. The cutest cat game of all time, calling it now — with an absolutely devastating revelation.

Aside from being an adorable game about a cute cat, it’s also a powerful story about humanity, its foibles and strengths, and what’s left of us when, well. Nothing’s left of us. The world they forged outlived them in this story, and it outlived them so well that it’s as if they were still there, locked into Plato’s Cave, aka the domed city.

The Village is a place of light, because the humans that lived there used the light as an act of rebellion. They knew things were over, and they refused to live what little time they had left in the dark. The robots that lived with them, outlived them, continue to remember them. They don’t revere them as gods, they simply remember and take care of the things that mattered to them.

In this dystopia, the corporations that got them into this mess are long gone along with them. Perhaps, in the sprawling Outside, there is hope for new life. Give Earth to the cats. They’ll know what to do with it.

I have a more in-depth review here: 9 Reasons to Play Stray.

Number 2: Hades

Now, this game didn’t come out in 2022, and I was severely late to the party, but I picked it up for real and actually successfully escaped a few times over the summer, and I would like to thank everyone who psychically or otherwise bullied me into finally playing it.

If you’ve played it or, well, not lived under a rock since its release, then you’ll know why Hades is outstanding: the dialogue system, the voice acting, the soundtrack, the weapons and combat, the relationship mechanics, the roguelike…. ugh.

To borrow from the essay I wrote just after completing my let’s play of the game:

With Hades, I’ve learnt not to mourn the boon combo I lose when I inevitably die — I know I can make my own luck on the next run, and the next, and the next…

Zagreus’ complicated relationship with… well, everyone he’s ever met is by turns ready to pluck at your heartstrings, make you laugh, or ignite a blinding fury that will carry you through the next round on burning heels. In the Greek underworld, everyone’s queer and no-one is sorry (except they are so very, very sorry; sometimes, when you catch them in the right light). Everyone’s also punishingly hot, and it’s frankly unfair to make bisexuals play this game and expect them to get anything done without some sort of health warning.

You needn’t have spent your formative years soaking up Greek myth — though which of us hasn’t had something elgeebeetee happen to them whilst immersed in the adventures of Olympus, I ask you — to enjoy the story and the many characters’ idiosyncrasies and relationships.

I am perfectly content finding things out by the piecemeal method. Piecemeal is certainly all Father gives you, so settle in, folks, hope you’ve all packed your bags for the guilt trip. But don’t worry, you can make it all better by commissioning new rugs and furniture you’ll never once sit on because Zagreus. cannot. sit. still. Someone make that boy take a nap.

AND NOW WE’RE GETTING PART 2. BISEXUALS JUST KEEP WINNING.

Number 1: Cult of the Lamb

My GOTY is Cult of the Lamb. I love it, I’ve finished it and I still play it.

And here’s a variation of something that I originally wrote in that same essay about Hades, but which applies to Cult of the Lamb as well because both of them are roguelike games that I ended up loving after being scared of the genre for years — me being an absolute hoarder of stuff in video games.

The game acknowledges gains, motivating the player to keep going, ever on the quest for more, more, or simply to try out the new toys. This also lends support when you feel stuck, because you’re not being punished for not progressing in terms of region bosses defeated. Once you have, then, spicing things up through additional conditions and incentives means you still earn rewards for making it through again and again and again, giving the game the longevity it needs to keep players coming back for more to ensure that they actually see all the stuff that’s tucked away.

Cult of the Lamb is far from being as expansive in its story content compared to Hades. If you keep coming back it’s because you enjoy the familiarity of the main gameplay loop, or because you want to fully upgrade your cult base and deck it out with ALL the decorations. Or, because you’re cranking up the difficulty and using more of the drawback conditions on the fleeces; akin to Heat runs in Hades, to spice things up.

Speaking of decorations — and I shouted this out in my video review (Cult of the Lamb is my GOTY) — is that removing or editing buildings is so easy. In Stardew Valley, it’s a hassle, in Animal Crossing, it costs loads of money and it’s a hassle. In Cult of the Lamb, you can just pick something up and plop it down somewhere else, or remove it entirely, and it’s the work of seconds. Good news for all of us millennials who can’t commit to putting a new sticker on our laptops.

What were your favourite games you played in 2022?

[asking-jude]

Hi, um first off, I hope you are having a good day. So, I have been having the worst panic attacks recently. Whenever something terrible happens and these are usually things that happen so far away, I feel awful and scared for the people that could be effected by it. However, I can’t really do anything about it because I don’t have the ability too. I then I feel terrible. I feel useless. Like, I’m not worth anything because I can’t help. There are certain things I can do. I just get the sensation that have to be a big hero and swoop in and help everyone. I’m no Superman though. I see so many people fighting against it because they have the power to do more than I can, that’s wonderful. Also, there’s so much news feeds nowadays that can’t tell what’s real or fake. It’s confusing and scary. I get so angry with myself

Do you want free, fast mental health help? Visit askingjude.org.

Hey there,

I hope you’re having a good day too!

I’m sorry to hear that you’ve been experiencing anxiety recently. What you’re describing sounds like an intense feeling of helplessness, which is understandable considering how easily news can circulate on social media nowadays. Your feelings are completely valid, especially concerning events outside of your control. I can tell you have compassion for others and a desire to help, which is admirable. It’s important, however, to remember that you don’t have to be a superhero to make a difference in someone’s life. When things feel overwhelming and outside of your control, know that even small acts of kindness can have a positive impact on the world. Sometimes just listening to someone or making a small donation to a cause you care about can make a significant change. Depending on where you are in life, you could also consider going into a career field that involves activism and advocacy. Even volunteering can help you channel your frustration into positive action. As long as these activities feel manageable, there is potential for growth. I know it can be infuriating, but it’s important to recognize your limitations and focus on what you can do, no matter how insignificant it may feel.

These websites might help you find new ideas for some small activities that can ease the sense of powerlessness you’ve been feeling: https://shorturl.at/bLY12; https://shorturl.at/cmN26.  

It’s tough to navigate the constant barrage of news sites and channels, especially when it’s getting harder and harder to know what is real and what is biased. There are many news outlets that spread sensationalized information or even misinformation. Try to seek out news and information from reputable sources and fact-check claims that you come across. Being able to understand what’s actually happening rather than the narrative of certain outlets can help you better evaluate the situation. Having the full context of the story will likely help ease some of the anxiety or stress you are experiencing. Stay informed, but always be cautious and critical of what you read or watch.

Here are a few websites that you might find helpful. The first link provides a list of credible news sources. The second should help you better understand how to spot fake news when you see it: https://shorturl.at/dAMN6; https://shorturl.at/ghnM4. 

Taking breaks and limiting your exposure to social media and news can also help you manage your anxiety about these subjects. I know it may seem like you’ll be out of the loop or unable to help, but putting your mental and physical health first is essential. Paying too much attention to negativity can make it harder for you to direct your energy into positive actions. Focus on self-care and maintaining a healthy balance in your life. It can often seem impossible not to doom-scroll or continually consume negative news. This cycle can drain your emotional energy and increase stress. It's fantastic that you want to help, but remember that taking care of yourself is also important. You could try setting a time limit for how long you spend scrolling through social media or news websites. You can also engage in activities that help you relax and recharge, like meditation, exercise, journaling, or spending time with loved ones. This article might be helpful if the idea of doom-scrolling is relatable to you: https://www.choosingtherapy.com/doomscrolling/. 

Panic attacks are incredibly distressing, and it’s unfortunate that you’re currently struggling with them. Always remember that there are resources available that can help you navigate this situation. Try to practice self-compassion and be patient with yourself. If you are still struggling, it could be beneficial to reach out to trusted friends and family or a licensed counselor or therapist. This is an important step in managing your anxiety. You shouldn’t have to feel this way, and you certainly don’t have to deal with it on your own. If you ever feel overwhelmed enough to require immediate support, follow this link to find free, 24/7, confidential assistance: https://www.samhsa.gov/find-help/national-helpline or call 1-800-662-HELP (4357). 

The following articles should help you learn more about dealing with news anxiety: https://shorturl.at/iAKZ4; https://shorturl.at/tyI17; https://shorturl.at/hwKP2; https://tinyurl.com/mtmwxp7a; https://shorturl.at/lBQUW. 

This article also provides a few things you can try when you feel hopeless: https://shorturl.at/iwIWZ. 

These articles offer information that can help guide you through your panic attacks: https://tinyurl.com/m8mfdsu7; https://tinyurl.com/3dyrmykw. 

Finally, if you require more assistance coping with this feeling of powerlessness, then these articles can help you set healthy boundaries and better understand your feelings: https://shorturl.at/uzW89; https://shorturl.at/eGIT9; https://shorturl.at/rwyIS. 

I hope that you found some of this information helpful. Please feel free to reach out to Asking Jude again if there is anything else you’d like to share. 

Be safe and be kind,

Mikayla

Ask a question here.

[flutishly]

Spoilers for House of the Dragon season 1

I was a bit late and backwards with House of the Dragon. While I know a lot of people who have read Fire & Blood, I had not. This was in contrast to my experience with Game of Thrones, where for its entire run I watched as a book fan who much preferred (and continues to generally prefer) the books. I came into House of the Dragon with no idea what the story was going to be about, nothing about its factions, nothing about its characters, nothing about its narrative arcs. I also watched it with a few weeks’ delay, meaning that I was fully out of the loop on discourse and its live reception. In a way, I felt like I was watching the show in a bubble - I knew no one watching it in real time, nor anything about where the story intended to go. I simply... watched.

And I liked what I saw, for the most part. My takeaway from the early episodes was that I - surprisingly - liked almost of the characters. My second takeaway was that the show felt so much tighter than Game of Thrones; while A Game of Thrones starts out mostly focused on the Starks, the story does include other (distant) narratives from the onset and it widens remarkably fast. House of the Dragon (and again, I cannot yet speak to Fire & Blood, though I do want to read it; no spoilers, please!) is much more of a family drama. While two continent-wide factions emerge by the season’s end, the story is still anchored by two sets of contrasting characters: Viserys versus Daemon, and Rhaenyra versus Alicent.

It’s the latter relationship that really defines the show. Part of what I loved about this first season was the way the show took advantage of its time jumps to convey a lot without necessarily saying it outright. The fact that this very aspect was criticized by most reviewers is baffling to me; the show managed to stay nimble while still establishing everything it needed, before reaching its intended climax. Game of Thrones stumbled most when it started dragging its story out. House of the Dragon simply moves onward to the next checkpoint, with the viewer cleverly left to fill in the blanks. We don’t need to be told everything! We can see the effects laid out so clearly.

I once posited that every television show has a “central relationship” around which the rest of the show revolves. Sometimes it’s a romantic relationship, sometimes it’s a familial relationship, sometimes it’s a hero-villain tension, and sometimes it’s a friendship. In House of the Dragon, it quickly became obvious that though the first episodes were teasing Viserys-Daemon, the central relationship is Rhaenyra-Alicent. The intimate friendship turned imbalanced rivalry turned tentative reconciliation turned outright war appears in every episode, even if one of the characters doesn’t. In the final two episodes, we see either Alicent or Rhaenyra (and not both together), but the other is still wholly present. Alicent refuses to allow the men around her to murder Rhaenyra, despite what it means for her family. Rhaenyra, on her end, refuses to simply leap into a war that would pit her against Alicent (and younger siblings, though I highly doubt Rhaenyra really thinks of them as such...). Their broken friendship doesn’t drive the plot, but it’s the emotional pillar.

I have lots of other thoughts about the show, but this is the part I keep returning to. Against the promise of war, against the backdrop of a factional succession battle, against the constant tension between different power brokers, the show continues to tell one real story, that of the House of the Dragon. It tells of two (arguably three) women who hold some power, but not the power that the could (or should?) hold, whose power keeps being redefined by the men around them, who are often trying to make the best out of terrible decisions, who care for their families above all else. It uses time skips to continue telling one main story, despite teasing other, “wider” threads which may or may not have a deeper impact on our core cast of characters. It focuses so neatly on its characters that it’s hard to deeply dislike most of them (Aegon being an exception...), even when they’re antagonistic, because they’re still interesting.

It’s not a perfect show and I have loads of questions as to where it’s going. There’s no doubt in my mind that I’m going to read Fire & Blood after watching this season; the story is interesting and very clearly on the upswing. But having finished it several weeks ago and finding myself still thinking about it, I can’t help but give it credit for what it’s done well and recognize that I enjoyed it quite a bit, almost against all odds. I truly wasn’t expecting that.

[qocsuing]

The Role of Fabric Books in Early Childhood Education

The Role of Fabric Books in Early Childhood Education

As early childhood education is concerned, a particular aspect is the fact that new effective tools and materials are regularly invented, thus enhancing the learning process for children. Among such tools, fabric books have attracted considerable interest as an interesting and playful means of learning. Aimed at young children, Fabric Books for Beginners are basically made up of soft fabric and simple narrative whereby students engage in fantasy play situation. What is a practical and significant focus of the article is the impact fabric books have on the effective and harmonious growth and development of a child.Get more news about plush toys,you can vist our website!

The Encaptivating nature of fabric books

To begin with, fabric books turn to be appreciated by children because of the engaging nature of the fabric books to the other senses of the children. Tactile differences that exist, are due to the fact that, these books are made of different materials to stimulate the children’s perception of touch. The soft and furry textures provide a young child’s hands with something to crawl and suck through in their formative day's instilling proper habits. It is essential in the early years as it encourages sensory integration and fine motor development through this kind of sensory stimulation.

Improving One's Language Development

Among the most common purposes of fabric book in pre-school education is the promotion of language. Due to these interspersed images and short stories in the books, children get to easily acquire great vocabularies. Parents and teachers are able to use fabric books in order to tell the stories while listening to children as they tell them or discuss the stories and their characters. Also, there is the use of repetitive phrases and rhymes in such fabric books which eases young children’s pronunciation skills and acquisition of new word phrases and sentences.

Cognitive Understanding

The same fabric books are very effective in assisting the mental growth of children as they help the children learn about basic concepts like colors, shapes and numbers through games. For example, Velcro fasteners, and zippers, and loops, are not just for construction of the pages but also adds lots of fun to these books and stimulates problem-solving skills in the children as they handle the book. In addition, different colors and materials are very eye-catching; thus, encouraging children to move around since they are actually looking forward to seeing more of such interesting things.

Emotional and Social Development Skills

Apart from gains in cognition, fabric books are equally important for the elder children’s emotional and social development as well. Reassuring structure of fabric books enhances emotions with the help of young children in particular while going through the transition or stress. Reading as a concept encourages interaction and bonding amongst children and caregivers making them feel safe emotionally. In addition, the fabric books enhance the appreciation where messages of caring, togetherness, and kindness appear in the stories given to the children enhancing their ability to be socially competent.

In the last word, it can be stated that fabric books in early childhood education hold an exclusive and irreplaceable place. Being attractive to the sense of touch, enriching the child’s vocabulary and stimulating the child`s thinking, promoting the development of certain aspects of the child’s personality, her emotional and social skills, having the environmentally safe and long life span, all these features make it essential for every child to ensure comprehensive development. Thus, demanding the inclusion of fabric books in the preschool curriculum will help the teachers come up with on target easy to remember enjoyable classes that will conquer the fear of reading and studying in children for good.

[rivyuus]

Eminem - 313 (feat. Eye-Kyu) (Song Review)

Eminem's early work is a fascinating exploration of his nascent artistry, and "313," a track featured on his debut album "Infinite," serves as a compelling entry point for understanding his roots. Released in 1996, "Infinite" showcases Eminem's rapid ascent within the Detroit hip-hop scene, and "313," featuring Eye-Kyu, captures the essence of this formative period. The song not only reflects the stylistic influences that shaped Eminem but also offers a glimpse into his evolving identity as a rapper.

Production and Instrumentation

The production of "313," like much of the "Infinite" album, leans heavily on a minimalist aesthetic that typifies 1990s hip-hop. The beat features a sparse, looping rhythm that allows the lyrical content to take center stage. The instrumental backdrop consists of a basic drum pattern interlaced with melodic samples that create a moody and atmospheric vibe. This production choice complements the introspective and gritty themes present in the lyrics, grounding the song in the authenticity of the Detroit hip-hop scene.

The lack of elaborate instrumentation allows the rappers’ voices to cut through with clarity, emphasizing the importance of lyrical craft. The beat's understated nature also aligns with the reflective tone of the song, as Eminem and Eye-Kyu delve into personal narratives and societal observations. The listener is almost compelled to focus on the lyrical delivery, as there's little distraction from the raw power of their words.

Lyrical Themes and Content

Lyrically, "313" is a showcase of Eminem's burgeoning talent. From the outset, the track embodies themes of struggle, ambition, and identity. Eminem, known for his intricate wordplay and internal rhyme schemes, demonstrates a level of lyrical dexterity that hints at his future potential. The song reflects the challenges faced while trying to make a name for oneself in a competitive industry, a sentiment familiar to many aspiring artists.

The title "313" serves as an ode to Detroit, representing the area code of the city. This geographical marker emphasizes Eminem's connection to his roots, fostering a sense of pride and identity that permeates the lyrical narrative. Eminem speaks candidly about his experiences, frustrations, and the grind that comes with pursuing a career in hip-hop. He encapsulates the struggles of an artist striving to rise above his circumstances while remaining true to his origins.

Eye-Kyu's contribution to the track adds another layer of depth to the narrative. His verse complements Eminem's, creating a dialogue that encompasses diverse perspectives within the same thematic framework. The interplay between the two artists demonstrates a camaraderie that transcends the competition intrinsic to hip-hop, offering listeners a glimpse into the collaborative spirit of the underground scene.

Flow and Delivery

Eminem's flow on "313" is characterized by a rapid-fire delivery that highlights his technical prowess. His ability to weave complex rhymes and manipulate cadence is already evident in this early work. The urgency in his voice is palpable, as he drives home each line with conviction and emotional intensity. His performance captures the raw energy of an artist still finding his footing, yet bursting with potential.

Eye-Kyu's style contrasts with Eminem's high-energy delivery, providing a nuanced balance within the song. This variance in flow serves to highlight the distinct vocal identities of both artists while maintaining thematic cohesion. Together, they navigate the track with impressive synergy, fluidly transitioning between verses while building a compelling narrative arc.

Cultural Context and Impact

In the larger context of "Infinite," "313" showcases Eminem's desperate hunger for recognition and his dedication to his craft at a time when he was still largely unknown. Released in the mid-90s, the album emerged during a period where hip-hop was evolving rapidly. Eminem's journey as a white rapper in a predominantly Black genre adds a layer of complexity to his narrative—one that he would explore in greater depth in his later works.

"313" contributes to the discourse surrounding race and identity in hip-hop, as Eminem navigates his place within a cultural landscape that often scrutinized or marginalized artists of his background. While the mainstream audience had yet to fully embrace him, "313" serves as an important precursor to the commercial success that would follow.

Conclusion

In hindsight, "313" is a remarkable demonstration of Eminem's early talent and his commitment to authenticity. It encapsulates the essence of his beginnings as an artist grappling with personal and professional challenges, all while crafting a narrative that resonates on multiple levels. The collaboration with Eye-Kyu enriches the track, illustrating the collaborative spirit that thrives within the hip-hop community.

Though "313" may not be as widely recognized as some of Eminem's later hits, it stands as a testament to his dedication to storytelling and lyrical innovation. The track invites listeners to reflect on the journey that brought Eminem to the forefront of the music industry—a journey marked by resilience, ambition, and an unyielding passion for hip-hop. Ultimately, "313" remains a crucial piece of Eminem's discography, offering valuable insights into the evolution of one of the genre's most influential figures.

[musicandksa]

Music and Its Impact on Gen-Z

In every generation, music has served as a powerful force, a reflection of its culture, values, and societal shifts. For Gen-Z, this influence is perhaps even more pronounced. Growing up in an era of unprecedented technological access, this generation's music taste and consumption patterns have diverged significantly from previous generations. So, how has music shaped Gen-Z, and what sets their tastes apart?

The Rise of Fast Beats and Genres

One notable characteristic of Gen-Z's music is the preference for fast-paced beats. Whether it's the adrenaline-pumping rhythms of electronic dance music (EDM), the quick tempos of hyperpop, or even the rapid flows of modern rap, speed seems to encapsulate the urgency of this generation's lifestyle. These fast beats mirror the rapid flow of information in today's world, as Gen-Z is constantly multitasking, managing digital identities, and absorbing content from various media platforms.

Genres like trap, K-pop, and EDM have exploded in popularity, and with that comes the integration of multicultural influences. Songs are shorter, catchier, and more diverse in sound. Playlists are built not around albums but moods, and the global nature of music platforms like Spotify and YouTube has broadened musical tastes. For many Gen-Z listeners, language is no longer a barrier; K-pop bands like BTS or Spanish-speaking artists like Bad Bunny top international charts alongside traditional English-speaking stars.

Streaming Services and Personalized Music

Streaming services like Spotify, Apple Music, and SoundCloud have revolutionized how music is consumed. The algorithm-driven curation has allowed listeners to discover niche genres and artists that were once hard to access. For Gen-Z, music isn’t just a hobby—it’s integrated into their daily routines, accompanying them through workouts, study sessions, and even sleep. The playlist culture has replaced the traditional album, and with personalized recommendations, Gen-Z has more control over their listening experience than any previous generation.

Social Media and Virality

TikTok, Instagram, and YouTube have become instrumental in shaping musical trends. A single 15-second clip of a song can catapult an unknown artist into the global spotlight overnight. TikTok, in particular, has redefined the way songs go viral. Tracks with catchy beats, memorable hooks, and even dance challenges spread rapidly, allowing songs to reach millions within hours. This platform has influenced which songs rise to the top of the charts, often regardless of traditional radio play.

This generation’s love for visual content has also led to the rise of music videos, which are now more about creating shareable moments and less about long narratives. These platforms have created a feedback loop where the audience not only consumes music but also participates in its creation and distribution through user-generated content.

Mental Health and Music as an Outlet

Gen-Z is particularly attuned to the role of music in mental health. In an era where anxiety, depression, and self-expression are more openly discussed, music has become a form of emotional release. Artists like Billie Eilish, Olivia Rodrigo, and Juice WRLD have captured the angst and struggles of young people, with lyrics that address themes like heartbreak, isolation, and existentialism. Their music resonates because it’s raw and relatable, providing an outlet for listeners to navigate their emotions.

At the same time, music genres like lo-fi hip-hop or indie-folk have gained popularity as calming soundtracks for studying, mindfulness, and relaxation. Gen-Z seeks out music not only to feel understood but also to find peace in an often chaotic world.

Conclusion: The Future of Gen-Z Music

The music landscape for Gen-Z is continuously evolving, shaped by technology, global influences, and their unique needs for connection and emotional expression. As we look forward, it’s clear that this generation will continue to redefine music culture, creating trends that resonate globally while making music more inclusive and reflective of their diverse experiences.

At Kalaiwani School of Arts, we recognize and celebrate the dynamic relationship between art, music, and culture. Our mission is to foster creativity in all its forms, empowering the next generation of artists to contribute to this ever-evolving world of music and beyond.

[ailogomakerr]

A Symphony of Shapes: Unveiling the Meaning Behind the Samsung Logo and Lessons for Your Brand’s Musical Score

Samsung shines brightly in the world of brands as a leader, in innovative technology solutions — from stylish mobile devices, to state of the art home appliances that embody progress and modernity. Samsungs journey, to success goes beyond their products — it starts with a logo that serves as a quiet orchestration of shapes subtly communicating the brands core values. When we delve into unraveling the meaning of the Samsung logo design journey and understand its philosophy and significance behind it all; we not gain insights, into logo creation. Also unearth valuable lessons, for crafting a visually compelling brand identity of our own.

Analyzing the Symbol of Samsung

The Samsung logo goes beyond being a symbol. It’s a crafted design, with significant symbolism woven into it contributing to the overall message of the brands identity. The central feature of the logo is an oval shape that conveys an fluid feel, to it — this gives off a sense of advancement and pushing forward in line, with Samsungs dedication to innovation. The color scheme featuring shades of blue, in the logo was carefully chosen for its symbolism of trustworthiness and stability — qualities for a brand focused on innovation, in technology. The charm of simplicity shines through in the logo design, like a crafted melody, in music — an minimalistic approach that guarantees easy recognition on all platforms and resonates globally with the brands tune. Upon examining the ellipse one can notice an upward angle, to it.This subtle tilt seems to suggest an air of ambition and progressiveness symbolizing Samsungs commitment, to innovation.

Crafting a Visual Identity, for Your Brand. Transitioning from Symphony to Strategy

The Samsung emblem acts as a marker, for establishing the identity of your brand offering valuable insights to integrate into your logo creation process; Understand Your Brands Identity Tune in before delving into design software; grasp the beliefs and character of your brand first. What emotions are you aiming to stir up — do you lean towards being a tech startup. Embody the spirit of a creative design studio? Getting a handle, on your brands essence sets the stage, for the symphony you’ll create upon it. Simplicity is key when it comes to creating your brands logo — take a cue, from the Samsung logo for inspiration and embrace minimalism as your guiding principle.Your logo should be clear and concise to convey your brand identity; remember that a simple design speaks volumes compared to an one.Think of your logo as the tune of your brand — it should be easily recognizable. Make a lasting impact. Understanding Color Psychology Basics; Similar, to how music stirs up emotions within us colors also have an impact. Explore the aspects of colors. Pick a color scheme that aligns with your brands communication. Select blue to convey trust opt, for red to exude energy or go for to signify growth — pick colors that establish the vibe for your brands narrative. Subtle Yet Impactful Tip; Never overlook the influence of nuances; like the slight upward tilt, in the Samsung emblem symbolizes a deeper narrative or aspirations linked to your brand identity.

Mastering the Art of Designing Your Logo, with AI Logo Makers.

Starting a logo design, from the ground up can sometimes feel like hitting a roadblock or hearing a melody on loop in your minds ear. Don’t worry though aspiring logo creators. The wonders of AI logo tools and generators are here to help you out. Consider these assistants as your partners, in creativity of sorts. Just input keywords that represent your brands essence and the visual style you’re aiming for. These digital helpers will then use their magic to produce a range of logo options offering inspiration and serving as a starting point, for your process. Using an AI logo generator comes with a variety of advantages. Embarking on the Canvas Journey. AI aids, in removing the intimidating challenge of beginning from a slate by providing ready made components and designs allowing you to overcome creative barriers and kickstart your composition process on a strong footing. “Try out color schemes and fonts effortlessly to find the ones that capture the essence of your brand message best — it’s, like jamming, before perfecting your brands signature tune.” Creating logos, with AI design tools is easy and budget friendly for all musicians to access logo design services without needing a budget or extensive design knowledge. Even if you don’t have an in house designer, for your branding efforts.

The logo acts as the opening chord, in creating a brand identity orchestration.Here are some extra suggestions to guarantee that your branding message strikes a chord with your target audience; Develop a brand story that encapsulates the core of your brand identity.It should resonate with your audience on a level, like a captivating melody, by evoking emotions and fostering a connection. Consistency is Key! Make sure your branding looks consistent everywhere. From social media graphics to website design by using the colors and fonts for a look that reflects your brand identity unmistakably. Creating visuals remains essential, in storytelling — whether its, through captivating images or engaging infographics and videos that strike a chord with your audience and evoke connections. Create a brand voice that stands out in all your messages. Whether its inviting and warm or daring and inventive! A uniform voice guarantees that your brand connects with people on a level. Tap into the strength of community by establishing a foundation, for your brands growth and success Encourage participation through social media engagement loyalty initiatives and gatherings Keep in mind that a brand is more than just a single tune it’s a harmonious blend of different perspectives with your audience, as an integral part of the composition

Craft Your Own Today

When you study the elements of the Samsung logo and apply them to your logo design process you can create a logo that not only looks good but also captures the essence of your brands values effectively. Use AI tools to explore possibilities seek feedback, from online design communities for refinement and always remember that your logos impact is more than just its appearance ; it should harmonize with the overall identity of your brand like a vital instrument, in a larger orchestra. Go ahead. Get ready, with your tools and the knowledge you’ve gained to start creating your own logo design adventure! Keep in mind that a great logo is a step away, from being crafted. All it takes is a touch of creativity and some branding expertise inspired by the Samsung logo and the helpful Ailogomakerr.com platform to create a logo that connects with your audience and drives your brand forward into a future full of innovation and achievements. It’s your time to shine. Start the show with your brands melody!This blog is from Ailogomakerr.com