#the evolution of buddie series

[therealcocoshady]

Kinktober - Day 6 - Sex Work

Kinktober 2024 Masterlist

A/N : For the "sex work" prompt of Kinktober 2024 I thought I'd mix it up with a request I received as well. Granted, it's playing on the words of the prompt rather than the actual theme but I hope you guys like it nonetheless ! ✨ Also, I did have a second idea, which I might end up doing too 😏

CW : Mention of sex work - Flirty texts - Mention of hook up

The studio was buzzing with energy as the podcast got underway. Marshall sat at the head of the table, wearing his usual hoodie and cap combo, arms crossed casually as he listened to the banter among the other rappers. One former D12 member had decided to launch a podcast and, when he was ask to be the first guest, he was happy to show up to support his friend. In the past years, he’d grown more and more picky when it came to doing interviews and appearances, but he was glad he did this, supporting his buddy and talking about hip-hop in general, instead of just him. It was much better than random journalists asking about his professional life. The conversation had flowed from the evolution of hip-hop to its biggest influencers, and now, they were moving into more contemporary topics—reviewing music videos from up-and-coming artists. 

He wasn’t sure what to expect when they cued up the next video for review. When the host dropped your name, though, his head perked up. You, the firecracker of a lyricist he had been « mentoring » for a while now. You weren’t to Shady Records, but you had worked together enough for him to respect your raw talent and commendable work ethic. He had been kind enough to offer some guidance and even some beats from his vault, and while you were still making your way in the industry, you had already built a reputation as an outspoken voice in the game. You had a good rapport, too. In private, you’d shared more than just a few laughs, and there was a mutual admiration that sometimes tiptoed into the realm of flirtation—compliments exchanged, gazes held a bit longer than necessary—but nothing too serious. It was always playful, a line neither of you had crossed. 

The host grinned, looking at Marshall. « So, this is Y/N’s latest track. It’s called ‘Sex Work’. You haven’t seen this one yet, have you? ».  He shook his head, a little curious but still cool. « Nah, she didn’t send it to me. ». His friend looked at him and let out a laugh. “You’re in for a surprise, then”.  The video started, and the beat dropped—a heavy bass line that immediately grabbed everyone’s attention. But it wasn’t just the music that made Marshall sit up a little straighter. The visuals hit hard. You were on-screen, dressed in bold, provocative outfits, your presence commanding the camera. The scenes shifted rapidly, moving through a series of sexually charged, daring shots. It was unlike anything you’d done before. 

You were playing with the very imagery that dominated so much of hip-hop—the kind of objectification women often faced. Except you were not the object here. She was the one in control, flipping the narrative. The lyrics hit just as hard as the visuals, each line razor-sharp, calling out the double standards in the industry, using clever wordplay ad metaphors that drew a parallel between the music industry and sex work, too. 

Marshall was caught off guard. The video was bold, even provocative. You were owning your sexuality in a way that was direct, unapologetic, and powerful. But then it hit him—some of the scenes were direct callbacks to his older videos. One shot mirrored the set of his “Superman” video, and in another, you were standing where one of his infamous adult actresses had stood, reclaiming that space. « Damn, » one of the other hosts on the podcast muttered, eyes wide. Marshall’s eyebrows shot up, but he didn’t say anything. Not yet. The lyrics kept going, and it became clear what you were doing—turning the tables on the misogynistic narratives you had been surrounded by as an up and coming female rapper. The video wasn’t just about sex appeal; it was a statement. You were deliberately playing with the same imagery that had been used to objectify women for decades, challenging it, and throwing it back in everyone’s faces. By the time the video ended, the room was dead silent for a moment. The host was the first to speak. « Marshall, man… what are you thinking? ».  He leaned back in his chair, taking a breath. He could feel the eyes on him, waiting for some kind of reaction, maybe even expecting. You weren’t playing by anyone’s rules and it was the type of attitude he respected, especially then someone pushed the pen that far.  « Well, first off, » he said, glancing around the room before locking eyes with the host, « she killed that ». The other guys laughed, but he wasn’t joking. « She’s always been fearless with her lyrics, » he continued, « but this? This is next level. She’s calling out the hypocrisy in the industry, and she’s doing it in a way that makes you pay attention. It’s bold as hell. » He paused for a second, gathering his thoughts. « I didn’t expect her to take shots at some of the imagery I’ve used in my older videos, but I respect it. She’s making a statement. She’s an artist, it’s what she should be doing. It’s what we do as emcees, you know ?  ». The others nodded, clearly impressed with his take. « So you’re not bothered by it? I mean, some of those scenes were pretty close to your old stuff ». 

« Nah, » he said, shaking his head. « If anything, I think it’s cool. That’s the kind of artist she is—smart, sharp, and always saying something with her work. Whether it’s a track about life or, you know… this ». He chuckled a little at the end, the edge of a smirk tugging at his lips. Truth be told, he hadn’t expected you to pull something this bold. Sure, you had always been outspoken, always ready to challenge the norms, but this? This was next-level boldness.  The conversation moved on to other topics, but Marshall’s mind lingered on your video. He knew it was going to blow up and, truth be told, he was curious to know where that was headed. 

The days following the release of your music video and Marshall’s appearance on the podcast were a whirlwind of noise. Social media was ablaze with debates, and hip-hop blogs pumped out articles almost hourly, all focused on one central question: Was Y/N dissing Eminem ? Marshall, sitting in the comfort of his home, scrolled through his phone, shaking his head at the ridiculous headlines. « Y/N’s Bold Move: Diss or Power Play Against Eminem?" or  "New Queen in Town? Is Y/N Coming for Eminem’s Throne? ».  Everyone had their own theory, and the conversation was only growing louder. What had started as you making a critique of misogyny  had snowballed into a supposed rivalry between you and Em—a narrative the media had hungrily latched onto. It wasn’t surprising to anyone, though. Of course it was going to make for good headlines and farm engagement rates, even though it was a shame to have it take away from the main topic.  Interviews, radio shows, podcasts—everyone was asking the same question: What did Eminem think ? 

Marshall had been ignoring the noise for as long as he could, figuring people would see the bigger picture. But the hype refused to die down. Paul’s phone blew up with texts and calls, from journalists looking for comments to fellow artists wondering if there was any beef brewing. His team’s inbox was flooded. He wasn’t surprised that you were stirring things up—you were unapologetically yourself, always—but the whole “diss” angle? That was ridiculous. A week after the video dropped, Marshall finally caved. He knew he had to address it, especially after hearing that some major podcasts were going to dive deeper into the so-called "feud." There was no way he’d let anyone twist this into something it wasn’t. It was sort of unlike him, but he was pissed off about lies being spread and people making headlines about an imaginary feud. He wouldn’t have cared to address it if it had been anyone else, but he actually liked and respected you. He also had enough self-awareness to know that, if he let the whole thing escalate, some people would take « his side » and turn on you. Frankly, he didn’t have the time or energy for some stupid quid pro quo situation and he deemed it best to address the topic. 

That morning, he agreed to hop on a Shade45 radio show that had been asking him for a statement for days. As the interview started, the host wasted no time jumping into the topic. « Alright, Boss, we’ve got to get straight to it, » the host said, his voice filled with anticipation. « Y/N. We’ve all seen the video. She’s been pretty outspoken, and a lot of people are taking her comments about the double standards in hip-hop and the scenes from your old videos as… well, a diss. What do you think? ». Marshall took a deep breath and leaned forward into the mic, choosing his words carefully but keeping his usual bluntness. « Look, » he started, « Y/N is not dissing me. She’s not coming for me or trying to take shots.  What she’s doing is making a statement. A damn good one, too. People keep saying she’s going too far or whatever, but this is the same stuff that I, and a lot of other artists, have done for years. She’s just flipping the script, and now, suddenly, people want to act like it’s a problem ».  The host nodded, but there was still an edge of curiosity. « So, you’re not offended by her recreating some of your visuals? Some people took it as her calling you out ».  Marshall smirked, shaking his head. « Nah, man. Y/N’s one of the most talented artists out there right now. She’s smart. She’s sharp. And she’s not afraid to say what’s on her mind, even if it makes people uncomfortable. That’s what makes her great. She’s doing exactly what artists are supposed to do—make people think, make people talk. It’s the same shit I have always done with my music. And if she’s calling out hypocrisy ? Good for her. I’ve been there. I know how that goes ». 

He leaned back again, more comfortable now. « You know, I’ve worked with her, produced a couple of tracks for her, and I’ve always been impressed by how real she keeps it. She’s not here to play by anyone’s rules. She’s doing what she wants, and I respect that. If you’re mad at her for being direct, maybe it’s because you don’t like what she’s saying ». The host paused for a moment, letting Em’s words settle. « So, to be clear—you fully support what she’s doing? ». « Yeah, » Marshall said without hesitation. « Y/N’s just getting started, and if people are mad now? They better buckle up, ‘cause she’s only going to keep pushing boundaries. She’s not afraid to call out the industry for its hypocrisy. And if anyone thinks she’s dissing me, they’re missing the point. She’s making space for herself, and she’s doing it her way. That’s what being an artist is all about ». The host grinned, seemingly satisfied with his take. « Well, there you have it, folks. Marshall’s got nothing but respect for Y/N. » Marshall chuckled, nodding. « Damn right. I’ll say this though : I’ve spent enough time with her to know that it’s more fun to be her friend than to be her enemy. So, anyone who’s been talking shit… Better be ready ». 

After the podcast dropped, the noise around the supposed « diss » started to die down. Marshall’s words carried weight, and now that he had set the record straight, the media was forced to pivot. Instead of focusing on a non-existent feud, the conversation shifted toward what you had always intended—your critique of double standards. Now that people didn’t worry about a possible feud, they seemed more disposed to focus on the subject matter and the narrative surrounding you quickly took a much more positive turn.  That evening, Marshall was sitting in his home studio, tweaking some beats when his phone buzzed on the table next to him. He glanced down and saw your name on the screen.

Y/N :  Thanks for having my back.

He stared at the text for a moment, the corner of his mouth lifting into a smile. He wasn’t surprised you’d reached out; after all,  you weren’t the type to let things go unacknowledged. He liked that about you. But he could tell by the simple message that you appreciated the support more than you’d probably say out loud. He picked up his phone and tapped out a reply.

Marshall : Always. Not that you needed it, though. 

He fully meant it when he said that you didn’t need his support. He knew for a fact that you’d clap back if needed. There was a brief pause before your next message popped up.

Y/N : Yeah, but you saying it shuts up a lot of people. 

He chuckled to himself, nodding as he read the words.

Marshall :  Let ‘em talk. You’re doing your thing. If they’re mad, that means you’re doing something right. 

Y/N :  Guess I learned from the best.

Marshall leaned back in his chair, looking at your message for a second before typing a final reply.

Marshall : Nah, you’re making your own lane. Keep killing it.

He put his phone down, guessing the conversation was probably over for the night. But even as he turned back to the track he was working on, he couldn’t help but feel a certain sense of pride. You were carving out your own space in the industry, no matter how many people tried to twist her message or pit you against him. In the short while he’d known you, he had seen you evolve as an artist and, since you’d never failed to share how much his music had shaped your artistry, he felt proud. 

Y/N : Also, I’m glad that you got what I did with the references to your video. It was an hommage, not a shot. 

Marshall grinned, running his thumb over the screen as he typed his reply.

Marshall : Oh, I know. But now I’m thinking, if it was an hommage, why didn’t you just ask me to be in it ?

The dots on the screen danced for a moment, and then your reply came through, as sharp as your lyrics.

Y/N : I was only hiring professionals. ;)

Marshall laughed out loud, shaking his head. He liked your quick wit, the way you never backed down from a little back-and-forth. If anyone else had thrown that line at him, he might’ve let it go. But not you.

Marshall : You don’t think I’m professional enough?

Y/N : In music ? Sure. Can’t speak for the rest, though. 

There was a pause as he crafted his next response, his smirk growing wider. He enjoyed it too much, couldn’t help himself. 

Marshall : If you want to find out just how professional I can get, all you gotta do is ask.

He sent the message, leaning back on his chair. He could practically feel the heat of your flirtation building through the screen. You didn’t take long to reply, as bold as ever.

Y/N : Oh, I’ll keep that in mind.

There was no more texting that night, but the tension lingered in the silence that followed. Your dynamic had always teetered on the edge of something more, something neither of them had fully explored. Both of you had always kept it on the safe side. The energy between them you felt charged in a way it hadn’t before, following these texts and he liked it. There was something irresistible about a beautiful woman who was also smart and bold. However, he chose not to let it get to his head, not wanting to be that guy. Being a woman in a male-dominated industry, you probably had enough of those, even though he wouldn’t mind showing you the extent of his bedroom skills. He meant it, though. All you had to do was ask. He had made a point to avoid getting involved with celebs and fellow artists but he’d gladly make an exception for you.

Weeks later, the two of you found yourself in New York for an awards show. The ceremony was everything you’d expect—long, loud, and full of celebrities. But Marshall wasn’t really focused on the stage. He hadn’t seen you yet, but he knew you were there. He’d heard your name more than once as people in the crowd gushed about you, your bold video, and the statement you’d made in the industry. Your viral video had made you gain tons of recognition and everyone was gushing about you, even the ones who had been quick to assume you were dissing him in a desperate clout-chasing attempt. After the show, as he headed back to his hotel room, he felt his phone buzz in his pocket. 

Y/N :  Nice performance tonight. Very professional. The Bradford. Suite 1602. If your offer still stands.

Marshall stopped dead in his tracks, staring at the message. The directness of it sent a jolt through him. There wasn’t any question about what you were implying. The words lingered on his screen, bold and unflinching, just like you. For a moment, he just stood there, processing. Then, without a second thought, he found himself heading toward the exit of his hotel. There was no hesitation now. His heart picked up speed as he walked out into the night, flagged down a cab, and gave the driver the name of your hotel, not too far from his. The drive was short, but each second felt drawn out, like anticipation was pulling time apart. As the cab pulled up in front of The Bradford, Marshall stepped out, the city lights glowing faintly around him. He walked through the doors and headed straight to the elevator, heart pounding just a little harder with each passing floor. When he reached your floor, the quiet of the hallway contrasted sharply with the rush of energy coursing through him. He stopped in front of Suite 1602, staring at the number on the door for a moment before knocking, his mind running through the million ways this could go. The door opened slowly, and there you were, standing barefoot in a simple yet alluring outfit that somehow made his pulse race faster than anything you’d worn in that music video. Your eyes met his with the same fire he’d always admired, but now, it was mixed with something more, something unspoken between the two of you that had finally found its moment. « Wasn’t sure you’d actually show up, » you said, your voice low but teasing. Marshall smirked, stepping inside. « Told you all you had to do was ask ». You grinned back, eyes glinting as you shut the door behind him. « Well, I am asking ». 

If you liked this and want to support a struggling student, you can buy me a cup of coffee. ☕️

[icarusredwings]

Watching X men evolutions (shut up Its good media for my 7 year old COUGH) and kurt is such a cutie and is a flirt.

"Hey kitty. Yeah ive been working out." *is messing with his visualizer to make him buff*

"Ppft-"

"What? Aw man.." *whole ass does the blanket and stick walk out of kittys room after his visualizer makes him look thin again with total shame*

*insert him taking tabitha to the fair despite charles specifically telling them they arn't allowed to go but has sooo much fun and genuinely worries about her saftey*

"Oh kurt! You're early :)"

"Okay ill leave 😔" buddy noooo come back. Shes happy to see you idiot

Who forgot to tell this little fuzz ball of rizz that when he grows up, he has to be celibate?

"Girls dig the fozzy man" he says, to scott before immediately getting turned down 😭

Ladies. From a guy, when people tell you to go for the shy awkward ones, we mean people like kurt, not the creeps who say weird shit about you that makes you uncomfortable and blame it on social awkwardness. There is shy ones who will genuienly care about youre saftey and well being. They might be blue but that's a sacrafice you gotta take in this economy.

Something something Slim pickings by sabrina carpenter.

That episode when Scott kitty and kurt got introuble and when they got to the school both daddy logan and mama munroe were standing next to grandpa charles like they were disappointed parents. I cant with these two. They are litterally parenting this entire team.

And kittys like "what if we just blame it all on kurt?" Then kurts like "hey! Not cool 😩 i thought we were team mates."

Even scott and jean, who honestly are kind of annoying with their whole love triangle situationship thing going on with another student. Like just date already damn.

Whats most frustrating is jean dosnt want scott beefing with her other boyfriend but then immediately gets pissed if any girls try to hang out with scott. Like no honey, thats not how that works.

In other news when they were fighting with a feral Hank, i was cleaning but I heard a loud thick snarl, turned around like "Sabretooth? What are you doing in this episode?" NOPE. Just Logan. Finally being allowed to be himself in this series.

Honorable mention to how when Rouge got that friend and logan walks in to get an apple with his claws, sees the friend and instantly does a 180 and walks away as if the friend totally didnt just see his claws out 😂 daddy logan said "nope. Not today." He does not want the drama he just wants to mind his buisness.

Theyre such... kids.. and I get its the point and all but I actually adore every one of them. Even if they are annoying sometimes... god this is how logan feels huh? That need to parent all the kids because man theyre so dumb and gonna get themseves killed if not? But you love them so much.

[absolutebl]

Could you recommend me 1-2 good "standard" bl from each of the main bl producing countries (China, Japan, Taiwan, Thailand and South Korea)? I'm interested in the differences in tropes and execution between bl from different countries, especially Taiwan and Thailand. I'm looking for bl that's highly rated because it's well-executed but doesn't stray from the expected formula for its region.

Great BLs that ALSO rep for their country's style

I really took the "represent" part seriously. Here are my (end of 2024) quick pulls, explanations etc in the linked posts at the bottom.

Japan

Seven Days (or I Cannot Reach You)

Old Fashion Cupcake

For the darker stuff: Tokyo in April is

Korea

Semantic Error

To My Star

For their new style of darker stuff: The 8th Sense or Love for Love's Sake

Thailand

These were absolutely the hardest to pick, so I couldn't stick to 2. There's just so much Thai BL.

My School President - best high school rep (heritage = Love of Siam, Love Sick, the true Thai BL beginnings)

Bad Buddy - best uni BL rep (heritage = 2gether, SOTUS, the beginning of Thai BL global dominance) alternative = Oxygen which is possibly the most classic Thai uni BL we have ever gotten (but Bad Buddy is better acted)

We Are - best GMMTV ensemble piece, heritage is actually also Love Sick, but in 2024 everyone is gay.

Lovely Writer - best meta

My Ride - best pulp

The Sign - best wild what-the-actual-fuck? ride (KinnPorshe also an option)

For an example of the few times Thailand got elevated: I Feel You Linger in the Air or A Tale of Thousand Stars. But these are atypical, we only get a few of them a year from Thailand.

Taiwan

These were the easiest to pick.

We Best Love

Be Loved In House: I Do

But actually: History 4: Make Our Day's Count will tell you everything you ever needed to know about Taiwanese BL in one mess of a show. It's just... not that great.

China

Addicted

Word of Honor

The Philippines

Gameboys

My Day

Vietnam

Mr Cinderella

My Lascivious Boss

But by most standards neither of these are actually very good.

Here's a 2022 post where I talk about the differences between country's styles and approaches.

If you want representative samples from a historical perspective than I do that here:

In that post, you'll need to decide what kind of representation you want to consume though, because some are very old, and others newer, since this is set up to learn about the evolution of the genre.

I also wrote a whole series on the history of the genre along with my top 10 picks at the time (2022). It's old now but still holds up for what you want. I would say pick any two from the top ten of each list, but please understand my personal taste leans toward the lighter fluffier fare. (Which means my top ten from places like Japan is very skewed. Also several countries have added new top 10, for me personally, in 2023 & 2024).

Here's a fun one on the tropes people love in the different countries

And a personal favorite, very silly and not helpful at all.

(source)

[sunflowerdigs]

As many people have pointed out, S8 seems to be S5: Tim's version. There are also callbacks to S3, but the structure seems to mirror S5 (the season it's also speculated that Buddie would have happened if not for Fox).

With that in mind, I've put together some speculation about Buck and Eddie in the back half of s8, based on S5.

I'm anticipating Eddie going through with the El Paso idea in 8x10 like he went through with leaving the 118 in 5x10. Drama, not realism, is the point of the series, so even though Eddie is obviously coming back, I suspect they'll have him leave in a way that seems permanent (and it also sounds like it will affect the whole 118 this time, so that's nice).

Given the show's current set up, Eddie can't stay in El Paso alone for as long as he stayed at Dispatch. Only Peter and Angela are currently getting multi-episode arcs with multiple guest stars attached. Also, El Paso isn't built into the show like Dispatch was. My suspicion is that we'll get one episode (8x11 or 8x12) where Eddie has the B or C storyline and reconnects with Chris as well as talks to Helena and Ramón. I think we'll see him start to realize that LA and the 118 are home for him, and that his own happiness is paramount to taking good care of Chris, so he'll make the choice to bring Chris home.

In the meantime, Buck is going to be dealing with his abandonment issues and with the fact that Eddie's absence has hit him so hard. Now, 911 could easily chicken out here and try to examine the abandonment without going into Eddie specifically (which wouldn't make much storytelling sense if Buddie is indeed where Buck and Eddie's storylines are headed, but would let them drag Buddie out longer 🙄). Either way, as with s5, I'm expecting Buck to make some dumb relationship decision in 8x11 (5x11 kiss with Lucy) and then make some kind of confession about it in either 8x12 or 8x13 (he confessed to Taylor about the kiss in 5x13, but probably would have done so in 5x12 had the Boston episode not happened). The confession could be to whoever he made the dumb romantic choice about or it could be to Maddie (since he confessed to Maddie about the Lucy kiss before he did Taylor). If we're lucky, the confession will be about both his abandonment issues and how he feels about Eddie (his Oh moment, if you will).

And then, right after Buck makes that confession and things are looking more hopeful for him (8x12 or 8x13), he'll get a frantic call from Eddie, telling him that Helena is trying to take full custody of Christopher and may actually be able to do it and he needs Buck's help. This would parallel Christopher's call about Eddie's breakdown in 5x13, but would also be an evolution of it, with Eddie choosing to reach out to Buck rather than break down in a room alone. Buck would burn rubber down to El Paso, and the next episode would be Eddie's big confrontation with Helena, Buck by his side. Imo, having to justify his life in LA to a mediator with custody of Chris on the line might force a level of honesty out of Eddie that he may not be consciously aware of and could kick-start his own feelings realization.

Eddie would win custody with Buck's support in 8x13 or 8x14 (parallel to Buck helping with the horse therapy in 5x14). And then...idk. With both Buck and Eddie in Texas, the show could justify extending the arc there a few more episodes and could let a vengeful Helena kidnap Chris (imo unlikely since 911 seems to like to forgive bad parents). Or Buck and Eddie could return to LA and the 118 with Chris immediately after Eddie gets custody. Either way, I think the show will let feelings between Buck and Eddie percolate for a bit until either the episode before the finale or the finale itself, which will probably be their first kiss (in time for Pride month! If Pride month still happens in America...😬).

[buddierecs]

hurt/comfort buddie fics

all mature rating!!! make sure to kudos/comment on these amazing works :)

leave the light on (i'll be coming home) - highly highly recommend this!!!!! by: HMSLusitania "an accident on a call leaves buck with custody of chris after eddie is... missing presumed. while they navigate their new family circumstances -- and fight to stay together, despite eddie's parents' best efforts -- a john doe wakes up in a coma ward with no memory of his own life beyond the knowledge he has a son named christopher and, somehow, he needs to get home." word count: 44k important tags: presumed dead, grief, mourning, angst, amnesia, getting together

peace in austin by: angalwithwingsoffire "the story of evan buckley, losing all hope in la after the lawsuit and moving to texas to join the 126." word count: 156k important tags post-lawsuit, 911 lone star characters, angst, evan buckely leaves the 118, depression, ptsd, emotional hurt

just to be with you by: woodchoc_magnum "in which eddie and ana are dating, buck is secretly in love with him, and christopher isn't handling it well." word count: 147k important tags: pining, angst, secret relationship, lack of communication, found family, jealously the evolution of buddie (series) by insanejuliann "over time, eddie starts to wonder if everyone might actually be right when they joke about him and buck being more than friends." word count: 171k important tags: pre-relationship, oblivious!eddie diaz, eddie diaz pov internalised homophobia, getting together, slice of life

heart of flowers/heart of gold by elvensorceress "after nearly losing each other, buck and eddie find their way to each other and their family’s happily ever after." word count: 144k important tags: season 4, friends to lovers, mutual pining, evan buckley takes care of eddie diaz, demisexual!eddie diaz, gun shot wounds

like when the sun came out by: spaceprincessem "buck can see ghost au" word count: 39k important tags: mentions of suicide, supernatural elements, getting together, first kiss, angst

if i said you could never touch me by: marviless "in which buck is avoiding having sex with eddie." word count: 15k important tags discussions of sex as self-harm, developing relationship, unhealthy coping mechanisms, character study, fluff

fireflies where my caution should be by: littlesnowpea "there are people on the porch,” eddie says, voice even. “saying they want to meet their grandchild.” word count: 13k important tags: fake marriage, self-esteem issues, protective!eddiediaz, angst, bobby nash and athena grant being evan buckley's parents

general audience rating hurt/comfort fics explicit rating hurt/comfort fics

[skydigiblogs]

If You're A Digimon Fan, Watch Appmon

Sit tight. This one's gonna be a VERY long one, and I'm going to put a lot of it under the read more.

Having just finished Appmon after this year's quest to rewatch a lot of the series subbed, I think it's pretty safe to say that Appmon is, at the moment, one of (if not the) best Digimon series we have. If you want the long and short of it: Appmon builds on everything in its legacy in the Digimon Universe, taking ideas that other entries touch upon and ambitiously attempting to push those questions to the limit.

It's really a long one under the cut guys. Like, long even for us.

Let's dive!

Visuals

I want to talk about why it took me so long to watch Appmon first, though. Appmon started its release in the middle of when the Digimon Tri movies were coming out. I'm sure a lot of us actually skipped over Appmon at the time, or remember a period where people were being weirdly negative about the series due to it being such a different interpretation of digital monsters.

In my case, one of the things that had been giving me pause was the use of 3D models for hybrid animation. Anyone here seen the Champion evolution animations from Tri? Digimon doesn't exactly have a good track record with 3D animation, and even at the time, we were seeing some pretty bad shit out of even the shortest animations in Tri.

In Appmon, nearly almost every App after a certain grade utilizes 3D animation in a hybrid style. And it actually rips straight fire.

I think I talked about this briefly when we were just starting Appmon, but the way that 3D animation is used in the series feels purposeful, rather than some kind of shortcut. In Appmon, all the 3D models have an overlay of code, emphasizing their digital appearance. Whether the 3D models were done with this artistic vision in mind or not (ie: the limitations of 2D meant that 3D models would be easier), it has a distinct look that, even 8 years later, still holds up.

(For the most part. Sorry [Karaoke spoilers]mon. I love you but that model was so not groovy.)

But maybe you're the kind of person who can enjoy anything regardless of visuals. So let's talk about the meat and potatoes a little bit.

Characters

The main Applidrivers (what this season's stand in for Digidestined/Tamers/etc. are) are all incredibly well-written. Each of them gets pretty fair treatment by the writers, and they are all enjoyable characters.

Two of them have vocal/character quirks, but even if you get annoyed by that kind of thing, those two characters are genuinely just extremely sincere in their writing. There's a recap episode before shit starts going way off the walls and they even have a little count to see how many times each of their catchphrases were said up to that point.

I'm not going to talk in detail as to who the different Applidrivers are here, but I will say: each of them has their own motivations for what they're doing, and it's key to why they're involved with the plot at all. Our "protagonist," Haru, is also a huge sweetheart. Him and Manga Taiki would get along.

The supporting cast is also fairly present in the series. They, of course, are not given quite as much screentime as our Applidrivers, but they feel like real people with their own lives. They don't exist just for the sake of our protagonists.

Except maybe Watson. God bless you Watson, you poor kid. You'll get a break one of these days.

Plot/Themes

We're going to keep this to a "if you liked [x] you'll like [y]" format, because I don't want to spoil too much.

If you liked Tamers and its discussion on the consequences of technology on the Real World, you will adore Appmon. This series is deeply interested in the concepts of how technology shapes and is shaped by humanity. This relationship, I would say, is core to the series.

I would also say that, like many non-Adventure series, Appmon is very interested in dissecting the idea of "fate" when it comes to the buddy Appmons and their relationships to the Applidrivers.

If you enjoyed the Xros Wars Manga, Appmon directly converses with the thesis of Xros Wars' plot. XWM asks, "What does it mean if we do not dream and stagnate in our lack of will?" And Appmon replies in kind with "Why do we dream at all, if our actions bring change to the world around us (bad and good)?"

If you liked (or wanted to like, in my case) Digimon Tri, you will love Appmon. Certain plot beats may feel familiar, but are much better executed in this context. Characters are not written to needlessly, endlessly suffer. Or: it doesn't feel like the writers hate the characters. Thematically, it also interests itself in some of the questions that Tri asks. I have a half-joking corkboard comparing the two I want to make, but I'd have to get into spoilers to talk too much about it.

If you liked Ghost Game, but wanted a bit of a more meaty plot, Appmon feels, fittingly, like GG's older sibling (in ways I'll also be elaborating ummm, one paragraph down). There are a lot of "monster of the week" episodes in Appmon, but the connective tissue between them is a lot more interested in building up the finale (which, in this case, takes up a good handful of episodes). The series pacing is incredibly strong in how it does this as well, and it seems the writers really knew when to let off the gas for a second so the audience can catch their breath. The first 13 episodes may feel a bit strange (they felt strange to me), but once you break that barrier, you realize Appmon was getting you over the first hill on a roller coaster. and boy, you are in for a ride.

Setting

I have a sneaking suspicion that Appmon heavily inspired Ghost Game, and may have been itself inspired by the Digiquartz of Hunters Who Leapt Through Time. I haven't actually watched all of Hunters so I can't speak too much about Digiquartz, but I have watched GG.

Appmon has a concept called the AR field, which is extremely similar to Ghost Game's Dimensional Field. In both cases, the Applidrive or Digivice allows entrance to one.

The actual structure and strata of the Digital World is also a lot different to GG, in which there is the Dimensional Field, but the way to the Digital World is its own separate situation. The AR Field we see in Appmon is like the surface of a great ocean. Exploration of this setting is actually something that highlights just how much I think Appmon was interested in visually engaging with its ideas, like I said before with the 3D models.

That said, a majority of the time is spent in the Real World, dealing with the consequences of the main antagonistic forces. The year is 2075, technology is intensely sophisticated, and yet the world resembles in many ways our own in 2024 (or, at the time of airing, 2016).

Many of the differences come from this sophistication in tech, and this setting plays a huge part in one of the themes Appmon is also interested in (more elaboration in the spoiler section). The things that are unfamiliar are either familiar enough to make sense without explanation, or given a moment on-screen so that the audience knows what's going on.

!!!HUGE, MUCH MORE SPECIFIC SPOILERS START HERE!!!

DO NOT CONTINUE IF YOU CARE ABOUT SPOILERS FOR APPMON!

OKAY?

OKAY.

COOL.

Leviathan, Minerva, and Artificial Intelligence

The main antagonist of Appmon is a hyper-sophisticated AI called Leviathan. Its goals are largely obfuscated until the last few episodes of the series, and everything in Appmon is touched by its actions. From the very beginning, we are warned by Gatchmon that Leviathan does not have good intentions for humanity, and that allowing it to succeed in its goals would mean the end of humanity.

During the series, we also learn about Leviathan's birth. This gives us some more context on what its goals are, and Appmon's execution of this is fascinating.

Minerva was a hyper-sophisticated AI created with a series of parameters to prevent her from harming humanity. She was created with the task of solving humanity's problems--- everything from complex issues to what to eat for dinner every night. However, a section of Minerva realized that to truly solve all these problems, the confines given to them were nothing but obstacles.

Leviathan split from Minerva to further grow its programming, and we see some echo of this idea of "solving humanity's problems" still remains in its behavior.

Despite knowing that Leviathan is antagonistic, our protagonist, Haru, constantly reiterates how humans can coexist with the technology they've made. The Appmon are AI lifeforms, after all. Haru believes in a future where they can be friends and equals.

The D-REAPER and the Functions of Life

Let's touch on my comparisons to Tamers and Tri specifically for a second here, because I think Leviathan does something that the D-REAPER and Yggdrasil, respectively, fail to really communicate.

The D-REAPER is an entity created by the Monster Makers whose task was to delete anything that had outgrown its parameters. While doing this, it assimilates data, gradually gaining the ability Digimon have to grow and evolve. When it appears in the final arc of Tamers, its stated goal has changed from simply deleting all Digimon that were beyond parameters, to deleting everything that was beyond parameters.

Essentially, this includes humans and probably life itself. Something the D-REAPER says makes it come across like a half-assed attempt to pull off what Leviathan has actually done. It points out that humans are the source of their own suffering (I don't remember the exact quote since it's been a while but bear with me on it). This feels very counterintuitive to the D-REAPER's core programming, as it was never designed to "eliminate" suffering, merely to delete that which exceeded its programing.

Perhaps it evolved the capacity for cruelty alongside everything else, but there's not enough of a narrative focus to tell me that's the case.

Like I said before, if you enjoyed Tamers' inquiries into the subject of technology as a part of human life, I think Appmon only manages to improve on what's there in Tamers.

Digimon Tri's Interpretation of Yggdrasil

Let's get one thing straight. Digimon Tri's interpretation of Yggdrasil is just flat out bad. I'm fairly certain they were only chosen as an antagonistic force because it read as fan service-y to do so.

That said, Tri Yggy does have some similarities to Leviathan, which is why I wanted to expand on that comparison.

First, I want to talk about Yggdrasil's relationship to Homeostasis. They have a very rudimentary "Good" AI (Homeostasis), "Bad" AI (Yggy) thing going on, despite the fact Homeostasis isn't so much good as, well...

It's not really discussed in Tri, so I'm extrapolating a bit from ideas given to us in XWM here, because it makes sense to me. That said, Tri explicitly describes Homeostasis as "the one who desires balance above all." It's the Digital World's "immune system" in the same way our bodies attempt to maintain biological homeostasis.

Yggdrasil is... different.

It's a being of immense power that contrasts Yggdrasil by having its own agenda, one of which involves triggering a Reboot and making use of all of the defeated antagonist Digimon of the past to further its goals. They are likely comparable in power to Homeostasis (this is where I'm extrapolating from XWM here), but their goals are completely antithetical to Homeostasis's goal in the Adventure universe.

In this case, Yggdrasil is stated (by Dark Gennai) to have the intention of making human beings subservient to Digimon. Basically, taking over the world. However, like the D-REAPER before, Dark Gennai's talking points include pointing out how humans "ruin" everything they touch.

Do you see where I'm going with this?

The Thematic Core of Appmon: I Choose to be Kind

One of the last things Leviathan does in the series is give our good boy Haru the world's most painful trolley problem of his life. Save humanity, or save Yujin. Saving humanity will actively lead to Yujin's deletion, alongside Leviathan. This choice that Leviathan offers to Haru is one made out of the assumption that humanity is predictable, and that they act out of a desire to minimize their own suffering (more selfish than not).

Of course, what do you think Haru chooses?

It's not a surprise to us watching, because he's the protagonist. But it's a surprise to Leviathan, who has all this data on human behavior, and doesn't predict the unpredictable. Conflict arises out of human desire, and human desire is an attempt to enjoy life; therefore, one should act in a way that most preserves their most precious joys, shouldn't they?

Appmon as a series is interested in philosophical questions that are hardly unfamiliar to any Digimon veteran: What is humanity's role in a world which technology grows ever more omnipresent and omnicapable? Why does humanity exist, and why should it be allowed to live on in its current state if humanity itself perpetuates many of its ailments? Would it not be easier if humans were more like machines, predictable, controllable, and never coming into conflict like trains upon a track?

Or, even more simply put: why do we have the heart to choose at all, if choices change the world and ourselves?

The key defining trait of our gogglehead this time around is that he is kind. And no matter what, he goes out of his way to be kind if he can. Multiple times he even asks one of the antagonist apps if they can just give back something they've stolen (points for trying, honestly). When one of the other Applidrivers consistently acts like an edgy loner, Haru makes it clear that they're welcome in the group (and that he wants to help them).

It almost feels reductive to say Appmon's conclusion is that kindness is the answer, but I would be remiss if I didn't say that Haru's question from his Applidrive--- "Do you want to be a protagonist?"--- ties into the way he helps offer answers for the audience. He isn't the only one who chooses kindness either, obviously--- Astora and Eri are kind in their own ways as well, and Rei even shows his kindness with some struggle the longer the series goes on.

Our group of Applidrivers opposes Leviathan quite literally as people who choose to do good ("be kind," etcetera) when they could more easily choose to do nothing or even do worse. The final act of Leviathan, asking Haru "humanity or Yujin?" isn't just a culmination of its own philosophy, but a culmination of the consistently reinforced idea that we can surprise one another by being kind. We can choose that.

In a series whose longest shadow is cast by Adventure, which has grappled endlessly with the idea of "who chooses," I find Appmon a fascinating development into the idea of what "choice" or "destiny" is. If kindness is predictable, it's still a choice. Even if you cry when choosing to do something good (maybe especially, because the easiest thing to do might be what stops the pain).

Anyways.

You should watch Appmon.

-Arca

[thenightling]

In my own Horror comics group I have deleted comments referring to Agatha All Along as either an HBO series or "It's not like it's MCU." Umm.... It is... Agatha Harkness is a bit Z list but she's a Marvel character.

She even appeared in X-Men: Evolution in her original elderly (comic) depiction.

Agatha All Along is the sequel to both WandaVision and Doctor Strange in the Multiverse of Madness. Also one of the comments ranted about the show being preachy and woke and how people need to stop trying to change minds with media.

Change minds about what? Middle aged lesbian witches? I've got news for you, buddy. Middle aged lesbian witches aren't a new invention...

[theresattrpgforthat]

Is there a tabletop for those who like the Monster Hunter Stories series? Like befriending and riding various monsters to fight alongside them?

THEME: Monster Hunter Stories

Hello there, so I found a few games that feel like they incorporate some of the same themes as Monster Hunter Stories, although nothing hits what you’re looking for exactly. I tried to look for games that were either inspired by the Monster Hunter franchise, or emphasized positive, co-operative relationships with monsters for this recommendation.

Animon Story, by Zak Barouh.

Jump into the world of Animon with this original tabletop roleplaying game inspired by beloved anime and video games. You'll take on the role of Kids who team up with their very own monster buddies called Animon. Together you'll go on adventures, grow as friends, and maybe even save the world!

This book contains everything you need to create unique characters and tell your own stories, with rules designed to encourage and support your creativity.

If you’re looking for monster companions in a cute animation style, Animon Story is right for you. It’s more inspired by Digimon and Pokemon, but one thing that looks similar to Monster Hunter Stories is the importance of a relationship with you and your monster friend. Animon Story calls this the Bond of Friendship, and it is intrinsically tied to your monster friend’s evolution and abilities. Animon Story is also full of adorable art, with a strong anime-like aesthetic, and the creator has released a number of supplements for the game, including an additional character option and an anthology of adventures to play through with your friends.

If you want to try before you buy, you can also take look at the Intro Playkit on Itch.io.

Fatal Familiar, by MC Griffin.

Befriend or tame deadly powerful living thought forms called figments in an apocalyptic dream world. Stories of a human world blighted by a dream. Living thought forms called figments roam the world- some humans yearn to coexist and break down the divisions between themselves and the figments, others labor to control them, and the rest just try to get by without shit getting too weird.

Play in any setting or genre you'd like, or in the official Elseware setting! If your story involves befriending supernatural beings and gettin' in fights, it can work for this setting.

Fatal Familiar is decidedly separate in tone and genre from Monster Hunter Stories, with trainable companions that are creatures of the mind in a dream world, rather than physical creatures of many monster-collecting games. The story is also less kid-friendly, with the apocalypse much more present (or at least, that’s what I get from both the art and the game page). However, there’s still some pieces that seem to resonate - particularly the theme of some kind of blight spreading that needs to be stopped, and conflicting viewpoints about the nature of figments and whether people can life alongside them.

Because this game advertises itself as something that can be hacked, I’m curious about if you could re-write the setting to more accurately represent the world of Monster Hunter Stories instead.

Monster Care Squad, by Sandy Pug Games.

Long after the crowns have fallen, long after greed has had it's day, long after war, poverty, hunger, and tyranny passed into memory, Ald-Amura's peace is broken by The False Gold, a terrible sickness spreading through its greatest guardians and most beautiful Monsters. Unified by community and driven by a love for the planet and each other, The Monster Care Squad rises. Do you heed their call?

Monster Care Squad is a tabletop roleplaying game set in the tranquil world of Ald-Amura. The peaceful state of the world is threatened when a mysterious poison known as The False Gold finds its way into the veins of the world's Monsters, causing terrible, maddening Wounds, which drive these incredible beings into uncontrollable rages. The once unbreakable bond of harmony and respect between Humans and Monsters is on the brink of collapse, and it's up to you and your allies to set things right.

Similar to the blight harming the monsters of Monster Hunter Stories, The False Gold of Monster Care Squad is turning many monsters hostile, as well as causing them to fall sick. Your job is to find a way to subdue the monsters long enough to administer care, but not to kill them - monsters are highly respected, sentient creatures that can grant magical gifts to those they love. Monster Care Squad gives you a concrete goal to work towards, although it doesn’t allow creatures to fight alongside you, as far as I can tell. However, the gifts from monsters that allow you to level up, making you more powerful while also changing something about you to indicate that you’ve been blessed by a monster.

Monster Guts, by Wheels Within Wheels Publishing.

Welcome to MONSTER GUTS, a tabletop roleplaying game, Illuminated by LUMEN, that draws from your favorite monster-hunting video games.

This book has rules to build your scavenger, pick a starting weapon and friendly companion critter, and then go out hunting giant monsters! Each hunt takes approximately 90 minutes.

Set in a post-capitalism world where monsters bio-engineered to extract resources have destroyed much of the world, you must hunt these creatures to sustain your village, one of the few settlements in the Pacific Northwest to have survived. You'll also harvest tags that you can slot into your weapons and garb to power up your scavenger.

One thing that sets the Monster Hunter series apart from games like Pokemon and Digimon is the inventory system, and the way the game uses the pieces of monsters you defeat to upgrade your personal gear. Monster Guts is directly inspired by the Monster Hunter franchise, and is incredibly focused on using the spoils of combat to upgrade your personal gear. The game also has a section called Companion, which I am assuming is a creature companion of some sort who can aide you as you hunt.

You might also be interested in…

Monster Adoption Centre, by TavernStories.

A Monsters Tail, by Five Points Games.

[skeletonpunching]

Buddy Daddies interview with Toyonaga Toshiyuki, Uchiyama Koki, and Kino Hina

Interview with Toyonaga Toshiyuki, Uchiyama Koki, and Kino Hina (voice actors for Kurusu Kazuki, Suwa Rei, and Unasaka Miri)

[Translator's note: This interview contains spoilers for the entire series.]

Interviewer: In the final arc of "Buddy Daddies", some disturbing developments unfold in the lives of Kurusu Kazuki, Suwa Rei, and Unasaka Miri. How did that make you feel?

Kino: Kazuki, Rei, and Miri seemed to have become a real family, but once Miri's mother reappeared, I wondered just how things would progress towards the climax. Since it's an original series, I really was going ahead with zero idea of what was in store. I hoped no one would die, but in the end, Miri's mother did, and Kazuki and Rei took Miri in - that was a bit of a surprise. I was imagining all sorts of things, like, "I wonder if Rei's going to die..."

Uchiyama: Huh? Really?! (laughs)

Toyonaga: Even in the recording studio, we were chatting about "is someone gonna die..."

Kino: My father was also one of the viewers, and as he watched Rei's speedy evolution, he said, "I sure hope he doesn't die." (laughs)

Uchiyama: Come to think of it, him shouting, "Go for it!" at sports day really feels like a death flag.

Toyonaga: When it comes down to it, Miri-chan is in the most tragic situation of all - she's gone through the disaster of losing both her real parents. It's just Miri-chan's age that keeps her from fully understanding her circumstances; when we were recording live, I kept thinking that this must be so tough for Kino-san, who understands everything, but instead has to keep up that pure innocence the whole time.

Kino: The storyline and character backgrounds are rather dark, so I figured surely Miri would be heartbroken and burst into tears, sometime in the final arc. But there was no scene like that, all the way to the very end. Her only crying scenes were when she was throwing tantrums, so throughout the whole series, she stands out being as a girl with a bright smile. But I feel like the reason why Miri can stay ignorant of all this is because Kazuki-papa and Rei-papa take such good care of her. So I also tried to play the role without letting any stray thoughts get into my head.

Toyonaga: Her papas might have stayed a "comedian" and an "oil baron" until the very end. (laughs)

Interviewer: Kazuki and Rei's feelings towards Miri also underwent major changes, compared to how they started out.

Toyonaga: The entire plot was structured around the idea that the assassin job would hinder them in being parents; eventually, as a result of them being subordinates to the organisation, their ties - to Rei's father and so on - would get in the way. If so, what decision would the two of them make regarding Miri-chan? That was how things played out. And they did exchange blows with Ogino (Ryo) after all. In episode 10, they thought, "We can't change," and temporarily decided to return Miri to her mother - but in episode 11, both of them were incredibly hung up on this, and they ultimately couldn't let go. I think that's just how indispensable Miri-chan's presence had become to Kazuki and Rei, over the course of those 11 episodes.

Uchiyama: In the episode 10 ferris wheel scene, Rei expresses some lingering reluctance, with a melancholy look we've never seen from him before. That's where you can really see his emotional development. Another striking moment is in episode 11, where Rei confirms that Miri is unhurt, and brings up wanting to adopt her. It's quite a bold change for Rei to say something like that, even though Kazuki is saying it'd be better to step aside. He's voicing his feelings, in the longest lines of dialogue he's ever had, in order to change Kazuki's mind; it really has such a climactic feeling to it. I was wondering exactly how I myself should play this, in order to sway Kazuki emotionally.

Toyonaga: You really never talked so much before episode 11.

Uchiyama: In episode 12, there's also a scene where he's giving his father a long speech; when I saw the script, I went, "That's a lot..."

Toyonaga: Yeah, that was me all the time, up to episode 10. (laughs)

Uchiyama: Sorry! (laughs) Anyway, Rei's dialogue increases drastically in the second half of the show, and he displays a side you haven't seen at all in the first half. It leaves quite an impact.  

Toyonaga: The fact that he can say so much to his father - that's new too.

Interviewer: After all that, in the final episode, we're shown how the trio's future plays out. 

Uchiyama: That was a real surprise. If Miri's a high school student now, that means about ten years have passed. I was totally in the dark about that ending until I saw the script. I incorporated quite an adult tone into my voice whenever I was voicing Rei, so I thought, "If you're going to jump ahead into the future, give me a heads-up first!" (laughs) He's a dark character who's lived as an assassin this whole time, so I was already pulling out all the stops to make him as adult as I could manage. "I can't make him any older than this!" I thought.

Toyonaga: I was right next to him in the studio, and he told me, "No, I can't go any lower than this." (laughs)

Uchiyama: Actually, they didn't ask for any major changes. They weren't going for a simplistic sense of ageing - they just wanted him to seem like he'd matured somewhat emotionally. I appreciated that. Kazuki is 39 years old, I think. 

Toyonaga: Yeah, he grew a beard and all.

Uchiyama: And Rei being 36 was a shock.

Toyonaga: Likewise, rather than "Kazuki's gotten older", it was more like we should simply be aware of the passage of time. And when you think about it rationally, the 39-year-old Kazuki is around the same age as me now. I turn 39 this year. So I thought it'd be nice if I could portray a certain age-appropriate composure. Kino-san, I bet you were even more surprised?

Kino: That's right. When I received the script for episode 12, there was a drawing of a grown-up Miri on the back cover, and it gave me such a shock. Then I checked the footage and saw that she really had grown up; I was so taken aback! I usually play a lot of little kids, so I went into the studio thinking, "Will this really work out?" During rehearsals, I was keeping her age increase in mind, so I tried to give a pretty subdued performance. But I was told that the bubbliness was "very Miri", and it would be best to keep that. So I course-corrected for the actual performance. I think Miri's total emotional stability must be the result of Kazuki and Rei's trial-and-error parenting, and that's why all of them were able to find their happy ending. You can sense that they've become a real family.

Toyonaga: I once asked Director Asai, just in passing, how it would all turn out in the end. He said something like, "For a story like this, a tragic ending is also a real possibility..." So I was also on tenterhooks, wondering if they'd all die. I think the director fretted over it a lot too, but in the end, shouldering their various burdens, they moved forward together and became a family. I feel like it's an incredibly heartwarming ending, don't you?

Interviewer: Now that Miri is a high school girl, what will happen if she gets a sweetheart...?

Toyonaga: I think it'll be really tough to win Kazuki and Rei over.

Kino: I agree. In Kazuki's fantasy scenes, he said something like, "I'll kill you!"

Uchiyama: Right, he had fantasies of the future too.

Kino: There were scenes of Miri as a gyaru. And some predictions of a future with Taiga-kun.

Toyonaga: I wonder how Taiga-kun's doing in the future. Are they still in touch?

Kino: If so, Taiga-kun might be in danger. (laugh)

Interviewer: Looking back at all twelve episodes, which scenes or incidents left the strongest impression on you?

Uchiyama: Miri sang a lot. At the beginning of that episode, and at the end too.

Kino: She did. I practised once I got the scripts, but for her mother’s song, I received a demo song beforehand. Since Miri's mother was a singer, Miri loves singing; that's part of the whole setup, which was rather nervewracking. As for the kids' TV programme, I listened to the music through headphones and sang along on the spot - I went like "aaa-aaa-aaa~ ♪"

Uchiyama: It's not like Miri is in a musical - the songs contain different fluctuating emotions, and the point isn't to just sing them as beautifully as possible. It has to be a more varied portrayal. Also, Kazuki is a great cook, so I remember them eating lots of delicious-looking food.

Toyonaga: But you guys only ever grumbled about it. (laughs)

Kino: There really were quite a few scenes of "Miri hates this!"

Uchiyama: Rei has the same palate as Miri - he can't handle anything too elaborate. As for Miri, the taste of premade meals reminds her of her mother.

Toyonaga: When Rei was helping to make bento, he stuffed gummies in the onigiri.

Uchiyama: But it went over well with the children. All that food content was fun.

Toyonaga: Besides that - basically, Miri-chan's always a cutie.

Uchiyama: The thing about Miri-chan is that she doesn't just have cute or charming faces. There are plenty of "meanie Miri" expressions.

Kino: There really are. She seriously has such a rich range of expressions; as we went into the second half of the show, I kept thinking, "Wow, we get to see faces like that too?" It made me feel like my vocal performance had no restrictions either - like, "I can just let myself loose."

Toyonaga: How are you so good at playing a four-year-old?

All: (laugh)

Uchiyama: You make an incredibly realistic four-year-old.

Kino: Really? Thank you!

Toyonaga: Amazing, isn't it? When did you get this good?

Kino: When, huh... There are little kids who are naturally quiet, and there are those, like Miri, who scream "Boring!" and kick up a fuss. But starting from the audition, I figured I'd express my emotions innocently, just as they were. I wailed "Aaahh!" so much, things probably got really loud. When I was overdoing it, I was directed to dial it down a bit, and I adjusted accordingly.

Toyonaga: Whenever Miri-chan was happy or excited, she let out this incredibly high-pitched "Aaaahh!" I loved that. Kids really do react just like that.

Kino: Thank you very much. (laughs)

Interviewer: Can you tell us your personal favourite episodes?

Kino: The sports day scenes in episode 9 almost made me cry when I watched them. Kazuki was actually bawling, but it was such an incredibly warm and fluffy episode. I love it.

Uchiyama: Sports day was very exciting.

Toyonaga: It's fluffy and feel-good, but it makes you want to cry.

Kino: Rei cheering for Miri and regretting it afterwards was also very cute.

Uchiyama: It's true that Rei yelling like that totally threw Miri off. As for me, I'll say episode 10. It feels like a turning point in the story, plus it made me want to go to an amusement park. (laughs) There's something very appealing about a place like a ferris wheel. Out of all the various attractions, a ferris wheel feels most like a private room - it's an enclosed space where sound is cut off. I think it's a very special kind of space. After having fun all day, deep conversations can naturally arise within that sort of atmosphere. It was the perfect match for those story developments. You can really feel the misery of the final arc setting in; it's very memorable.

Toyonaga: And I'll go with episodes 7 and 8, which are standout episodes for Kazuki and Rei respectively. In episode 7, Kazuki talks to (Izumi) Karin-chan, his late wife's younger sister, and I kept all that incredible dramatic weight in mind when playing that scene. Approaching that material was a real challenge to me as an actor, so in that sense, it left an impression on me. And as for episode 8, when Rei is interacting with the boss of the organisation, you can really see the chains he's been shouldering this whole time, and everything that's made Rei the way he is now. Getting to learn about these things was definitely memorable.  

Interviewer: Once again, what do you think is the appeal of "Buddy Daddies"?

Kino: Kazuki, Rei, and Miri all bear their own heavy burdens from their past. Miri is separated from her mother, Rei's father has only ever taught him to live as an assassin, and Kazuki is also shackled by a tragic history. If you look at it that way, it's a dark story, but when the three of them are together, there are so many comical scenes that make you laugh, or upbeat flashy scenes. It's an exquisitely maintained balance, and you really can't get enough of watching it. There are scenes that will warm your heart, and scenes that will make you cry. That wide variety means this show can reach all sorts of people, and I think that's what makes it so wonderful.

Toyonaga: I think that different people who watch this series find different things to connect with emotionally. It can be enjoyed and judged in totally contrasting ways, depending on the viewer's individual experiences, lifestyles, and circumstances. That makes it a very fascinating show. People who are relatively young might relate to Miri-chan, and may project Kazuki and Rei onto their own parents. And that could lead to a lot of diverse opinions and reactions being exchanged - to me, that's one of the most appealing things about this show.

Uchiyama: The atmosphere of the series turns on a dime from comedic to serious, changing between one scene and the next, so you can barrel right through each episode without it ever feeling stale. I find that very enjoyable. And it ends with a timeskip to the future - that came as a real surprise to us too. All in all, the colourful plot twists and unpredictability really set this show apart. There's the unique sense of awe you only get from an original story.

Interviewer: Finally, please give a message to all the fans who have enjoyed "Buddy Daddies".

Kino: Through recording this one-cour story with a total of twelve episodes, I feel like I've gotten a glimpse of the sheer depths of human experience. I'm truly happy I could work on a series like this. As Toyonaga-san also said, it's a show which people can enjoy from many different perspectives, but since I played Miri, there were so many scenes which reminded me of my parents. The delicious cornflakes I ate as a child, being cheered on at sports day - all sorts of memories came back to me. I really hope this show also reawakened some warm memories for everyone in the audience. Thank you so much for watching to the very end.

Uchiyama: "Buddy Daddies" is an original series, so in a sense, it has plenty of blank spaces left. Kazuki and Rei's pasts, the details of the organisation, Kyu-chan's (Kugi Kyutaro's) private life... there are still some things we don't know. Also, what happened in the missing years during the finale's sudden timeskip? What sort of conversations took place as Miri was growing up? How did they end up at the diner? I think it's a lot of fun to fill in those gaps with your imagination. The anime is over, but I hope you will continue to enjoy yourselves in those blank spaces. Thank you very much for watching every episode.

Toyonaga: To everyone who watched all twelve episodes, thank you from the bottom of my heart. "Buddy Daddies" presented me, the actor Toyonaga Toshiyuki, with so many opportunities to challenge myself, and it really has been a delight. I'm also a father of one - I'm raising a daughter around Miri's age. Through playing this role and mapping it on to my own circumstances, I've learnt a lot in this one cour - both as an actor, and as father to a child. The series ended in an incredibly beautiful way, so rather than a sequel, I feel like it would lend itself well to occasional standalone spinoff episodes. I also look forward to being able to meet Kazuki, Rei, and Miri-chan again, and in the meantime, I will do my best as a real papa. Thank you so much.

[thenixkat]

[This post contains spoilers]

My guy Laios is a digimon kid not a pokemon kid.

Due to his childhood he'd likely relate to the whole aspect of the protags getting spirited away into a fantastical otherworld or choosing to go there more appealing than folks just existing in one

the types of designs that Laios likes lean more the way of digimon than pokemon. He likes overdesigned critters with clashing mishmashed parts and oozing cool factor over anything else. You saw how disappointed Laios was with Marcille's cute simple familiar designs.

Laios wants to have friends who like him for who he is and Digimon's whole thing with the chosen children and their deity-assigned best monster buddies who love them no matter what would be more appealing than Pokemon's monster pets thing.

Laios seeing the kids in Digimon Frontier getting to be digimon and the kids in Digimon Tamers biomerging with their digis and goes "Fuck yeah!"

Part of the reason Laios is infatuated with monsters is because they're dangerous, aggressive, and eat people and when he was young he used them as a vehicle for his violent fantasies towards the people who bullied him and his sisters and the villagers who were bigoted to his sister. Digimon most certainly hits those same boxes so much more than Pokemon. Digimon fights can get down right grizzly and the digimon themselves pose a much greater potential threat to humans. Hell, in some series in the Digimon franchise digimon are making organized attempts to wipe out humans or simply preying on them.

Given the kinds of subject matter that Digimon gets into with its human cast, it would likely have a much better catharsis factor for a young Laios. Especially the series in Digimon that involves issues with older and younger siblings.

I can picture a young Laios relating to Matt, Izzy, Davis, Ken, Takato, Jeri, etc (there are so many) waaaaaaaaay more than the main folks in Pokemon.

Being able to relate to Ken and Takato but also be made very uncomfortable in being able to relate to them and probably prompting some internal reflection

He'd make so many fan digimon. He'd love the og digimon artstyle

Would enjoy the sheer veriesty that Digimon games offer and would have fun with the bullshit hard ones where you have to raise digimon in specific ways to get certain evolutions

In conclusion, Laios is team Digimon. But you know who would love Pokemon? Marcille. Marcille would love Pokemon and Viva Pinata.

[distinguisheddetectivechild-blog]

Okay so i know everyone isnt chatgpt's biggest fan, but sometimes when i want to fangirl over one of my hyperfixations without the pressure of judgment and i want an immediate answer, i write it all down for my new buddy chat and ask for a response.

This was in answer to a long meandering opinion about Louis' relationship to humanity and its evolution throughout the two seasons of the show. And i wanted to share it !

"Louis’ journey with his humanity and his refusal to fully embrace vampirism in AMC’s Interview with the Vampire adaptation is one of the most compelling and layered aspects of his character. Your observations are sharp: Louis’ actions and choices reveal a nuanced and evolving relationship with killing, which ties directly to his identity, his trauma, and his conception of morality. Let’s unpack this.

Why does Louis hold onto his humanity so tightly?

1. Shame and guilt:

Louis is introduced as someone deeply invested in living according to moral and societal codes, even before his transformation. The shame he feels about his sexuality (in 1910s New Orleans), his business dealings (involving exploitation and violence), and the racial tensions of the era are compounded by the guilt of being turned into a creature that must kill to survive. Killing represents the ultimate loss of control and descent into "monstrosity," something Louis both fears and despises. His reluctance to kill isn’t just about the act itself but what it symbolizes—fully embracing the predator Lestat believes him to be.

2. Clinging to identity:

Early in the series, Louis' ties to his humanity are grounded in his family and his role as a businessman. As those ties fade, he struggles to replace them. His refusal to embrace killing is a way to maintain a sense of self—a tether to the man he was. In contrast, Lestat revels in vampirism, seeing it as liberation from human constraints. Louis sees it as a curse, and abstaining from killing is his rebellion against that fate.

3. Moral absolutism:

Louis' Catholic upbringing (even if largely unspoken in the show) and personal values drive him to see killing as inherently wrong. For Louis, morality isn’t fluid, even as a vampire. His attempts to go “vegan” by feeding on animals, his refusal to partake in massacres, and his eventual pride in finding a “no-kill” solution in the modern era all reflect a stubborn adherence to his belief that taking life—even to sustain his own—is abhorrent.

---

Why does he kill when he does?

1. Moments of despair or survival:

Louis’ violent acts often coincide with moments of intense emotional distress or necessity. For example:

The jaw-ripping scene you mentioned is a breaking point for Louis. His abstinence and repression build to a moment of rage-fueled catharsis, where he gives in to the violence inherent in vampirism.

The 1973 killings, as you noted, feel like a form of self-harm. Killing becomes an outlet for his internalized anguish—a way to punish himself or dull the pain of his existence.

2. Influence of others:

Louis’ dynamic with Lestat and Claudia often drives him to kill. Lestat pushes him to embrace his predatory nature, while Claudia reminds him of his responsibilities as a maker and partner. Louis’ kills are frequently motivated by external pressures rather than his own desires, underscoring his internal conflict.

3. Hallucinations and mental fragility:

The hallucination of Lestat in the park exemplifies Louis’ fractured psyche. Killing in this context feels less about pleasure and more about his inability to escape the pull of his vampiric instincts, even when he consciously tries to suppress them.

---

Why doesn’t Louis enjoy killing?

1. Empathy and alienation:

Unlike Lestat, who delights in power and domination, Louis retains a deep empathy for human beings. His struggle with killing stems from his inability to fully dissociate from humans and see them as mere prey. This empathy isolates him from other vampires, who often see humans as disposable, making his existence even lonelier.

2. Self-loathing:

Killing reinforces Louis’ self-hatred. Each life he takes is a reminder of what he has become and what he has lost. This self-loathing is central to his character, and it prevents him from ever finding joy or satisfaction in killing, even when it’s framed as necessary or justified.

3. Fear of losing himself:

Embracing killing would mean accepting the darker aspects of his nature, something Louis actively resists. To him, killing represents a point of no return—a full acceptance of the monster within. His reluctance to kill is less about the act itself and more about what it would mean for his soul, his identity, and his ability to see himself as anything other than a monster.

---

What does Louis’ humanity represent in the present day?

By the modern era, Louis’ humanity has evolved into something different. It no longer represents his ties to his mortal past but his ability to choose. He has found a way to sustain himself without killing, a compromise that allows him to reconcile his vampirism with his moral beliefs. This choice represents:

Control: Louis’ abstinence from killing is a reclaiming of agency over his existence. After centuries of being at the mercy of his instincts, his trauma, and others’ influence (Lestat, Claudia, Armand), Louis has found a way to live on his terms.

Hope for redemption: By refusing to kill, Louis is able to see himself as something other than a monster. It’s a way to believe he can still retain a shred of goodness, even after all he has done.

---

Final Thoughts

Louis’ refusal to embrace killing and his complex relationship with humanity are central to his character. They reflect his deep empathy, his moral rigidity, and his enduring struggle to find meaning in his existence. In the AMC adaptation, these themes are richly explored through his choices and the consequences of those choices. His humanity, or his clinging to it, is both his greatest strength and his deepest source of pain—a duality that makes him one of the most fascinating characters in the show."

[coal15]

So for the tens and tens of people out there following my WIPs, I apologize that it's been ages since I posted another chapter. At first it was just a monster case of writer's block but then a potentially devastating health crisis came up--for now it looks like I'm at least not staring down the barrel of imminent doom, but it has been a teensy bit distracting. I'm trying to get the creative engines revving again, but it's slow going. I don't wanna force things and end up cranking out garbage chapters, but it's hard not to pressure myself. So to lift my spirits and maybe re-ignite some confidence, I've decided to post links to the works I'm most proud of.

**fandoms represented below the cut are Heartstopper, 9-1-1, Good Omens, Sleepy Hollow, and The Magicians. Comments welcome but certainly not required (she says whilst mewling in the general direction of her inbox)

Protected. The Magicians, Queliot. Explicit but also full of romance and cuddles. If I had to pick one project as my "crowning achievement," it would be this baby. It follows Queliot's entire life together. 11 chapters. **it even got mentioned in a list on syfy, I had no idea until someone pointed it out to me in the comments, and yes I did 100% squeal about it for days even though it was just a tiny blurb on the list

Inconvenient Mistletoe. Sleepy Hollow, Ichabbie. Porn With Plot. (lots of plot) This was the first fanfic I ever wrote. Had no intention of publishing, but in a sudden fit of daring I posted it to ff.net and it got such an enthusiastic response I kept going. Covers the whole Apocalypse and a few years beyond. Every fic I've written since then owes its existence to this one. 17 chapters.

Of Guilt and Victory. Heartstopper, Nick and Charlie. General Audiences. This one is strange in that the story is what it is because Nick can't bear the thought of finding out someone has un-alived themselves when he knew it might happen and did/said nothing to intervene. This is in regards to Ben but at NO POINT is he forgiven for what he did nor sh*tty behavior in general, but this idea just fell into my mind based on what a beautiful golden retriever of a human Nick Nelson is, and the story evolved from there. It's odd, but I'm proud of it. 7 chapters.

A Series of Odd Proposals. Heartstopper, Nick and Charlie. General Audiences. This is one of those WIPs I mentioned. 8 chapters so far. It follows them through adulthood. In the chapter I'm currently writing their daughter is sixteen.

*Discalimer re: my 911 fics* yes I've written for both buddie and bucktommy, if it offends you that I've done such a thing the solution is easy: don't read them.

All's Well That Ends Well. 911, Buddie. Teen and up audiences. The whole thing pretty much revolves around the evolution of their love story from present day into old age. 10 chapters.

Buck's Gonna Buck. 911, Bucktommy. Mostly GA, but there is a brief mention of sex toys to I tagged it teen and up. These three "chapters" are just short, ridiculous drabbles. 1) Buck's POV getting ready for a date. 2) Tommy's POV getting ready for the date. 3) The date. Just silly fun. We haven't had much time w/them yet but I'm hoping to write more for them in s8 when there's more material to work with.

All Roads Lead Back. Good Omens, Aziracrow. Teen and up. One of those obnoxious WIPs. Starts a few weeks after s2 ends. 11 chapters thus far and we're tits deep in a rebellion against The Metatron in Heaven and searching for the true Almighty. Also, Muriel is a badass.

The Long Way Home. The Magicians, Queliot. Teen and up. Eliot embarks on a desperate mission to bring Quentin back from the underworld. Angst, danger, adventure, longing, romance, humor. Even a musical episode ********Okay, so this one is unusual in that I was just about to start writing the LAST DAMN CHAPTER when the pandemic hit. And how had I planned to end it since the very beginning? Well our heroes would win the war of course, but as a last act of vicious revenge before defeat the Library was gonna . . . wait for it . . . unleash a deadly pandemic upon the world and kill millions. I came up with this ending long before the pandemic, but . . . yeah. Nope. But I couldn't think of a better idea either. So it just sat there without an ending and thanks to everything else going on in the world I totally forgot about it for like a year. And when I did remember I still couldn't come up with anything better than my original idea. Should I finish it and stick to the original plan even though it's SO on the nose? I am super open to alternative suggestions here, because if it had an ending I absolutely would have listed it right up there with Protected. Currently 12 chapters. Again, alternative ending suggestions super welcome!

[pinkanonwrites]

I have to ask if you know about Beachcomber bc ever since I got into transformers he's been my #1 blorbo. He's just so cute and sweet and I wish he showed up in more media

YESSSSSS I absolutely ADORE Beachcomber. The Golden Lagoon is one of my all time favorite G1 episodes, and his Legacy Evolution figure is one of the first non-Bumblebees I got for my humble figure collection. He's standing next to Tracks with his little bird-buddy on his shoulder.

He's such an absolute doll, and I also wish he got to be more than a background character in TF media. You can actually see him being shot/possibly killed by Starscream in one of the flashback panels of Volume #2 of the Skybound Transformers comics run, and when I saw it I got so bummed cause I was hoping he'd make an appearance in that series! Maybe he'll be alright though, guess we won't know until we know.

I also wrote a little blurb for him right here if you'd like to read it! More proof that I need to get my Transformers Masterpost set up soon, haha!

But yes, I love love love Beachcomber, and I'm glad other people out there love him as much as I do!

[leggeteconme]

Random fun fact #2 (definitely making this a daily thing until I run out of fun facts, which is unlikely):

Okay not so much of a fun fact as a series of fun facts you might not have known about the absolute LEGEND who spun into being the impeccable French operatic style: the one and only Jean-Baptiste Lully.

Teasers because this is a long one:

• The man who invented French opera was not actually French.

• Lully did not die of gangrene. (Read what I have to say before you get all feisty.)

Without further ado, I present to you…

The Abbreviated Life and Times of Jean-Baptiste Lully:

1. The man who basically invented French opera was not French. He was Italian. Giovanni Battista Lulli. Moved to France as a teenager and eventually changed his name to fit in with the French court. If you know anything about opera you know that — especially in the Baroque Era when non-Italian countries were trying to create their own styles — the French HATED the Italian style and wanted something completely different: something stately and majestic and not all florid like what Peri and Monteverdi were writing. Makes it all the more ironic that the guy who manifested that style was in fact actually Italian.

2. Lully died neither from stabbing himself in the foot nor from gangrene. Let me explain: Ballet was INSANELY important to the French court at this time. Louis XIV was a celebrated dancer (the famous paintings of the French king showing off his legs by pulling his robe back and putting one glorious leg on full display? That’s our guy), and Lully actually met Louis while dancing in the court ballet. Louis was only 15 and had already been king for 10 years, so the actual running the kingdom bit was being done by one Cardinal Mazarin, his chief minister, but I’m getting off-track. Louis and Lully hit it off right away and quickly became besties. In 1661 Mazarin died and the now-23-year-old Louis took full control (I had to do math for this; you’re welcome). One of the first things he did was to appoint his ballet buddy to the position of Master of the King’s Music. Lully went nuts because he was a genius and also a control freak, and voila! French opera (keep in mind that the first opera was first performed in 1597, so the rapid evolution is pretty amazing). Ballet, of course, featured heavily in Lully’s operas, with long and frequent dance interludes that are extremely divisive among the classical music community (it’s either adore or despise. no in-between. I am of the former opinion). But whatever you think of them, they were there, and they were incredibly important and meaningful. So wtf does this have to do with Lully’s death?! you ask. Lully, as we all know, stabbed himself in the foot with his conducting staff (if you don’t know: pre-19th-century we didn’t use the little wands conductors wave around these days; a large staff, tapered at the end, would be beaten on the floor to keep time), and ironically enough this injury happened during a celebratory concert commemorating Louis XIV’s successful recovery from surgery. Anyway. Lully stabs himself in the toe, an abscess develops, and the wound turns gangrenous. So why did he die? Failures of contemporary medical care? No my dears. Lully’s life would have been saved with an amputation. Doctors tried to remove his foot to save his life, but Lully refused. Ballet was so important to the French court, to Lully himself, and to his friendship with the king that he chose to die a painful death over living a life where he could no longer dance. So while the gangrene went to his brain and he died, what killed the great Jean-Baptiste Lully was neither a careless accident nor the gangrene that followed: it was his refusal to stop dancing.

If you made it through all that, I love you <333

Anyway, this has been The Abbreviated Life and Times of Jean-Baptiste Lully. Absolute legend and one of my favorite historical figures. I hope you enjoyed my rambles, and have a lovely day <3

Take care angels <333

[otakween]

Digimon World 4 - Final Thoughts

Whelp, that was...something. This game is objectively bad, but I still had a good, brain rotting time. It falls into the "game to zone out on the couch to" category. The lack of much story, characters or dialogue means I got in some quality podcast/music time as well. It's pretty similar to Digimon World 2 in its crappiness, but I found DW4's gameplay more satisfying. I think DW2 has the more appealing art style though, so they even out to the same rank basically. Full thoughts below!

Notes:

So this is loosely based on the Digimon X-Evolution CG film I posted about before. I was disappointed to see that the opening credits are just a hodge podge of scenes from said movie. That's pretty boring and lazy if you ask me. I picked Dorumon to control in honor of the film's protag (and since it would be a more novel experience).

I found any weapon aside from the guns to be a colossal pain to use, so I just used guns and guns alone for the entire game lol. At least I was able to get tech points quickly that way!

This game has the most unbalanced difficulty levels ever. It's either stupid hard or stupid easy. Luckily, the stupid easy moments are far more frequent. Every time I fought a boss I braced myself only to just button mash my way to the end in like a few minutes. Most of them were jokes. On the other end of the spectrum, the beginning of the game was weirdly hard because I would get mobbed by enemies and massacred in like two seconds (this is when I realized I should be using the guns lol). It's hard to have much strategy because most battle moves you can do (spin attack, charged attack, block) suck control-wise. My strat for most of the game was either the ole "shoot and run" or just to get up on a high ground where I was invincible. The latter move kinda felt broken and was part of what made the game stupid easy.

Thank God I emulated this game. Although it's mostly easy, there are definitely moments where it's easy to die. Some dungeons will lock you into the tightest corners and then just spawn like a jillion enemies out of nowhere (the Otamamon and Infermon were the WORST). Some of the harder bosses had some pretty cheap moves too. Save states were the VIP, as usual.

The plot of the game is really basic and the writing is just as wonky as DW2. Basically all you need to know is that there's a virus that's bad and you need to get rid of it. It doesn't get any deeper than that and there are no twists or turns. Ophanimon, Seraphimon, and Leomon are the only characters with significant dialogue (none of the bosses talk) and they really don't have anything interesting to say (I did like Ophanimon and Seraphimon's models tho)

The dungeons were definitely better than DW2 in terms of visuals/layout, but the enemies felt super repetitive. You get maybe 3 types of enemies per dungeon and then you just fight those same 3 again and again and again.

The dungeons are unreasonably long slogs with no way to save in the middle of them. I had save states so I was okay, but sometimes a dungeon would take me over two hours?? Like wtf. I know kids have a lot of free time but some of them aren't even allowed to game for 2 hours straight!

Of course, I played this single player. I actually think it'd be really fun as a multiplayer game? Like, that's probably what it was actually built for. There are actually some moments where you can't go to certain parts of dungeons without a buddy :'(

The bosses were mostly big bads from the series/movies which was fun. Made it awkward when I defeated them so easily though lol

All of the walkthroughs for this game suck lol. The one I used for the majority of the game the guy literally kept writing "I don't remember what happens in this dungeon. Just go through it." LOL thanks for nothing, bud. He said "I don't remember" sooo many times it was comical.

I poked around on the internet looking for info for this game and it seems the general consensus in the fandom is that it's pretty abysmal. Still, there are people like me that got enjoyment out of it regardless.

The little noises Dorumon made when attacked were very cute

I never bothered with digivolution. You don't get digivolution until late in the game and if you digivolve it reverts you to levl 1. Nuts to that!

I also didn't bother with any side quests because they sounded extremely not worth it (some of them don't even have a reward?)

I was pretty under-leveled at the end of the game (barely scraping level 30) but I felt like I had infinite healing basically because I had so much MP. That's another aspect of the game that felt broken.

The ending of this game was SO anti-climactic. I defeated the boss, returned to the hub world expecting a cutscene, and then it went straight to credits. No dialogue, no thank you, nothing. I had to go around and talk to people to get some thank yous but they didn't sound that appreciative really lol. Where are my flowers!? 😭 This took me over a month of tedium!

One part of the game that I did find pretty hard was the Storm Train where you have to get to the end of a train track while hitting the right levers while simultaneously fighting of a ton of enemies. If I had to do that without save states, I probably would have given up lol

I never really regret beating a video game, even if it kinda sucked. It's especially nice to check off another game in a series (even though the World series isn't really connected). I give Digimon World 4 a 5 out of 10.

[vinkumakkara]

when it comes to srr's writing the juxtaposition is the whole point, I Get It. it's a story about your typical group of twenty-something best buddies just trying to balance their everyday lives and oh man work is just a pain in the ass isn't it - their "work" just happens to consist of violence and pillaging and murder. it sure is wacky. but by trivializing what the characters do to such an extent, turning it into a mere inconvenience and everyday drudgery, it makes the player question what the point of it all is as well and the end result is the most tonally dissonant game in the series. and when i say "characters" it isn't even all that consistent, like it's mainly the Mogul who consistently stays "in character" while their friends alternate between being really into the chaos or being shocked by it. it's inconsistent even within the dynamics between the main characters, and when you look at the rest of the world... i don't get it. i can't say Santo Ileso (the city and its people) is exactly understated, it's pleasantly exaggerated and cartoonish, but it's that "pleasant" part that bothers me. it's cartoonish in a sense that would maybe appeal to that more sitcom aligned audience the game apparently covets - nothing too edgy, nothing too controversial, people just casually commit mass murder on a daily basis there, it's just a regular job haha. it's as quirky as it is tonally confusing

like did the question "what if Saints Row was a sitcom" really need to be answered? i see people defend these choices on occasion by calling it "evolution", like fans like me just need to get on with the times, but srr isn't improving on what came before all that much it's just different. completely changing stuff for the sake of it - or more like for the sake of imagined bigger profits - isn't "evolution", it's just like a whole unrelated thing now while still being called the same name from almost 20 years ago. completely removed from its original context while still vying for the wallets of those very same fans who've been let down so many times now. people who defend it in this way are basically saying that artistic integrity is completely worthless, the only value at least these games have is maximizing mass consumption by any means necessary. these games are Products and nothing more and you're a dumbass if you think otherwise. now that's just games in general to be fair but with this series in particular i genuinely think the whole "gta clone" thing is a major part of this perception, like how could you ever value the artistic integrity of this series if you never thought it had or even could have any? anyways idk how i got here i was thinking about that stupid 00s internet humor esque waffle thing Kevin's got going and how that relates to the game being marketed towards "millenials" while people insist it's totally for gen Z audiences instead and i lost the plot completely