#the first one is basically the entire game's plot

[tracedinairlwa]

these are all canon btw i’m the writer so what I say goes

also go play the game https://suntann.itch.io/flowers-of-starlight

[icewindandboringhorror]

Recent game related things .. hrmm...

[dylawa]

Can someone explain the new "[Blank]pilled [blank]maxer" meme to me I feel like this thing popped up overnight and it's now ingrained into our collective consciousness like the outlines of corpses on brick walls after an atomic blast

[pathologicalreid]

heyyyy how ruu

english is not my first language so i hope you can understand this u.u

this idea has been consuming my brain for days, sooo basically i was thinking about bau fem reader and reid doing undercover work (idk) and when they see the unsub, reader's first thought is to kiss reid so the unsub can't recognize them (and he wouldnt waste time in 2 ppl kissing???), then when reader sees the unsub going towards the exit even though she doesnt want to she breaks the kiss and everything is awkward but in a cute way??? yea idk if this makes sense feel free to change anything or to not do it at all :]

in plain sight | S.R.

your quick thinking (in an attempt to protect him) leads to a thankful spencer

who? spencer reid x fem!reader category: fluff content warnings: reader is explicitly referred to as a woman. general cm violence. making out (for the plot). haphazardly proofread. word count: 1.19k a/n: no worries anon, i understood this perfectly! thank you so much for requesting!

Your firearm was digging into your hip as you leaned up against the wall of the bar. You were on high alert as you looked around the building, scanning the faces of people who walked by.

“L/N, Reid, anything?�� Hotch called into the radios. The team was across the street in a surveillance van.

Quickly, your eyes met Spencer’s, “No sign of the suspect.” Silently, you hoped that Hotch would pull you from the bar and let you go back to the hotel for the night, but you knew that wasn’t the way your unit chief played the game.

You were more or less trapped inside a college bar, your shoes were sticking to the old wooden floor, and because you and Spencer were the youngest members of the team, you were voluntold to go undercover.

Reid had never looked more out of place, but he was twelve when he started college, so you supposed he had never really been in a dive bar like this one before. “Hey,” you said softly, “Are you alright?” You knew he had a thing about germs, and if you were bothered by the sticky floors, you couldn’t imagine how he was feeling.

“I’m sure this comes as a surprise, but this,” he gestured to the partying college kids around you, “isn’t really my scene.”

A small laugh bubbled up from your throat, “Oh, no. I never would’ve guessed,” you played along with his sarcasm. “I’m afraid my shoes are going to come off when I try to walk,” you admitted.

He smiled slightly, “I’m trying not to think about it.”

Tentatively, you moved a little closer to him so you wouldn’t have to shout over the music. “I thought the UnSub hunted around ten?” You questioned. All of the bodies were usually found at midnight with lividity just barely beginning to show, meaning the victims were picked at ten, killed by eleven, and found at midnight.

They were calling him the Countdown Killer because he kept on such a tight schedule. “He should be,” Spencer answered, glancing down at the watch on his wrist.

You looked around the bar, the both of you had your backs to a wall, so you weren’t exposed on that side.

“Remember, if you spot him, do not engage,” Hotch ordered through your radios. You and Reid were simply there to find him, the rest of the team would handle the chase. “He’s likely been watching the news, so he may recognize your faces – don’t let him.”

While you weren’t entirely sure how you were supposed to hide your face from the suspect without seeming suspicious, you confirmed the plan with Hotch anyway.

 A gleam of blonde caught your eye, narrowing your eyes, you focused on the figure. “Spencer,” you swatted at his hand, “two o’clock.”

Discreetly, Spencer’s gaze flickered over in the direction you had suggested. “Turn around,” Spencer said, “Don’t let him see your face.”

You turned around so that you were facing Spencer, looking away from the suspect. “What about your face?” You asked, surely the both of you staring at the brick wall would seem suspicious.

“He’s killing women. I don’t want him to notice you,” he responded, momentarily looking past you and at the suspect.

Surprised, you furrowed your brows at Reid’s statement, by having you face him, he was trying to protect you. You turned your face into your shoulder, “Suspect is in the bar,” you whispered into your mic.

There was recognition from the rest of the team before it went quiet again. “He’s approaching us,” Spencer said, faint alarm springing onto his features. He wasn’t talking into the radio; he was letting you know.

Spencer might’ve been outside of the victimology, but you couldn’t bear it if anything happened to him if the suspect recognized him.

Instinctively, you leaned up on your tiptoes and pressed your lips against his. You were kissing Spencer.

At first, he was surprised, but his hands quickly found a home on your waist as he kissed you back. Your lips worked gently on his as he eased his mouth open, deepening the kiss. Abruptly, Spencer dragged you closer to him by the waist. The sudden movement caused your eyes to flutter open.

In your periphery, you could see the dangerous blonde walking away. He must’ve walked right past you, and Spencer had pulled you away from him. You let your eyes fall shut again.

You reached up to sling your arms over his shoulders as he experimentally slipped his tongue into your mouth. Your heart raced as you were fully making out with Spencer in the college bar.

Reluctantly, you separated yourself from Spencer, “Is he gone?” You whispered, peering up at him through your eyelashes.

Spencer nodded, swallowing thickly. His cheeks were tinted pink, and you were sure you were flushed as well.

You pressed your mic button, not taking your eyes off Spencer’s, “Suspect’s exiting out the rear door,” you notified the team. Suddenly, your job was done, and you became conscious of Spencer’s hands where they still remained on your waist.

Hotch asked you to report to the van, and you took Spencer’s hand and led him out of the bar. The cool night air calmed your rushing blood. “Thank you for that,” he said from behind you as you halted to look for passing cars.

You spun on your heel to look at him, “Did you just thank me for kissing you?”

“I thanked you for distracting the suspect, so he didn’t recognize me,” Spencer corrected, squeezing your hand.

Instinctively, you dropped his hand, “Right, me and my quick thinking.” There was not a single clear thought in your head. You started crossing the street as Spencer called your name, obviously confused.

You yanked your earbud out while the rest of the team was rambling on about the takedown over the comms. “What just happened?” Spencer asked.

“We made out in a bar, and you thanked me for it,” you answered stiffly, leaning your back against the white van. “So, you’re welcome,” you said. Really, you didn’t know what you wanted from him, and you knew that Reid’s experience with women was limited at best.

Surprisingly, Spencer rested a hand on either side of your head and leaned intoxicatingly close to you, “Did you want me to say something else to you?”

You looked up at him, you weren’t sure you had ever noticed the green flecks in his eyes, “I had a few ideas, yes.”

“Here was my other option,” he told you, dropping his head so that your lips met once again. You gasped into his mouth in surprise. Hesitantly, you placed one hand on the side of his neck and the other in his hair. He used both of his hands to cup your face, kissing you with less urgency than you had in the bar as if you had all of the time in the world.

The both of you jumped when the passenger side door to the van swung open and Emily poked her head out, “You know we can see you in the side mirrors, right?”

[internetskiff]

The most powerful ability exclusive to humanity in the Half Life/Portal shared universe is our ability to just throw bullshit at the wall and see what sticks. Aperture "OSHA are the devil" Science have managed to create completely safe interconnected points in space. The same company that turns people's blood into gasoline and shoves lions and humans into the same enclosed space for the vague concept of "Science". Meanwhile Black Mesa still has to use Xen as a crossing and their teleportation device requires an entire reactor with a village's worth of staff constantly maintaining it, just to end up having most of said staff abducted by onion-headed aliens. Even the resistance hasn't managed to create completely stable teleporters with a compressed Xen relay, meanwhile Aperture just went "oh dude let's shove a black hole into a non-waterproof gun" and have just created a teleportation method that just removes Xen from the equation entirely. Doesn't change the fact they bullshat so bad they basically got themselves gassed to death, but still.

The Resistance are a good example of this too. The Combine seem to have a complete set-in-stone thought process and understanding of science which meant they didn't even begin to explore local teleportation via Xen, meanwhile a group of random human mechanics and scientists have managed to cobble together at least two semi-functional local teleporters out of scrap metal and stolen Combine tech, to the point the All-Consuming Interdimensional Empire had to straight up copy their homework. And that isn't even the only time they seem to be taking human shit to just copy the blueprints.

They 100% just yoinked the entire damn car out of that garage just to take a crack at reverse-engineering the Tau Cannon attached to it. Even Resistance weaponry somehow manages to rival or at least stand equal to Combine tech - and we're talking improvised crossbows that shoot superheated rods of rebar at the target compared to high-tech rifles that can discharge orbs of pure dark energy. The collapse of the entire Citadel is basically set into motion as a result of a cobbled together Rebel device placed into extremely capable hands.

The events of the Portal games are a case of extremely elaborate machinelike planning versus pure human improvisation, with Chell's entire escape in the first game involving her simply weaseling her way through small cracks that GLaDOS missed while setting up her ambushes, eventually turning her own rocket turret against her to destroy her.

I suppose you could argue this falls flat in Portal 2 with Wheatley, but it's important to remember he's designed to be an utter idiot, so it's safe to say he wouldn't obsess over the larger picture like GLaDOS to the point where he fails to see the cracks. Yes, he's the one that breaks Chell out of the test chambers again, and yes, he's the one that came up with the sabotage plot - but it's important to note while he knows what to target in the sabotage, when we actually get there he doesn't quite know how to sabotage it, leaving Chell to figure it out on her own. She botches the Turret Quality Control Line with some minor guidance, but it's basically completely up to her to figure out how to cut off the Neurotoxin Supply. It's through her improvisation that Wheatley even manages to get into GLaDOS' chamber, tumbling through her neurotoxin vent and shattering the glass cage she trapped Chell inside of. It's through Chell's improvisation that the Core Transfer even occurs in the first place.

The script is flipped specifically when Wheatley takes charge, because oops - turns out a mind capable of focusing on the bigger picture might be pretty important when it comes to running an entire facility powered by it's own Reactor. Wheatley just completely zeroes in on his own personal pleasure, hacking up test chambers and the objects within them to try and figure out the easiest way to get his solution euphoria as quick as possible.

Still, something that's pretty interesting is that only Wheatley has ever managed to create a trap that's impossible to foresee and avoid, something GLaDOS has repeatedly failed to do to the point she ends up commending him. I believe this is because his way of thinking is a lot closer to Chell's compared to GLaDOS'. He puts up way more of a fight as the two run through the facility trying to get to him, seemingly improvising on the spot just like Chell has been over the course of the two games. Even his lair would be impossible to survive if it weren't for a single Conversion Gel pipe he somehow failed to notice and remove.

Whether in a laboratory deep beneath the soil or an alien tower tall enough to split the clouds, the ingenuity of even a single person is enough to topple a tower or destroy a supercomputer 3 times over.

Marc Laidlaw put what I'm trying to say into a single sentence when writing for the BreenGrub twitter account:

"The superstructure is riddled with cracks."

[snowthedemonfox]

So we got some screenshots for Ep 3, and I'm going to talk about some things I've noticed + some theories

I went off for over an hour in the bunnydoll burrow's VC talking about everything I noticed, but I'm realising writing it all down would be a smarter move, cause I know I'd forget it. If I've missed anything you think is important, let me know! I'll edit this post with new notes.

Let's start with the first screenshot, because that just makes the most sense:

The elephant in the room is the realistic human hand. I don't doubt this is the scene that has some level of blood and gore in it. We can't see what the hand is connected to, but whatever it is, it seems to be taller than Pomni and Kinger. They're both looking up, and the camera angle is facing down towards them both.

We can see 2 heads hanging from the wall behind Kinger, and what we can assume to be a 3rd behind the desk behind the hand.

One of these heads, as many have pointed out, seems to resemble Pomni. The face is entirely white, what I can assume is an eye seems to be the same size as Pomni's, and you can see that familiar looking hair on the side.

Even the other two things we see look like other members of the cast!

The head to the right of Kinger looks like Ragatha. It's got the hair, and even the face looks to be made of actual fabric, like a real doll. It seems whatever these things are, they're meant to look like more 'horror' versions of the characters.

(Side note, but if I had to guess, if Glitch releases a 3rd sticker sheet for episode 3, I wouldn't surprised if we got a new set of icon variations for the main cast. But instead of candy, we get these horror versions instead. I think that'd be cool, and I really hope that's what happens.)

You could even go as far to say the 'human' hand we're seeing is from the horror version of Kinger. Like I said before, the camera is looking down at them. Why would it be looking down? Because whatever's looking at them, is attached to the wall.

Moving onto other details in the room, we can see there's a chair behind Pomni with some kind of light on it. At first, I thought this might have been the tape recorder from the February trailer, but you can see the tape recorder is on a desk, not a chair.

And while there is a desk in the room, whatever is on there doesn't look like a tape recorder. It looks more like a photo, or some kind of radio.

The giant 'M' on the rug. We know the ghost lady's name is Martha Mildenhall, so this probably implies she owns the mansion the gang are exploring. Why would she need their help, though? Maybe whatever force is moving the hand in the screenshot, is some kind of 'evil' ghost, and that's why Pomni and the others are there to help. There's evil ghosts inhabitating the mansion, and Martha needs help to get rid of them. It's simple, it's your basic video game quest, it seems like a normal adventure plot that Caine would come up with.

There seems to be something behind the chair, but I can't make out if it's a door, some curtains, or some kind of closet. The lighting isn't doing me any favours. Either way, I doubt it's important to the episode, probably just background decoration.

As for my other thoughts that aren't as related to the screenshot itself, I do believe that everyone is going to be split up. Obviously Kinger and Pomni are working together, but I'm still not sure if Jax would be hanging with Ragatha & Gangle, or if he'd be off doing his own thing. As for Zooble, I'll get to them later.

And this might just be me looking into things too much, but it almost looks like one of Kinger's eyes is focused entirely on whatever is behind the camera, while the other isn't focused at all. Like he's half paying attention to the 'danger' he and Pomni are in.

But that's really all I have to say about the first screenshot. Let's move onto the main event:

Again, let's get the obvious out of the way: new Zooble design! They've got some new parts, like the arms, unicorn horn, and the blocky yellow and pink thing, but also some old parts, like the bluish-green ring, and their classic black and white antenna. So far, I like this design! I'm happy to see that they've decided to mix things up a bit. Not my favourite design, but still decent. They've got good taste.

Before I talk about Zooble and Caine, I first want to talk about the location they're in. At first, I thought this might've been Zooble's room, but looking closer, it's obviously not. Then I thought it was that little desk area at the end of the dorm hallway.

But nope, the hallway has different plants, picture frames, wallpaper, and no chairs to be seen. The plants we can see look similar to those seen in Caine's resturant realm from Ep 1, so I think I can safely guess that this is a new location, made specifically for him and Zooble to chat.

Speaking of that, I think that's going to be the driving point of Zooble's character development this episode. Something is going to convince them to join the future adventures, and it seems this will be that something. We know thanks to the AMA, that Zooble not going on adventures is important to their character, so having their episode focus on this topic makes sense.

What I can assume happened to lead up to this interaction is this:

Caine announced the adventure, and just like in both Ep 1&2, Zooble immediately expresses that they are not interested, and walks off. Caine can't really do anything about it yet, so he focuses on everyone else. Explains the rest of the adventure to them, and sends them on their way.

He then catches up to Zooble before they reach wherever they planned on going, and teleports them both to this new room. It looks almost like some kind of waiting room, or a room where they're both supposed to talk things out. It's got the comfy chairs, wall art, I wouldn't be surprised if there's a little table between them.

Zooble, obviously, is not impressed. They don't care about Caine's adventures, and want nothing to do with whatever he has planned for them in the meantime. Caine, on the other hand, just wants to figure out why Zooble doesn't want to go on his adventures. He spends so much time figuring them out! Just for the humans! Why won't Zooble participate!?

This very likely evolves into an argument between the two. I like how Caine is clearly angry in this screenshot. It's nice to see him show some more variety when it comes to emotion!! Zooble doesn't care for whatever Caine is saying, and Caine just wants to understand why they don't care.

Something happens, maybe they do talk it out, maybe something else, but by the end of the episode, Zooble decides that maybe going on a few adventures isn't that bad. I think it's way too early to guess what happens in that huge timeskip, but for now, this is the best I've got.

I feel Zooble's arc in this episode might touch on a few topics, like how while they might think staying by themselves all day and doing their own thing is better for them, isolating themselves isn't doing anyone any favours, and that, for lack of a better term, going 'outside' every once in a while can't hurt.

... and that's pretty much all I can think of to say regarding these two screenshots! I'm sure we'll get to learn more as the episode release gets closer, but I'm excited to see how things turn out!! :3

[not-freyja]

New Zelda Game!

Okay cool, cool cool cool cool, I am calm, I am so fucking calm. Looks like Nintendo is staying true to their word that Wild is not getting another game, so now the questions are, what Link is this, where are we in the Timeline, and what information about the game itself can we pick out of these crumbs?

Whose Zelda is it anyway?

So two options:

New boy.

Legend. It’s fucking Legend again sucks to suck bro

Case for new Link and Zelda:

Less messy for the Lore

That’s it, that is the only argument

Case for Leggy boy and Fable:

LA animation style! While it can be fun to bring back older styles of animation for nostalgia/artistic reasons, that seems like a poor choice for *LOZ* games, which are always on the edge of what a game can do. Moving “backwards,” so to speak, in any aspect, would be a disservice to the franchise. However, doing it to maintain consistency for a particular character, and to use the animation style to make sure the audience knows this is the same character from LA is a very simple but effective tactic.

The map! So that shot was so BOTW and so fun, but the view we got wasn’t just recognizable as “Hyrule,” is was, down to the relative heights on the mountain cliffs against each other, the map from ALTTP/ALBW. Nintendo has never repeated a map without it being the same Link. So! Checkmate motherfuckers.

The character designs. That… that was just Legend and Fable, come on. Look at the dress. Every Zelda has a slightly different costume design, and that was hers. Look at Link. Baby boy!

I want this. Let me have it.

Timeline positioning

Okay so if we assume that this is in fact Legend, the next question becomes, “When is it?” Leggy boy currently has 5 games that are canonically his. (Triforce Heroes could be a random other Link, so while we like to say 6 we can’t *prove it.*) So. Let’s break it down.

ALTTP: canonically his first game, can’t be before this one.

Oracles: canonically happen after ALTTP, and he is very much still a child in here.

LA: the game this one is artistically modeled after. Narratively this fits nicely right after Oracles, and in the canon timeline, fits between Oracles and ALBW, so I think a whole new game being crowbarred prior to this one would be… not great for the narrative.

ALBW: This is trickier. No canon time between LA and ALBW is given, it could be a week, it could be years. It is entirely possible that Echoes of Wisdom occurs prior to ALBW, which would make it a direct sequel to LA, which makes the art style make even more sense. It could also be after?

…hang on a fucking minute, lets get the fucking map.

Left, ALTTP. Right, ALBW

Basically the same map! Duh, it’s the same Hyrule. But. BUT. Bottom right, in the lake. Do you see that?!

ALTTP: no log bridge. ALBW: Log bridge. Now, let’s look at the pretty picture from the EOW trailer.

NO FUCKING LOG BRIDGE!

This is before ALBW. Therefore, the game order for The Hero of Legend is

ALTTP, OOS, OOA, LA, EOW, ALBW, TH(maybe)

*cue manic laughter*

Lore Implications

Ganon.

There being a Ganon at all actually has me pointing my finger at the Oracle games and screaming. The TL;DR in those is that there was a plot to resurrect Ganon, each game Twinrova gets closer, but Link stops them. Now, there were also supposed to be three of those games, which means that it is entirely possible that the third unseen Oracle plot—please Nintendo let Link and Farore hang out, I am on my knees barking like a dog—could have resulted in his resurrection. This is the only explanation I have that doesn’t break the Lore or involve Time Shenanigans.

Also, Link does KO the bitch in that opening scene in the trailer. His presence is either just that—a set-up plot point—or him and Link are currently duking it out in the hole. Fun!

Link and Zelda

Now this game is going to put their relationship in the front in the “I have to save them because I love them” way that we usually see from Link’s POV.

Getting it from Zelda’s POV is going to be very interesting. We might be getting a look into her head, into her feelings and thoughts about the whole ordeal of the Legend itself. I hope so. But also, this isn’t just Link and Zelda, this is *Fable and Legend* specifically. The two that were meant to be be siblings but the dialogue that established them as such was cut from the final version of ALTTP. So. This game has the possibility to do three things

Canonize the Prince Legend thing, like they were going to do in the nineties.

Not address the topic at all, leave it nebulous.

Zelink.

None of these are bad choices, but option two is definitely the safest. Both options one and three will cause an uproar from part of the fan base. I can already see the ship wars. Please don’t do this people. Please.

The Holes 🕳️

What are they? Where did they come from? Ganon’s Trident Where do they go? No actually, where do they go? The Dark World (doesn’t make sense in the Lore)? Lorule (that would be a choice)? The Twilight Realm (I am convinced that Lorule and the Twilight Realm are the same place actually and you cannot change my mind)? Some new never seen before parallel dimension? A non-place, like a gap between realities (sexiest option)? I have no idea!

Fun!

That fucking “Fairy”

Tri? Don’t trust it. Will not trust it. Never trust that a companion in a LOZ game is what they first appear to be. Who does Nintendo take me for? A fucking amateur?!

Anyway, I am about 40% convinced that’s Link. I have evidence, but it is circumstantial.

I AM HANDLING THIS NORMALLY.

[farfromdaylight]

i try not to complain about heavensward. i really do. it's a beloved expansion. people love ishgard. i love ishgard.

however, heavensward FUCKING SUCKS.

listen. so much of heavensward's plot is either badly written or badly paced or both. if you play through it once and don't think about it further, it's a great game. if you even glance back at it, it falls apart like a house of cards.

Actual shit that happens in Heavensward (spoilers):

You fight against the Heavens Ward to prove you're not a heretic. Five minutes later you have to go back to Ul'dah to save Raubahn.

After several levels of exploring Dravania and reaching the Churning Mists, you finally find Nidhogg's lair. You can't get there. You turn around and go back to Ishgard.

While you're fucking about waiting for the manacutters to get done, you go get the sultana back. Literally the entire plot momentum built up from your big road trip across Dravania comes to a dead halt as you go back to Ul'dah.

You slay Nidhogg. You go back to Ishgard. You spend eight quests killing time until the Vault, learn that class warfare is a thing, and fight off one of the Heavens Ward, who BACKFLIPS AWAY FROM YOU.

Immediately after the Vault, you go fight a whale.

The Emperor of Garlemald shows up in the Sea of Clouds just to tell you that you suck.

At the exact moment Y'shtola would be convenient to the plot, she returns.

The archbishop gets to Azys Lla way before you, but helpfully waits until you get there before continuing the plot.

and so on. i'm sure there's more.

here's my problem with heavensward: individually, there are a lot of great plot elements in it. however, they are presented in such a fucking buckwild manner that a lot of them are diminished. let's take the Hilda section for example: it's great to learn about Ishgard's class struggles! Of course this is great worldbuilding! However the actual section where you learn about it feels like (and basically is) filler. You finish the Aery, learn a lot of important Dragon Lore, and come back to Ishgard. You then have to fuck about until you're a high enough level to do the Vault, and in that section you do some of the worst fetchquesting in the game. It is atrocious.

Are there things I like about Heavensward? Absolutely. I fucking love Ishgard. I think the overall worlbuilding is phenomenal. Dragon vs man is a compelling storyline. But my god, the plotting and pacing are SO BAD. You spend an unbelievable amount of 3.0 dealing with the Ul'dah plotlines of post-ARR when you should be fully immersed in Ishgardian politics. It would not have killed you to leave the sultana stuff for HW patch quests, guys.

The best comparison I can make is that it's like if in Shadowbringers, instead of seeing the Meanwhile In Garlemald sections, you instead had to just abandon the First and head back to deal with that shit right before fighting a Lightwarden. It brings the narrative to a dead halt. It just doesn't work.

And like, I get it. It's not easy to write a game like FF14. The fact that later expansions are as well-written as they are is frankly a miracle. This is a huge worldbuild with a ton of plot threads and it's incredible even half of them get wrapped up. But viewed in isloation, Heavensward is one of the most tonally inconsistent parts of the entire story.

[denwritesandcries]

Later you'll laugh about this – H.C

Pairing: loser!hazel x fem!reader

Summary: Later you would say that you only got into this stupid situation because of a cotton candy. PJ and a cotton candy. A goddamn cotton candy you bought for Hazel Callahan.

Word count: 4,3k.

Content: cursing, fake dating, pining, kinda angst, insecure!loser!hazel, toxic situationships, dialogues. lots of dialogues, reader having a beef with pj, idiots in love.

Note: This fic is supposed to have 3 chapters, I didn’t mean it to be so long but I couldn't stop adding new things to the story and now it's a series cause it got out of control. So basically, Hazel is a loser and the reader is a loser for her. That's it. That's the plot.

English is not my first language.

>>

Coming across Hazel's sad face pressed against the precariously clean table you always sat at in the cafeteria, with her puppy eyes seeming to wander forlornly every damn day was becoming really depressing.

“I… I simply don’t understand.” Hazel starts and you let out a tired sigh when you turn your head to follow her gaze and find PJ gesturing to Josie in the lunch line, because of course she would be talking about this. Again. “It’s been weeks since the game and she just acts like nothing happened between us.”

Stella-Rebecca squeezes her shoulder in solidarity and you all exchange a knowing look without her noticing. None of this is really new, but it's getting more and more painful to watch now.

“I thought she liked me too, but lately she’s just acting like…”

You sip your juice audibly, absentmindedly nibbling on the straw in the box: “A bitch?”

Hazel gasps in alarm, “I wasn’t going to say that!”

You notice Sylvie stifle an incredulous laugh next to her as Isabel scolds you with a slap on the shoulder.

“Ouch! 'M sorry, Haze, but we've talked about this before.” You say gently, brushing aside a strand of dark hair that has fallen on her face. “PJ is a bitch. She's a bitch to everyone who's not Josie and especially to you, it's always been like this. You can do better.”

“Like who?” she whines and you huff.

Maybe it might seem a little rude the way you're talking now, but Hazel is your best friend and you've been having this conversation for months, even before the fight club, and it seemed impossible to give her any advice and talk some sense into her head. After the game with the big fight against Huntington and your group of friends grew, things only got worse, because now there are finally more people to hear about her longtime passion.

It turns out that there is no one to listen to you about your long-time passion for her.

It's ridiculous, sitting here next to your best friend, listening to her talk about another girl. The girl she likes.

Still, all you really take into consideration is the way her eyes shine against the sunlight streaming in through the windows, the way her hair falls in thick, unruly locks across her face, the way she rolls up her sleeve of the colorful jacket wrapped nervously around her wrist and the dreamy, yearning tone of voice with which she speaks so desperately about what ails her.

Isabel turns her attention to Hazel, looking almost apologetic: “Y/N is right. You have a crush on her since, what, third grade? And she’s being a bitch with you even after you guys made out in front of, like, the entire town.”

Annie leaned on her elbows to join in the conversation, holding a half-bitten apple in her hand indignantly: “She’s literally acting like a straight guy!”

Everyone at the table looked at her at that.

“What? It's true! She’s giving all those confusing signs: sticking her tongue on your throat after barely apologizing for calling your mom a whore, being nice with you for a while and then getting right back to her bitch act without giving you a word about it.” Annie rolled her eyes, “Aren’t gay people supposed to be more mature than that or whatever?”

Hazel shrank even more in place: “Guys, please.”

“Girl, what are you even talking about—”

“You could, you know…” You rest your chin on your palm, “Ask her what you guys are.”

Hazel seemed to suffer in anticipation just imagining this, “I don't want her to move further away and stop being my friend by insinuating anything. I just wanted her to be nicer.”

You shrug, looking away from her tiredly to unwrap your grilled cheese, “Then I’m afraid everything will stay exactly as it is, sweetheart.”

“Yeah, way to show some self-respect, Haze.” Annie added sarcastically.

Hazel dropped her weight back against the table, putting her face in her hands dramatically and you silenced everyone when you saw Josie and PJ coming towards the table, pulling Hazel a little closer and putting your arm around her back to push her away when PJ sat on the other side of her.

You change the subject quickly and you choose to ignore the look Isabel and Brittany exchange as Hazel gratefully leans into your touch.

“Why are you whining like that?” PJ asks, looking disdainfully at the scene. “Aren’t you going to eat anything?”

You thought you could get through the rest of the day, or at least your lunch, without any more arguments, but that unfortunately doesn't seem to be the case.

“Leave her alone, PJ.”

Hazel sighed, finally sitting up straight to cast a disgusted expression at the tray in front of her.

“I would,” she said, “but now my fries are all cold and limp and the texture gives me shivers.”

Already feeling another nasty comment coming, you decide to interrupt quickly, shrugging: “I’ll trade you for my grilled cheese.”

Hazel immediately brightens: “Really?”

You can't regret your impulsive decision when she looks so cute like this, pushing the package towards her and giving a little smirk in response to PJ's annoyed look.

“Yep,” you highlight the P at the end of the word, “I'm sure.”

Mind you, it's not that you hate the girl exactly. It's just that you hate the way she treats your best friend, which makes you not like being around her most of the time.

And maybe – just maybe – you're a little bitter, because you make a point of giving her a smug look from across the table to the sound of Hazel's excited exclamation of 'you're the best!'.

Your lunch goes without a hitch other than your sad fries and Isabel's eyes burning holes in your head and you're happy to remain quiet and listen to your friends talk for the rest of the time.

Isabel still looks thoughtful when the bell rings and everyone starts to leave for their respective classes. Luckily, the two of you shared the next period, so you could just go ahead and ask her if she had anything to say.

…Which ended up not being necessary, as Isabel pulled you aside with Hazel as soon as she said goodbye to Josie while you looked at each other in confusion as you were suddenly practically dragged through the hallways under Hazel's protests because that was definitely not the way for her to go to class – and your own too because, damn, the cheerleader had a surprisingly strong grip on your arm.

“Isabel, what the hell are you doing?” You ask, perplexed and worried, narrowly avoiding bumping into a random kid carrying a stack of books.

“You know, Hazel, about your problem,” she blatantly ignores you, “if you want PJ to actually choose to be with you and ask you out for real, you could, like, just make her jealous.”

You don’t know why you’re hearing that, “What?”

Isabel shrugged, “It worked for me and Josie, and we know they think kinda alike.”

Hazel stopped abruptly in the middle of the hallway, interested: “I’m listening.”

“Oh man.” You groaned.

Your head is hurting just at the concept of such an absurd idea, with the three of you standing in the empty hallway, talking about some crazy plan.

“Josie only made a real move on me when she saw me getting back with Jeff,” Isabel grimace in disgust as she recalled, “She got all tearful and jealous when the group broke up and I started ignoring her. That made her act.”

Hazel seemed to drink in every word of what she said, nodding her head at the reasoning as Isabel explained it as if it were the most logical thing possible.

You leaned your head against a locker behind you, crossing your arms around your body defensively. If Isabel brought you along for the conversation, it's because you're definitely part of what she's planning.

“And you didn’t bring this up when we were all arguing about it because…?” You asked.

“I would have said something sooner, but you two were so busy having a moment that I didn't want to interrupt.”

You gave the finger to the sound of Isabel's laughter and Hazel dismissed what she said with a gesture, even though you noticed how red her face turned.

“This is so stupid.”

“It’s brilliant!” Hazel grabbed your shoulder, shaking it excitedly, “It might actually work! What do you have in mind?"

Isabel shrugged, “You just have to, like, get someone to make out sometimes and show it to her face.”

“Like…?” Hazel asked, not understanding what she was getting at.

But you did.

“Like her,” she pointed at you.

“Oh.”

Oh, no. No, no, no, no.

“Oh, but no freaking way!” you exclaimed, face burning with embarrassment, “Don’t bring me into this. It’s not my problem!”

“But didn’t you want to help her?” Isabel asked, sounding too innocent and you realized that this was what she had been planning from the beginning.

“Yeah, with advice!”

This is stupid. This is really so stupid. You should have been in class for a good few minutes now, paying attention to anything on the board and counting down the remaining hours so you could put it all away and leave, because it was Friday, there were no club meetings to be at and it was your movie night with Hazel. That shouldn't change.

“No, she’s right.” Hazel walked in between you, shaking her head in denial: “It’s not happening. I thought about, like, flirting with someone in front of her, maybe making up a date or something.”

“PJ’s not gonna buy this. You, suddenly showing up with someone new? Very desperately obvious.” Isabel pointed out, “Besides, just flirting with someone probably won’t hold her attention long enough.”

She was right. Isabel was painfully right and you knew it. You two, by the way Hazel's expression changed. By the way she seemed to be seriously considering it.

“But I,” she stammered, “I can’t just ask someone to do that for me and use them like that.”

You took a deep breath, “Thank you!”

Isabel cast one last glance between you, before finally raising her hands in yield, “Well, it was only a suggestion. It's just that you guys already act like a couple anyway so I thought it would make more sense.”

She turns and resumes her walk down the now completely empty hallway – only now do you wonder where the hell the monitors were –, leaving you and Hazel standing there like idiots with distraught expressions, before shouting over her shoulder:

“At least it would be more convincing!”

Your movie night starts late and turns into a sleepover because you all got detention for being so late to your periods and now it's too late to be worth going home anyway, so you stay.

In all the years you've known each other, you've slept at Hazel's house more times than you can count as much as she has at yours, you know this huge place inside out. It's like your own home too. There's nothing weird about curling up in her ridiculously large bed, wearing an old sweatshirt you left there and a pair of sleep shorts she lent you, pulling the covers up so they wrap around you perfectly, and getting as close as possible with her laptop between you, playing some animation on it. Is not strange. It's familiar, it's recurring.

Except it isn't.

There's a tension, a slightly awkward silence that has hung between you since you left school and were alone for the first time since that conversation, that damn conversation, that leaves you nervous and upset with the expectation that something horrible is about to happen and change everything between you. Because Hazel seemed too quiet and thoughtful for someone who wouldn't do anything.

God, you don't like this, this stillness and how it affects you. You don't like how you can't help but notice the way her shoulder presses against yours every time she takes a slow, deep breath, how warm and soft her arm feels where it touches your skin, and how comforting is the weight of her chin resting on your shoulder. You hate it even more to see the soft features of her face illuminated by the blue light of the screen, making you squirm nervously because Hazel is all you can focus on.

And the thing you hate most, without a doubt, is the fact that she must not have noticed any of these things, nor your behavior in general. There's no reason to do it, nothing should be strange to her. Because she doesn't like you that way.

You don't pay attention to a single minute of the movie until it's over and Hazel is moving to turn off her laptop, snapping you out of that trance you've put yourself in without realizing it. She gives you a smile and stretches her arms above her head, tired.

The two of you exchange a few words as you get ready for bed, getting around the elephant in the room, and then you're in bed again, this time without any lights, Hazel staring at the star-decorated ceiling and you with your back turned to her, fidgeting for what feels like the thousandth time and trying your best not to make things even more awkward. Anyway, you can't sleep, even with the tiredness of the day and you know she can't either.

“Hey,” Hazel calls out to you in the darkness, her sleepy voice suddenly startling you. “It was, uhm, really crazy what Isabel suggested, right?”

“Yeah,” You replied hesitantly, turning to her to see what she was getting at: “But you can’t stop thinking about it.”

She hums in agreement to her statement and turns to you as well, keeping her eyes on the sheet.

“It’s just that it seemed too good to pass up the opportunity, you know?” Hazel's hand traces meaningless patterns on the fabric, “As if in those fanfics and books where these things happen, the couple always ends up together and, I don't know, I guess I just felt like I was finally going to give a step and do something about it.”

The way she looks so upset and frustrated breaks your heart and you resist the urge to move even closer and take her hands in yours, seeing Hazel sad feels terribly wrong no matter how many times. You want to help solve her problem. You wish the problem didn't even exist in the first place, but man.

It would be so, so much easier to just be a good friend and support her if you didn't have these stupid feelings bottled up in your chest. Make crazy plans, smile and wave and encourage her to chase the person she wants. It would be enough.

“Things will work out, Haze.” You say it instead, because saying whatever is going on in your head right now might just make everything worse.

“You're right,” she turned around again, gesturing with her hands nervously: “I probably wouldn't even be that good of a girlfriend anyway. I wouldn't know how to plan dates or give gifts, or act all cool and smooth when I'm with her. What if I'm too embarrassing? What if she found me too annoying and ended up breaking up with me?! I think that would be worse. Being romantic seems so hard.”

“I think it should be something unconscious if it’s with someone you really love,” you shrugged, playing with a loose thread on your clothes, “But, no, you’re not like that. I mean, I think you'd be more of the kind of girlfriend who makes thousands of kind gestures to show that she cares without even noticing it, like, writing notes, opening doors, bringing flowers or something. At least I’d like to get flowers, I don’t know.”

Hazel turned her head to you, meeting your gaze hesitantly, with eyes so bright and hopeful that your heart swelled so much it could pop out of your chest at any second.

"You really think so?"

"Yes." You sigh, “Yes, I’m sure.”

The weekend had been relatively peaceful, with you having returned home by the morning after a very bad night of sleep that you spent mainly staring at the ceiling with Hazel sleeping next to you, the rest of the day passed in a blur and now it was Sunday night.

Sunday night and you and your friends were all gathered at the city fair, some event organized purely because there weren't many other ways to entertain yourself living in a small place like that, but there was a lot of junk food and stupid games to spend your money on, so of course everyone always went to it.

Everyone except Hazel, apparently, since she's late and you and your friends are all gathered together, waiting for her. Oh, and there's a cotton candy almost melting in your hand from where you're leaning against Brittany's fancy car.

Later you would say that you only got into this stupid situation because of a cotton candy; PJ and a cotton candy. A goddamn cotton candy you bought for Hazel Callahan.

“Hi, lads!” And there it is the source of your teenage angst.

One look and you know there's something wrong with Hazel. You haven't seen her since that night, but she seems a little distraught, panting and with her hands resting on her knees from running up to you.

“Finally!” Sylvie exclaims, fixing the beanie over her head, “The fair started already, I want to go before they take all the good prizes from the game stalls.”

“Sorry, I didn’t mean to hold you guys here,” she waves awkwardly and the group dismisses without further comment, you all heading towards the colorful event.

You walk beside her, noticing how nervous and distracted she looks, eyes focused on the floor and hands twirling the rings between her fingers. She doesn't seem to have noticed your presence.

“You're late.” You say, without the expected bite because you're honestly more worried than angry right now.

She squeaks in fright, making some of your friends look over the shoulders to check on you. She recovers quickly, however:

“No, I'm Haze.”

You let out a nasal laugh at the completely adorable, stupid, and alarmed expression on her face. Of course she would answer something like that.

“Here,” you hold out the candy toward her, trying your best to appear indifferent. “I got you one before the line got too long.”

Her jaw dropped a little before breaking out into a shiny smile: “Oh, you've got my favorite!”

You shrug, “Just don’t let anyone throw it away this time.”

“I won’t.” Hazel swears.

She seems to be strangely close to you as you walk together, shoulders side by side, your hand would probably brush hers if it weren't properly hidden in your pockets and Hazel still has that nervous look of someone who has something to say.

You turn your head to her when your friends decide to stop on a stand, frowning and placing a hand on her arm gently.

“Are you okay, sweetheart?” You ask and she gulps.

“Yes, uhm,” she clears her throat, shifting her weight from one leg to the other, “It’s just that I really wanted to ask you a favor.”

For a moment you don't even think twice about it, leaning back on her playfully.

"A favor? You know I don't do anything for free Haze,” you smirk, patting her on the shoulder, “Win me a stuffed animal or a goldfish and maybe I'll consider it.”

She doesn't smile and respond wittily like you expect, instead she looks even more shy, shrugging her shoulders as if she wants to disappear and folding her hands comically with the cotton candy behind her back.

“Look, I know we’ve already talked about this, but please.”

Oh, so it's about that then. Seriously.

“Haze,” you sigh.

“Please,” she repeats, “I just need you to—”

And that's when things derail out of your control.

“Guys,” Josie waves, pointing to the others, “let's go before Sylvie picks a fight with the stand dude.”

You hadn't even realized how long you spent standing around talking, but now PJ is staring at you, looking somehow uncomfortable.

“Are you done flirting there? We have more things to do, you know.” She points indifferently.

Hazel looks pleased for a moment, a determined look covering her face, which makes you suddenly nervous. A determined Hazel is an impulsive Hazel.

You clear your throat, “We weren’t.”

PJ rolls her eyes at your response and then she approaches, with Josie watching the exchange hesitantly before taking a step back and resigning herself to returning to her girlfriend, lucky girl.

PJ is too close, in a way that makes that bitter, unfair feeling come back to you, she reaches out to grab Hazel's cotton candy, just like she did at the last fair you all went to.

Except this time Hazel stops her from doing it.

“Hey, don’t.” She takes the candy out of her reach easily, looking upset, “Y/N gave it to me.”

"So what?" PJ protests angrily, “You act like she's your girlfriend or something.”

Oh god.

Hazel looks deep into PJ's eyes for a moment and whatever she was looking for in her expression, she seems to find exactly what she wanted.

“That—”

Oh my fucking god, this was exactly the opportunity Hazel had been waiting for. The opportunity to make an impulsive decision that may or not ruin your friendship.

“—Is because she is.”

You look at her in alarm, grabbing her free hand and squeezing in warning, which perhaps wasn't a smart choice of action for what you wanted to avoid.

“What?” PJ flicks her gaze between you and your hands repeatedly, as if she didn’t expect such a turn of events, “What?”

Hazel lifts her chin and pulls you closer, as if challenging her indignation, but you see the exact moment her breath hitches as you open your mouth to question all of this, her eyes meet yours, nervous and pleading, begging you to just play along.

And then, because that girl in front of you is annoying as fuck, because your best friend is convincing you with her sad puppy eyes, and because you spent 8 dollars on some stupid cotton candy, you stay quiet and let PJ think whatever she wants.

“Fine,” she huffs and turns around, “Whatever.”

You feel Hazel trembling slightly against your grip and she sighs audibly in relief when PJ finally leaves.

“Dude,” her shoulders slump tensely, “Thank yo—”

“Dude?” You repeat in disbelief, dragging her behind the nearest empty corner, “What the fuck were you thinking about?”

Hazel flinches at the sound of your screams, letting go of your hand instinctively, the false confidence from seconds ago immediately disappearing.

“I panicked!” she exclaims.

You inhale deeply, “Haze, I told you not to get me involved in this.”

“I know, I'm sorry,” she looks away, completely embarrassed and you notice that she inevitably dropped the candy along the way as she reaches her hands out to grab both of yours. They're cold and sweaty against your skin.

You know she didn't mean any wrong and you can't stay mad at her anyway.

“Why didn’t you talk to me again before making a scene like that?” You ask, as softly as you can.

"I was trying! That's what I was going to ask you. I—” She lets out, “Ineedyoutobemygirlfriendforawhileplease!”

It came out too quickly and all as if it was a single word, but you're sure you didn't get it wrong.

Hazel keeps talking to stop you from protesting – which is exactly what you were about to do –, letting go of your hands and gesturing:

“I had even prepared a speech to convince you that it was actually a good idea, seriously! It would only be for a while, just a little. But I was desperate because earlier Stella-Rebecca told me that Josie told Isabel that PJ is interested in that short cheerleader who just joined the club and I wanted to cry because I'm losing my chance and wha—”

“Haze, sweetheart,” you interrupt, grabbing her shoulders to stop her, “Slow down, okay?”

She mumbles another silent apology, squeezing the rings between her fingers and you don't know what to do. There's a warm feeling in the pit of your stomach from when Hazel pulled you close earlier, almost protectively, when she stated that yes, you two were a thing, and for a moment you think about being able to have moments like that with her every day, in her acting like this around your friends and you showering each other with affection all the time and a yearning in the back of your mind to show her that you could actually be a good partner for her.

“It was… it was pretty ridiculous, my speech,” she begins again, “I was going to say something like 'come on, don't you want to think about this a few years from now and be able to laugh and brag about how you were the one who helped put together your friend with her crush like that?'” Hazel chuckles awkwardly, “But I think it sounds too arrogant.”

Hazel tugs at the sleeves of her sweater anxiously when you don't answer, it's been getting a little cold lately and she's wearing the sweater you gave her for her birthday last year. You feel yourself giving faster than you could think.

“You know I wouldn’t ask that to hurt you, right?” she questions hesitantly and you instantly know it's true. “I just wanted to show that I’m worth it.”

You sigh, defeated, “You’re worth it, Haze.”

Hazel looks at you hopefully as you take her hand, intertwining your fingers and pulling her into the crowd.

"Let's do this." You agree.

Screw it. Maybe you'll laugh about this later.

[ashprince-of-bel-air]

AN: So i'm hoping to make this a 2 part story if people like this, i'm basing it on a post I saw saying that Geta would treat Y/N like the pharaoh in The Mummy and paint them so nobody else could touch them. This is also my first time writing a fic because I was desperate for more Geta content so any constructive criticism would be nice!

Part Two

Treasure

Geta had always been possessive and selfish, that had been clear throughout his entire life. He detested sharing anything with his brother, Caracalla as they grew up together, whether it was toys, food or even just any basic attention. He despised the fact that he had to share the role of Emperor with him, never feeling that he was fully in control at any given moment, knowing he had to acquiesce some of his power to him. All of his resentment he kept boiling away inside of him, using it to advantage when he needed to intimidate his Generals or even dish out the Emperor’s justice in any way, helping him feed his public image of being a ruthless ruler. All this he used to his advantage whilst he plotted a way to dispose of his brother, he was happy this way, until he saw you.

It was a blazing hot day in the Colosseum, the smell of blood and sweat was full in the air as the Gladiator Games were now in full swing, the roaring of the audience was deafening, you had experienced nothing like this. This was your first time at the arena, your father had delayed on bringing you to watch the games fearing that you would not have the stomach for it, not wanting to jeopardise his ever climbing position by having you faint or scream in disgust in front of the other senators or even the Emperors. As you watch enthralled by the spectacle the sibling Emperors watch on the games with a touch of boredom, drinking their fill of wine to cool down in the hot sun, suddenly Geta’s eyes land on you, enraptured by your visage as if you were the physical embodiment of Venus herself. He leant forward slightly in his chair to gain a better look of you without alerting his brother to what he was so enthralled with. He could not turn his gaze away from the way the light pink tunic hung deftly on your skin, your skin looking so pure and untouched, he almost snarled at the thought of any of these lecherous old senators even thinking to touch you and defile you. Geta subtly heeded over a guard and commanded him to bring you to his palace after the games had finished, his mind no longer on the games as it raced with thoughts of you and how he wanted to keep you all to himself. All his life he had to share with his brother but in this moment, he knew he would do anything to make sure that you were his and his alone.

The games end and everyone begins to pile out of the Colosseum, you follow closely behind your father not wanting to be lost in the crowd. The pair of you begin to approach your carriage and begin the journey home, as you near the carriage door you both become scared and confused as to why two members of the imperial guard are stood at the door. You stand wringing your hands anxiously as one of them whispers in your fathers ear, you watch his eyes go wide and nod obediently at the guard, your father nods for you to enter the carriage and you make the journey to your new destination in silence as your father had commanded.

Once the carriage pulls up at your final destination you step out and are amazed to be at the steps on the imperial palace, your mind races with possibilities, “is this a mistake?” “Are we in trouble?” “has my father upset a powerful senator?” your mind coming up with endless conspiracies as you walk up the steps and enter the palace, none of your thoughts positive. The guards eventually lead you in through the palace and usher you into a room, it is one of the most magnificent rooms you have ever seen, adorned with rich cloth tapestries and a shallow marble pool in the middle of the room to provide an escape from the harsh Rome heat. You approach the man sat in the throne at the far side of the room nervously, waiting for something bad to happen. As you stand at the bottom of the stairs below the throne you notice that the tall statuesque figure looking down at you is none other than Emperor Geta, quickly you lean forward and bow as custom dictates and await his command for you to stand up to address him.

Geta watched you walk into the throne room, his eyes upon your nervous visage, you were like a deer ready to bolt and he was watching you like a lion watches his prey, a predatory look already in his eyes as you approach him. He chuckles softly as he sees you bow once you realise exactly who he is, he stand from his throne and walks towards you, circling you, knowing that he has you in his grasp. Geta eyes your father and speaks in a curt tone “you are dismissed, your presence is not needed here.” Your father attempts to interject however the guards escort him swiftly away and send him home in the carriage you arrived in. Geta walks to stand in front of you, still bowing politely which he found to be endearing, you feel his finger hook underneath your chin as he places pressure against it to pull you up to look into his eyes, you stare at them and notice the possessiveness in them. “what is your name little dove?” Geta demands as he hold your gaze, not letting his hand drop from your chin. “its Y/N, your majesty.” You barely whisper to him, intimidated by his towering presence. He leans his face closer to yours, his voice almost a whisper as you can feel his breath against your lips. “well Y/N, I was completely enraptured by your presence at the games today and I had to bring you here to be mine.” His eyes darken with what you can only imagine to be lust, not knowing the ways of men yet, you gulp softly not knowing what he has in store for you but how could you refuse an Emperor what he wants? Geta looks down at you scanning all the curves of your body, pure and untouched skin, he takes a lock of hair in his hand and plays with it, pulling it up to his lips kissing it and whispering in an uncharacteristic softness. “my treasure.”

[sunderwight]

crack scum villain theory: there is no "original" Shang Qinghua

how this works is, neither the world of SV nor the world of PIDW actually existed in any tangible sense before Airplane died. Airplane dying was actually the catalyst for the system, and whatever unfathomable cosmic entities are behind it, to recreate the world from the novel. that's why Airplane transmigrates into an infant, and also why the world mostly follows canon up until Airplane interacts too much with actual plot-relevant characters, and accidentally butterfly effects Shen Jiu into a fatal qi deviation. At which point the system determines that a dead Shen Qingqiu makes fulfilling the basic story requirements impossible or at least dangerously low in terms of odds, and brings in the second play (User 002, Shen Yuan).

SY is able to earn more points from the system than Airplane, but that's mostly thanks to his proximity to the protagonist not actual preferential treatment, and he seems to have more concrete restrictions on his behavior and limits on his mobility (OOC lock, entering into an already-established character, and of course being forced to ensure that Luo Binghe goes into the Endless Abyss) (this does make it ironic that he ultimately changes the most things). whereas Airplane seems to have more freedom to do as he pleases. the system doesn't even seem to dock him points for accidentally contributing to the death of a vitally plot-relevant character.

so the SV world was originally supposed to more or less just be the same as the PIDW world. it didn't change to any significant degree until Shen Jiu died.

I suspect, then, that the PIDW world which followed canon didn't exist as any kind of separate reality until Shen Jiu died of a fatal qi deviation and had to be replaced. at which point the system -- perhaps hedging its bets -- created two splintered timelines. one being the original sandbox for Airplane to play in and continue to alter, the other being a manufactured reflection of the story's original outcome, possibly to serve as some kind of emergency back-up character bank or reference outline.

which means that the PIDW version of this reality isn't a full and cohesive world. though of course the people there don't know that. it's mostly just a tool for the system, which is why we first encounter Bingge being utilized as an enforcer. Bingge and everyone else who exists in the PIDW reality, they all remember their past as the story and are at the end point of what Airplane had written, but none of it actually happened. they instead sprang into existence at their narrative end point.

since the Shang Qinghua of Airplane's novel died well before the end of the story, characters in the PIDW have various recollections of a "Shang Qinghua" and his death, but they are vague and ultimately do not reflect the tangible events of a world the way that the SV timeline does. they are artificial memories based on a story. PIDW Shen Jiu likewise never really existed, although SV Shen Jiu did. similarly, all the history of the SV world that supposedly happened before Shang Qinghua was born never actually happened either. that's all constructed as well, which means that in a weird kind of a way, no one in the world can actually be older than Shang Qinghua either. they can only have manufactured memories that give them that impression. which means Airplane is the oldest being in that entire universe. he'd even be older than his own parents, because they were created to be his parents the moment he was born.

so there's no other Shang Qinghua. everything prior to Airplane's transmigration in the SV world and prior to the last PIDW chapter in the PIDW world is like when a video game designer seeds a dungeon with a skeleton and a bunch of notes about how some lone adventurer got lost and died there. at no point in the game was there ever actually a live adventurer in place of that skeleton.

that's "original" Shang Qinghua. he doesn't exist, because in one reality he's only ever been a version of Airplane, and in another he's a skeleton in a video game dungeon.

[rexecutioner]

Spoilers for all of Mystreet and a small bit of Mcd

So ur telling me. That in ms and pdh. In six seasons and like three prequel seasons. Vylad Ro’Meave. Gets 10 episodes that he appears in. TEN. Over 314 fifteen to thirty minutes episodes (including the side series, pdh and fcu, the spin offs, and the mini series, not including the mini games), Vylad get approximately 85 minutes of screentime in total, with around 40 of those minutes being in pdh, and 45 in Mystreet.

My poor guy got the Laurance treatment, with both of them being very important characters in Diaries, but being pretty much tossed to the side in Mystreet. At least Laurance shows up in more than one season of the main series, because Vylad only gets four episodes in Mystreet, (with three of them being solely Ro’meave centered episodes that he takes a smaller role in) and in those four Big Vylad Return Episodes, he doesn’t show up much without his brothers and ends up taking the back seat again as the main plot is taken up by Aphmau and Zane fake dating to please Zianna.

You’ll never guess what he does in Pheonix Drop High. He gets introduced to us, befriends Travis and Aphmau, and is then never seen without one of his brothers again until Mystreet, in which he gets like, 8 minutes of screen time away from them over the course of two episodes until the main arc plot.

Yes, I did infact watch all of the episodes Vylad is in and roughly calculated the amount of time that he was in each episode, even if he wasn’t talking. I would move mountains for this man.

When I watched Mcd for the first time, I had high hopes for him (and by that extension, poor Laurance) in Mystreet during my rewatch, because I hadn’t watched it in years, unless you count dubbing over s4 with my friends. Yay! Vylad finally shows up! Aaand now he’s gone. With no mention of where he went. And we are left to assume he’s traveling the world again. The next time he is ever mentioned is s4, by Garroth, once. And then radio static once more. I’m pretty sure at some point in s5 Zianna brings him up while talking to Zane but I can’t remember.

Vylad had so much goddamn potential in Mystreet. Affair baby? Canonically Pansexual? Tense relationship with his family? Usually keeps off the radar? Acts completely different from his Mcd counterpart? “Child Prodigy”?

They could have done so much more with him and it makes me so sad that he’s basically just a cameo character to please old Mcd fans and make them say “oh my god! Vylad! From Mcd!”. Yes, it did infact please me, but we get so little of him until he’s gone.

They could have removed him from the plot of Mystreet entirely and it wouldn’t change much. The whole Zanemau fake dating story never really goes anywhere, and thats all we see of him other than Pdh, where he is also neglected as a character, though not as much.

It’s not even the fact that they brought him back from Pdh and then did nothing with him. Thats what they did with Ein, and it worked flawlessly. Its the fact that they brought him back just to show us that “hey guys look it’s Vylad that guy from Mcd and like 5 episodes of Pdh!!”

You know what they could have done instead. Removed Kim from the plot and inserted Vylad instead. She showed up just as a plot point to get possessed. It also would have made Emmalyn a bit less weird in her re-introduction, because if Vylad was obsessing over Zane it would have been weird as hell and they wouldn’t have written that.

I would have watched tf out of an Emerald Secret where Vylad was in town visiting his parents and gets dragged by Garroth to help renovate a new property his parents bought, only for him to

A) get possessed and start acting strange, probably suspiciously glaring at Zane and Aphmau,

B) watch as Zane also starts acting weird, and doesn’t remember himself OR Garroth,

C) Witness as everything goes downhill, probably getting locked in the other jail cell with Garroth (LIKE IN THE BLOOPER REEL) and fleeing back to the cabin to try and get help from literally anyone while Garroth tries to save Aaron and the others, and

D) getting invited to Starlight by the Lycans, where we learn more and more about both Vylad AND Emmalyn, as she starts to recover her memories and tells Vylad about a man quite like him in looks from the past.

We could have gotten more of his relationships with the other characters, like him and Lucinda both gladly breaking into the place where Travis is staying, Not Alone Buddies interactions, his interactions with his brothers now that they’ve all been through A Lot, reacting to Aphmau’s engagement, him watching the other guys as they all fail to pull in amusement, commenting on just how much Travis has changed since high school, his reaction to Garroth getting zapped into a werewolf, an awkward interaction with Garte, the GF invasion, getting used to passing out all the time, missing his old travels and regretting ever going to the lodge, Garroth getting mind controlled, Aphmau’s sudden death, and the burden of both contributing to the possession of Travis, and the responsibility of helping to kill his father.

DO YOU KNOW HOW HAPPY THAT WOULD HAVE MADE ME 😭

plz bring Vylad back s7 🙏🙏🙏

[coddda]

Hiiiiiii. Episode 25/26 lawlight analysis rant thingy here. I don't know how to write an intro for this so let's just get to it LOL

I think one of the reasons that the rain/foot scenes stick out so much (the. Sheer insanity of a Foot Massage Scene in an anime revolving around two guys trying to kill each other aside 💀) is the fact that the anime specifically suffers a bit in terms of adapting a few of the "emotional" moments in death note.

And I don't mean "emotionally impactful" exactly. For example I think the adaptations of scenes like Raye and Naomi's deaths were very impactful and the atmospheres of their final scenes were great, but I mean more from a characterization standpoint (if that makes sense). Being more focused on mind and logic games, Death Note as a whole isn't as invested in individual characters' deeper feelings as it is in its action (which isn't necessarily a criticism per say, it's simply part of the nature of a mystery thriller series). But just because they're fewer and farther between doesn't mean there are none at all. In the manga we do get to see, for example, how much Light actually cared for his family and especially Sayu, and how he actually felt more conflicted and suffered lack of sleep/appetite when he first used the Death Note.

The anime specifically as an adaptation is pretty good at adapting the main mind fuckery and action of Death Note, but its lacking in properly adapting scenes like the ones I mentioned above is a criticism I see somewhat often, and it's pretty fair imo. Compared to all the other adaptations, it certainly seems to fall short on an emotional level: the musical has entire songs going in depth about the characters feelings and relationships, the 2015 jdrama is. Insane and has its emotional moments in spades (because it's a TV drama, which are more focused on portraying emotional conflict and the like), even the 2006 movies has its emotional beats and L Change the WorLd is. Well. Oh Man.

Anime Light to a lot of people is like. Light but he's "already evil" (which I have my own thoughts on but I digress). Light but after using the Death Note for like 2 minutes he's already like "fuck yeah time to kill criminals". Basically the anime doesn't take as much time to delve into his less cynical sides or really delve into his already vague and harder to decipher feelings in general, he is noticeably colder from the get-go here, etc.

But that's part of why I think episode 25 manages to stand out so much tonally (apart from it being, y'know, the episode L literally Dies). I love the episode so much and could probably rant for hours about how much I love the artistic choices made in it but what I'm trying to get at here is that it's one of the very few moments where the show tries to go deeper into specific character's emotions, and one of the very few moments where the show Attempts (emphasis on "attempts" because, well, you'll see in a bit) to get more in-depth into Light's feelings apart from his cynicism/apathy/justice. ness.

L in these two scenes in episode 25 is, well, pretty damn open about how he feels. It's usually interpreted as him knowing that he's going to die, and you can see it. He visibly looks/sounds lost, somber, etc. He never really had much to hide around Light to begin with (since he doesn't really care about hiding himself the same way Light does) but especially not now and it Shows, and I personally thought it was pretty cool to delve into his thoughts/show how he feels this way. The somberness can be felt throughout the entire scene, even people who don't already know the plot of Death Note from the manga could probably tell that he's about to die.

In the manga, once L starts suspecting Misa again and Rem realizes what Light is trying to do, it goes straight to Watari and L's deaths, but the anime instead gives a distinct and unexpected pause in the middle of this where L contemplates his own death. It's fucking great, and the shift from straight action to slower emotional weight makes these scenes stand out a lot, since, like I said, the show usually focuses more on the former. But it's kind of ironic, too.

Not only does the anime open up L's feelings more in these scenes, but it also tries to dig deeper into Light's feelings as well through L. And it's really funny honestly because while, yes, these are the more "emotionally open" scenes of the anime Light still manages to be Incredibly avoidant and contribute almost nothing to the entire ordeal.

L is visibly upset -> "Yeah Ryuzaki, you're not making any sense at all" (Not addressing the obvious conflict from L)

"Tell me, Light. From the moment you were born, has there ever been a point where you've actually told the truth?" -> "[The most stale, over-explained, avoidant answer to a "yes/no" question that you could ever hear + blatant attempts to reframe the question]"

(L's half-smile here kills me) "I had a feeling you'd say something like that" -> [Nothing]

"I'm sorry" -> [Nothing]

"It'll be lonely won't it? You and I will be parting ways soon" -> [Nothing]

^ From this point Light continues to say literally Nothing for the rest of the scene. I'm not even joking, from then on the rest of Light's voicelines are reduced to nothing but vague noises of confusion.

Everytime L calls Light out as a person ("Has there ever been a point where you've actually told the truth?" / "I had a feeling you'd say something like that." / "Won't it be lonely?") he doesn't actually acknowledge anything. Out of those three lines, he only answers verbally to if he's ever told the truth, and even then it's the most blatantly people-pleasing answer ever, as it usually is with Light. And I don't think it's because Light just. Doesn't care about any of what L's saying at all, or that he doesn't know what the hell he's talking about (questioning Light's authenticity as a person, saying it would be lonely when they part), instead he's choosing not to acknowledge any of what this means about himself or him and L at all. He's like a fucking wall.

And like, for the truth question in particular, the show makes sure that you know it's not something that Light just. Doesn't care enough about to answer. The hard cuts to silence are a very rare but extremely effective way that the show conveys an extremely important moment (see: Light regaining his memories, Matsuda noticing Light opening the warehouse door before he escapes (not as much of a "direct" cut to silence but still)), and cuts to multiple angles/framings/zooms of the exact same shot are also used for the same purpose (see: Light hugging Misa when she was crying, Matsuda aiming his gun to shoot Light, Light regaining his memories Again). Just like the scene where Light gets his memories back, the moment L's question finishes the show utilizes both. That question cut Deep. There's is a solid Almost 5 seconds of silence before the sound of the rain gradually starts fading back in, and honestly that should be telling enough as is (but of course Light doesn't actually admit that. Or anything at all really, so). Oh also another fun detail! We do not see Light's face At All (except for the shot where you can see his mouth moving but not his eyes), for the Entire time that he's going on his spiel to L. We Will Be Revisiting This Later, by the way. This is not, in fact, the first time you're going to see this detail from Light.

The only sort of reciprocation that we see from Light during Any of these two scenes is when Light dries L's hair while L dries his feet. Biblical meanings/references aside it's interesting because it's the only time he directly does anything "for" L in these scenes, but even then he doesn't try to pass it off as anything meaningful really the same way L does ("You're still soaked", a purely neutral and factual statement. It doesn't Add Anything compared to L's. Sin atonement loneliness grieving stuff. While Light is showing his own reciprocation to this more personal moment he also tries to keep it impersonal enough that it doesn't actually have to mean anything deep). And when L says "I'm sorry" after he once again gets no response from Light. It's also after this that L gets that pained look on his face, like he knows that at this point he's not actually going to get anything meaningful from Light (again, very significant and rare from L in the show. We've seen him in distress (see: when Ukita died, hell, when Watari dies), but even then he mostly manages to keep his usually neutral expression), we never see him "look sad" like he does here):

I just think it's interesting that this is one of the few scenes in this particular adaptation of Death Note where they try to open up the character's thoughts/feeling (especially considering the fact that they. lowkey blunder in adaptations of original scenes from the manga), and L himself is being rather open (not that he ever really tries to hide what he thinks nearly as much as Light), and yet all Light contributes to it in return is like. Actually nothing. Bro fumbled it. There is no resolution to any of this, to any of what L asks at all, to any of the many opportunities for a meaningful conversation, and the only thing even relatively close to an answer that you can get from Light is what you can infer from how he acts in the episode after L dies, where he's just going through the motions, but hardly acting as if he's actually living at all.

(Honestly I think the transition from this scene with the taskforce to the subsequent scene with Misa says enough on its own. Light's expressions and tone says everything:)

(Oh sidenote but. This shit again:

"Light, this is our first date in forever. can't you enjoy yourself a little more?" ('Why don't you seem happy? We can finally be together since L is dead') -> No response, Light instead changing the topic to him wanting to move in with Misa without changing his mannerisms at all

Also there's that one detail again. You pretty much don't see Light's expression when he speaks here at all, except for one shot of his eyes, which is quite literally the exact same shot they used when he "saw" L, just altered for the new setting. You have No idea what he looks like when he's responding to Misa, although it's probably fair to assume that it's the same empty stare he has for the whole Two Shots where you can clearly see his whole expression in the entire scene.

Something something Light Yagami bad at feelings I think you get the point though)

I guess Light's Kind of showing what he's feeling now? He'll admit to himself that it's boring without L, but no more than that. Light never actually admits to anything "significant", and L's dead already anyway, so what would that even do?

And then we get, uh. Basically nothing from Light. For the next 5 Years. Except that he joined the NPA, so, uh, yay? Good job, Light you totally nailed it! Thank you for allowing us as an audience to delve deeper into your inner thoughts and feelings as a character so we can find out more about you as a person! Very helpful! Thank you for not sabotaging one of your few dedicated opportunities to look into yourself as a person and reflect on your relationships with others and being 100% honest with yourself! We stay winning guys.

Anyway, this got way too long for a scene that's over a decade old, and I've probably just said everything that everyone else has already said in this fandom before. But unfortunately this has been living in my head for way too long and I must scream. I just think this episode's neat is all :)

tl;dr Part of the reason why the rain/foot scene (tbh episode 25 in General) stands out so much is because the Death Note anime specifically was a bit robbed in terms of its more emotional character moments compared to the other medias, which makes more somber/introspective scenes like the ones in episode 25 stand out a Lot in comparison. But it's also incredibly ironic because it's one of the few moments where the show (or specifically L) tries to look deeper into Light's character, but because he is so avoidant for the entire duration of these two scenes he adds basically nothing at all. It's almost funny. Mostly sad. It's also very gay. Aand post

Okay actually nevermind one more thing I talked about how the jdrama is supposed to be more emotionally in-depth because it is a TV Drama and just for the record, same thing happens there! I could probably do an entire analysis of the Blue Scene in this context like I did with episode 25 but I'd literally be here forever, so uh, just take this iconic line as my main example:

Same Thing. L's statement "I wish we could have met some other way" is personal. It's his own wish, his own regret that he is expressing to Light. While Light's reply obviously has that same regret implied it's also phrased in a specifically impersonal way. It's closed off. "This is the only way we could have met" it closes off the topic and simply renders L's wish as ultimately futile. Light does not say that he Also wishes he could have met L a different way even if it was likely impossible, instead it's a cold statement of cynical fact.

Idk just. Something something L being able and Willing to be more openly sentimental/emotionally open towards Light/about Light vs. Light's inability to be honest with anyone including himself and his own nature preventing any form of meaningful reciprocation. Something something self-sabotage, y'know the drill. God don't even get me Started on how sincere L's tone is when he says "It'll be lonely won't it?"(at least in the eng dub) in the anime I could talk about his tone in that scene for ages. Also yes all of this relates to L Change the WorLd too by the way. Don't ask how it just does okay.

I do think that scenes like these (rain/foot scene, The Blue Scene. Uh. L Change the WorLd The Novel Adaptation) show, at least in those adaptations, that L does genuinely care for Light, and show that he values him as a friend not just in the mindgame-equal sense but also just like, a more sincere sense you know. Idk if that made any sense and that's a whole other topic for another day but you guys just have to believe me on this one alright please please believe me buries head in hands. Okay post over finally thanks for coming to my tedtalk hope you enjoyed my very-unnecessarily long analysis of the week

[patrickzvveig]

i keep seeing the take that "Katniss doesn't love Peeta she's just trauma bonded to him" it's making me lose my mind.

First of all, all the superior TikTok and Twitter psychologists aren't even using that term correctly. A trauma bond implies an abuser using the trauma as leverage. Neither Katniss or Peeta are abusive and you can't even make an argument about that so automatically this idea is untrue.

but more importantly- what's wrong with, outside of the abusive context, using trauma as a bond? Why does that mean that they can't love each other? This idea is so ridiculous. Peeta understand best (more than Haymitch and the other victors) what Katniss is going through. Very few people can provide emotional support to her. She has severe PTSD and the most powerful man in the entire country is attempting to plot her assassination because she's been made the face of a rebellion, in an act of defiance Peeta was also present for. Peeta, already astoundingly sympathetic to her (and others), is able to fully empathize with her. They have a shared past and have an experience that nobody else in the entire history of the games has ever had. Like are you saying Katniss feels strongly towards him because he understands and can relate to her? literally what is unhealthy or weird about that? It would be one thing if Peeta was abusive but he's not. In his normal state, he has never used the games or the shared bond they have against her and his basically only used it to help her, as well as himself.

like the basic implication is that people who have similar trauma don't actually love each other, which is just so astoundingly untrue it's really hard to even wrap my head around the idea. and if the idea is that Katniss and Peeta never would have been together if they hadn't been reaped (or she hadn't volunteered) is also not very smart, because it quite literally doesn't matter. These are the events that happen in the book and the alter Peeta and Katniss' understanding of both one another and the world at large. 2 hunger games and a rebellion is bound to fundamentally change a person in some way.

[internetskiff]

I've sometimes seen this sentiment, especially among reviewers, that SOMA's WAU ""monster plot"" contributes nothing to the main game's story, and that the storyline would infact benefit from the WAU's removal. If you ask me, that couldn't be further from the truth. The WAU is at the root of everything. Frankly, it's the main reason the game's moral dilemmas are.. well, dilemmas at all. If the WAU wasn't making monsters, wasn't there to warp the life around Pathos-II as it saw fit, the game wouldn't have even started. Pathos-II would've just remained dormant forever. Simon wouldn't be there, and neither would any of the obstacles he faces on his journey to preserve humanity. The main reason the WAU isn't directly beneficial to Earth is exactly because its understanding of "life" is so skewed. Its not just bringing things back - its bringing them back incorrectly. Every single "monster" we meet builds a case both against and for the WAU's continued existence.

The Construct shows the WAU's failure to understand humanity in the physical sense, shoving a Human brain scan into a misshapen robot body and calling it a day, leaving it to babble to itself as it aimlessly wanders the halls of Upsilon.

The same could be said for Carl Semken and the other Mockingbirds, though to a lesser degree - though capable of speech, they're still very delusional and oftentimes end up going insane. Still, in some ways you see the WAU's understanding of human psychology progress with each new mockingbird - they become increasingly coherent and increasingly sane, Catherine and Robin Bass being great examples. While the Construct has lost so much of itself you can no longer tell who it used to be, the other Mockingbirds have their sense of self intact. With the WAU's unreliable nature cemented, we move on to its attempts at preserving humans physically, with Amy Azarro being the first proper example Simon gets to witness.

She's kept alive in what seems to be a perpetual state of discomfort, and judging by the structure gel slowly overtaking her I believe the WAU may be slowly converting her into one of the Fleshers. Its keeping her alive, yes, but its doing so at any cost necessary - it doesn't matter if she's in constant pain as long as she doesn't flatline. Its treatment of actual organisms is practically an inversion of its treatment of the Mockingbirds - instead of prioritizing the mental wellbeing of the subject, the WAU prioritizes their physical wellbeing with little to no care for the mental state its "patient" is in the entire time.

Fleshers live and breathe, but they seemingly aren't "all there" at all. The lights are on, but no one's home anymore. All they do is wander the ruins of the CURIE and lash out at anyone who enters their territory - the WAU has basically reduced them to animals.

Terry's been driven insane from all the structure gel infesting his insides, and though his goal was "technically" benevolent (putting everyone into a permanent dream state where the WAU could make them live the best possible versions of their lives), he achieved it through incredibly violent means, conducting what was basically an attack on Theta and causing its downfall. So far, its attempts at preserving humans physically have simply resulted in increasingly grotesque and violent monstrosities - but I would argue you see that begin to change when Simon reaches Omicron.

When you reach it, you see the aftermath of a particularly gruesome procedure WAU had carried out - everyone's blackboxes have exploded, turning their heads to mush. We find out that one of the employees, with the help of someone particularly close to the WAU, had figured out how to poison it. They have been receiving "visions" and "messages" from a comatose Johan Ross - the WAU's "AI psychologist", someone it desperately tried to restore from a comatose state by manipulating structure gel with electromagnetic fields. Either the WAU deliberately retaliated when it figured out the poisoning plot, or it had simply overdone it when restoring Johan Ross - sacrificing an entire station's worth of lives to bring someone back. Either way this shows a tremendous amount of intelligence on the WAU's part - and also paints it as either exceptionally cruel or exceptionally empathetic depending on the perspective you view it from. Either it considered Johan so important to it that it was willing to sacrifice most Omicron staff, or it was willing to violently retaliate in order to preserve itself. Either way, Omicron houses what I believe to be a sign of the WAU's steadily improving understanding of humanity - Dr. Johan Ross.

He has been restored with both his physical health and mental faculties (relatively) intact. He isn't violent, and he perfectly understands what condition he is currently in - but despite that he doesn't seem to be physically suffering. He is still driven to eliminate the WAU, but it seems to be less out of personal suffering and more out of fear in regards to the suffering its other creations may go through. I believe he's an example of a semi-perfectly restored human - both him and Simon himself. They're both cases of, as Catherine puts it, "a sound mind in a sound body". But although the signs are there, there is no outright definitive proof that the WAU's creations will only continue to get better.

And that's what makes the game's final moral dilemma so compelling to me. The whole game has been providing us with both evidence and counterevidence towards the WAU's idea of restoring humanity. Now, it's up to you to act as its jury and executioner. By killing it you either stop it from torturing the memory of humanity, or you doom humanity to extinction in all senses of the word. By keeping it alive, you either doom the remnants of humanity to an eternal torturous existence, or you give the WAU a chance at creating something new. There is no way of knowing what choice is correct - because you don't know what the WAU is thinking. You never get to. You don't know its plans, you don't know if it even has the capacity to actually learn from its mistakes, hell, you don't even know if its capable of thought - but here it is. Making things. Terrible things, but there's a chance that it'll only get better with time. Simon himself is evidence of that chance. It has already managed to make what could be classified as a "complete" person. And if you kill it, Simon's going to be the last "complete" person it managed to bring back.

[ot3]

Hi, I just finished the AA trilogy with my bf and we fell in love with it! I found your blog the other day, and it sometimes feels like you're the only one giving correct takes on these characters' writing and the minutiae of everyone's inner worlds (or the fumbling of, see Godot).

I just got here, but, something that's been bothering me about the fandom's approach to the sequel trilogy is like... the imperialist undertones are glossed over, or swept under the rug. Researching "The Dark Age of the Law" and beyond puts a sour taste in my mouth. And with Khura'in the country vs Kurain the village? It all feels racist at best (the concept of the Divination Seance gives me squick). If you have the time, I'd love to hear your thoughts about AA5 and AA6 in relation to the world of AA as a whole. Thanks again for all of your thoughtful and nuanced takes on this series!

so glad to hear you guys liked the games!! thank you for enjoying my posts, i always appreciate it.

the tl;dr of it is that i do think they are genuinely bad enough additions to the franchise that they have signed mainline ace attorney's death warrant. picking out the dark age of the law stuff and aa5 and the imperialism in aa6 you've pretty much honed right in on my two biggest critiques

however i do want to say that although they're being bundled and sold as a 'second trilogy' that's not quite accurate either experientially when playing the games or from a development perspective. aa4 had scenario design/creative direction by series creator shu takumi, with the art director being kazuya nuri (responsible for character design for rise from the ashes in the series previous to this); aa5+6 was spearheaded by takeshi yamazaki, who had been with the franchise since its first game, with the slightly less tenured takuro fuse on art direction/character design. yamazaki and fuse are not without skill, but i think they're both significantly less skilled than takumi and nuri respectively and. it really shows.

pair that with the fact that aa5 and 6 fundamentally do not follow up on any of ace attorney 4's established characters or plots more than superficially, i don't think it's particularly useful to critique 4-5-6 as if they're a single body of work in the same way the trilogy is. apollo justice isn't a perfect* ace attorney game but it's a good one.

anyway i think buying into the 'dark age of the law' stuff in ace attorney 5 necessitates cheapening all of the events preceding it. the implication that 1. the law wasn't that bad before but it Is Now and 2. a single case was the tipping point for whether or not the entire legal system would be bad just ruins the times when ace attorney has managed to acknowledge corrupt systems as a massive source of problem for the everyman in the past

i think this screenshot from the dark age of the law wiki page says a lot:

For starters, that phoenix quote. He would not fucking say that. I don't think there has ever been a point during or leading up to phoenix's career where he thought the legal system had 'glory' he would then want to restore it to. you seem to get it so im not gonna harp on this too much on this but. jesus christ

then, then there's fact that even by stating the most basic details about the franchise's events undermines the whole premise. like okay notice that the corruption that happens during the trilogy/investigations spinoffs is coming from all of the actual agencies that represent law and order/the system: the prosecutors, the police, and the prosecutorial investigation committee. however in aa5 the thing they choose to paint as responsible for supposedly unprecedented levels of corruption in the legal system is defense attorneys resorting to more drastic means, and the general public; aka not the people who are responsible for upholding the legal system but the people who are victimized by it and in opposition to it.

i don't think this was an intentional choice as much as it's just sloppy, inconsiderate, and contrived writing.

aa6 is just flat out racist. 'imperalist undertones' is i would say the gentlest way you could phrase it. like. japanese characters going to a made up south asian country that needs to be taught how to govern itself to quash its internal rebellion is like. so high on the yikes meter.

making a bunch of fake 'ethnic sounding' nonsense names filled with apostrophes to make them into silly sounding english phrasing was a disastrously tone deaf thing for the localization to do. they're really unforgivable. the worst of it all is probably "Inga Karkhuul Haw'kohd Dis'nahm Bi'ahni Lawga Ormo Pohmpus Da'nit Ar'edi Iz Khura'in III" i'm unsure if the names are quite as offensive in the original japanese because i haven't looked too much into what they actually are and have a really limited knowledge of the language. but. this name in japanese is "インガ・カルクール・ククルーラ・ラルバン・ギジール・ホフダラン・マダラ・ヴィラ・ヤシマ・ジャクティエール・クライン３世" which is written in katakana. katakana is, in contrast to kanji and hiragana which are used for writing japanese, used to phoenetically transcribe foreign languages or to write loan words. so the foreign-ness of this character is being emphasized here in the original text as well.

the supposed cultural inferiority of the khurainese people is baked into the game at pretty much every level, down to the gags. khura'in has the 'plumed punisher' show, which is actively criticized by the characters in game for just being a cheap ripoff of the steel samurai. they don't even get to have their own tv.

i believe the reason the racism is pretty much glossed over a lot in the fandom is for several reasons. for starters, ace attorney fans overall tend to fall into three camps: 1. people like me who fucking hate these games, refuse to acknowledge them, and would retcon them out of existence if possible. 2. people who have found things they like about the game and have a Good Version of the characters and plots that they have constructed in their head and 3. people who view all of the hate on these games as completely overblown

the first camp Does talk about how the game is racist but we're all already in agreement about that so it's kind of preaching to the choir and a bit redundant to keep going on about. the second camp tends to acknowledge the stickier aspects of the game but focuses on making content around the elements they like rather than critique. the third camp is the type to throw the baby out with the bathwater re: critiquing a thing they like. it's all haterism to them. but either way i think its kind of fucked up how many people will be like 'aa6 isnt that bad you guys are just mean' without even acknowledging these complaints.

anyway the khura'in country vs kurain village thing is really weird to me it shows both a lack of imagination and a disregard for the series' own established lore. why would a girl from a village where almost everyone is a spirit medium need to go to a place where only, like, two people are mediums to train.

i will say though that the divination seance is kind of one of the only things i found about aa6 to be an interesting addition. for a franchise with ghost summoning and murder solving, the two have a kind of hilariously low amount of overlap so i found the idea of bringing ghost bullshit into court really fun. mechanically speaking, the divination seances also felt a LOT better to play than the mood matrix segments of aa5.

in general, i think the biggest weakness of the mainline franchise under takeshi yamazaki's stewardship is its misunderstanding of stakes. both aa5 and 6 prioritize more bombastic and impressive on paper material stakes. oh no! the ENTIRE JUSTICE SYSTEM BEING GOOD OR BAD depends on this one case! on no! we have to DEAL WITH REBEL INSURGENTS! complete horseshit when there is not competent and functional enough character writing to get us emotionally invested here. yamazaki seems to think bigger is better, and that just simply isnt true for something like ace attorney

i've pointed this out in the past when critiquing aa5 and 6 but if you look at the actual material stakes on the line in ace attorney, they're at their highest after rise from the ashes. ousting the corrupt chief of police is the most impressive and impactful thing phoenix does with his career (arguably until the jurist system, but definitely in the trilogy.) but that's not the big Finale case for his character arc. his finale case is defending his college girlfriend; a nun who lives in the mountains, whose conviction would have had zero implications on the larger fabric of ace attorney's legal system. because takumi's writing clearly shows that he understands what makes a plot impactful is the emotional stakes the characters have invested in the events.

before taking over the main franchise, takeshi yamazaki was responsible for the miles edgeworth investigations spinoffs. i do enjoy both of those games - aai2 in particular is really strong. yamazaki does a great job with edgeworth's character arc even if i have some specific gripes with the duologys writing. i think theyre solid additions to the franchise. but you can see traces of this sort of misalignment in narrative priorities here as well. for example, the last case in aai1 is notorious for still going on for, like, an entire hour or two past the time when the last remaining plot point we care about has been revealed. because yamazaki seemingly had no understanding that That was the thing the case should have been about, and that should have been the final mic drop of the game. it just keeps going! he didn't know the game was done and he added a bunch more bullshit busywork after it that no one likes!

so yeah. without going into anything even as specific as how individual plotlines or character arcs were mishandled in aa5/6 that's really my overview What Went Wrong of those games.