#the game is so interesting in how it handles him as an antagonist. there's so much nuance but by the end there's no wishy-washy shit about

[spyres]

god i just realized that king isat is like pmd darkrai if darkrai was actually well written and interesting

[biggie-chcese]

Why I think Yomi Hellsmile should've died in Chapter 4

(this essay isnt what you think it is. spoilers for the whole game btw)

Alright so let me preface this by saying that this is not a Yomi Hellsmile hate essay. I like Yomi. He's my favorite peacekeeper. He's funny, he's entertaining, and he makes for a very effective antagonist. So why have him die? Well, for the same reason I wouldn't have Yakou live: I think it makes for a better story.

So here's the true title of my essay: A Critique of how Rain Code's Narrative Handles the Peacekeepers (and by Extension, Yomi) and their Downfall

Let's start with Yomi's downfall in canon. Yuma and Vivia find out his role in Huesca's murder and, ultimately, Yakou's death, and are angry beyond belief. But they're also helpless to do anything as they escape the labyrinth with vengeance on their minds. Of course, this gets shut down immediately, and then Makoto ex machina comes in with Martina in tow to arrest Yomi for his money laundering and bribery. And right then and there, in one fell swoop, the peacekeepers are completely eliminated as a threat in the story to be replaced by Makoto.

But okay... isn't that super underwhelming? The peacekeepers and Amaterasu corp have been the main driving force of the game's primary conflict, and yet somehow they are completely eliminated as a threat because Makoto grabbed a few files off screen. And also, this brings me to my first major issue I have with this ending:

Part 1: Why the fuck do they care?

No I'm serious. Why do the peacekeepers care? So what if Yomi bribed his way to the top? You mean to tell me that the cops who spent the entire game assaulting and antagonizing civilians give a shit? They're never shown to have any sort of problem with their corruption. They send people to be executed on whims and knowingly, regularly falsify evidence on murder cases. At best the peacekeepers are indifferent to the suffering they cause, and at worst they are gleefully complicit in it. So, again, why do they care about Yomi's money schemes? In fact, they only benefit from Yomi's rule because he gives them the power to freely instill fear in Kanai Ward's citizens. The game never, at any point, has an "are we the baddies?" moment from them nor does it ever even try to have at least one peacekeeper question Yomi's authority, even when he's throwing them under the bus. Throughout the whole game, they stand as a completely one-note, cartoonishly evil representation of police corruption.

So why the sudden heel turn? The resolution of chapter 4 feels so jarring to me because the game has zero buildup to it. This also applies to Martina's return. Actually let's also talk about her.

Part 2: So... Martina's return lowkey is kinda lame

Don't get me wrong, I was pretty hype when she came back. But also, the magic wore off pretty quickly for me because I didn't understand why she was suddenly a whole different character. I suppose her brush with death gave her some time to contemplate her actions, or perhaps she felt indebted to Makoto and asked him what she should do, or maybe Makoto held her life over her head and told her to change her act or he's letting her get cubed. Who knows? We get nothing expanding on this so it could be anything.

I feel like people kinda forget that Martina was just as corrupt as Yomi? Like, she is not his helpless victim. I'd even argue that their relationship isn't abusive. Martina is in it with her own interests in mind in addition to just being a massive sadomasochist. I cannot stress this enough: whatever tf she and Yomi had going on, she was completely into it. Even at the end of chapter 2, she was drooling over him and the idea of punishment... until Yomi crossed a line.

Y'see, Martina thought she was special. She thought that whatever punishment Yomi had for her Aetheria Academy blunder, she'd come out of it alive, because she's his beloved right hand. Yomi then showed her that she's just as disposable as the rest of his underlings by ordering her to be brutally executed. That is when she becomes a victim.

Anyway, I'm saying all this to make a point that Martina hasn't shown any interest in being an honest cop until chapter 4. It's completely out of nowhere, just like with the other peacekeepers.

"But Biggie," you may be thinking, "why would Yomi dying fix these issues?" Well I'm so glad you hypothetically asked!

Part 3: We love missed potential, baby!

Kodaka sometimes does this thing where he introduces an interesting concept that plays with the rules of the game... and then doesn't commit to it. Think like the double murder clause in Danganronpa V3 chapter 3, where they mention that if two separate murderers act in the same day then only one of those murders counts. Then they do nothing with this, and instead create a very weak chapter.

This is a similar problem I have with the tail end of chapter 4's mystery labyrinth, which is a really amazing labyrinth that introduces a really amazing concept: taking down a secret mastermind. After reaping the culprit's soul, they have this cool, brand new secret area that... does nothing. No, I'm serious. Nothing happens. All it does is piss Yuma and Vivia off and waste everyone's time. They find out Yomi's involvement in the case, but they still don't do anything with that. Sure it brings a whole new feeling of hopelessness, but doesn't that make Yomi's downfall literally five minutes later through the mundane actions of someone else off screen seem all the more underwhelming? From a gameplay and storytelling standpoint, I think this is just... a cop-out. I think it'd be cool if he was involved enough in Huesca's murder to count as an accomplice, then with Vivia and Shinigami at his side, Yuma reaps Yomi's soul. It's a decent payoff for the NDA and the player while supporting the game's message about the importance of finding the truth. And god does the game need support in that regard, because the Mystery Labyrinth almost never helps and Yuma instead gets saved by someone else (which would've been nice to expand on if we go this route bc there's something interesting about Yuma calling for the labyrinth to kill people for ultimately no reason, but they don't do anything with that and that is a WHOLE other essay lol).

But this is not my main reason that Yomi should've died here. I wouldn't feel so strongly if that was the case. No, my problem lies with a character that isn't Yomi, and what is part of the entire reason Rain Code's plot exists.

Part 4: Is Makoto fucking stupid?

"/lh" by the way. Makoto is my second favorite character in this game behind Yuma, and I adore him. His story, his motivations, his undying will to be a protector of a people that no one else will protect, by any means necessary... he is such an incredible character and antagonist and I genuinely adore him. But I have one eensy weensy, teeny weeny little issue with him:

Why did he need the detectives to oust Yomi?

Makoto claims in the ch 5 labyrinth that the reason the detectives were brought over was to oust Yomi, which leads me to believe the command for the detectives to come to Kanai Ward was his work, not Number One's, then Number One simply caught onto this and took advantage of the situation to sneak in. Though, that's just a guess on my part, mind you. So I suppose he was just desperately hoping at least one of them would take care of Yomi, but isn't that weird?

The detectives don't ever find the evidence of Yomi's money laundering and bribery. Makoto does. The detectives don't ever bring Yomi's corruption to light. Yomi... already does that without their help. Actually, why didn't he secretly team up with the Resistance for that? Too busy ignoring Dohya District's glaring issues, Makoto? Too busy turning a blind eye to your people's suffering?

Uh. Anyway, the only detective that actually does something beneficial for Makoto and kills Huesca is Yakou, who was already in Kanai Ward. And don't tell me that Makoto accounted for Fubuki and Desuhiko's fortes here because that part of the plan was all Yakou's idea. If Makoto could've predicted this, he would've just called the detectives necessary to this plan instead of luring in a bunch of them at once to get slaughtered.

Tons of detectives died coming to Kanai Ward to do... what? Distract Yomi? Could the World's Greatest Mind truly never come up with a better distraction for a guy who didn't even realize his Martina Cube™ order never came in? Yomi isn't shown to be some sort of hypervigilant supergenius nor is he nearly on Makoto's level. Could he truly not have outsmarted Yomi and led him astray long enough to grab a little binder of paper?

So, once again, you may be wondering how Yomi's death would fix this. Well, Yuma, a detective, is the one who kills Yomi.

Makoto is well aware of Yuma using the Book of Death at this point. So what better way to get rid of Yomi than to carefully manipulate the detective who has the Perfect Criminal Murder Tool™? Makoto can't just assassinate Yomi himself- that would make him the main suspect and he'd have to do a lot of PR maintenance to get the rest of Amaterasu Corp off his back. But Yomi mysteriously dying of a heart attack while Makoto isn't anywhere around... well, that's different.

"But wait," you may be thinking, "doesn't Makoto want to keep Yomi alive because he's a Kanai Ward citizen, and he loves Kanai Ward?"

Good point! But doesn't that also apply to Yakou, whom he also had a hand in manipulating into that crazy sui-homocide of Dr. Huesca? Or, what about Fink? Remember him? Makoto killed him for "knowing too much." I know that information is missable, but it's there. And don't tell me it's just because he's a hitman and has killed other Kanai Ward residents, because Yomi has sent many residents to their deaths without trial... not a huge difference. So a body count isn't really on Makoto's "should I kill them" conditions, it seems.

If Fink gets killed for "knowing too much," then Yomi shouldn't be exempt from this, especially when he was leaking homunculus information to the outside world. That goes far beyond "knowing too much." It just doesn't make sense.

But you know what does? Makoto actually using the detectives to wipe his hands clean of Yomi's mess. Yakou is used to take care of Huesca, Yuma is used to take care of Yomi, and Makoto gets to sit back, relax, and watch everything play out just as planned.

And later, in the next chapter, when Yuma learns about Makoto using him like this, he realizes that he's truly been had.

Part 5: How I think it should play out

I'm not being a hater. In fact, I deeply love this game and have a lot of respect for Kodaka and the writing team, so please don't take my little rant as some sort of effort to bash on my favorite video game because that's not what this is. I'm not gonna prop myself up as a better writer than anyone on the team because I'm not, but I'll still try my hand at rewriting this scene to fit my personal taste. So I would like for you to imagine with me, the end of chapter 4...

Yuma and Vivia find the secret area of the labyrinth and find out that Yomi has been masterminding Huesca's murder. Shinigami points out that, hey, that's why the labyrinth is falling so slowly: we haven't finished it off! Vivia stands by Yuma's side, and all of them, driven by their rage and desire to see justice be done, reap the soul of the true mastermind through one final strike of the solution blade. Labyrinth collapses, snap back to reality, oop there goes gravity, oop there goes Yomi, who collapses on the ground.

The peacekeepers are surprised and approach the body. They find that Yomi is dead. They're shocked, and as this is happening, Yuma isn't sure what to feel. Is he glad that he managed to avenge Yakou? Not quite, because Yakou is still gone, the hitman is still out there, and everything still hurts. But a part of him feels... vindicated. Vivia seems to have equally complicated feelings about this. For once, it was... kind of worth it to find the truth, even if a bit messy.

Well now the peacekeepers confirmed Yomi is dead, but now they're accusing the detectives of this. And they're honestly kinda right. Yuma and Vivia realize that they're in kind of deep shit, but the sound of Martina's voice comes from off screen asking what on earth is going on here, making everyone freeze.

Enter her, Makoto, and Seth (I'll say why he's here too in a moment). They're surprised at the sight before them, but Makoto only pretends to be. Then you see it... Martina and Seth go from visibly suprised... to relieved. And there's something oddly triumphant, yet a bit chilling about Makoto and the two people we've witnessed Yomi throw under the bus standing over his corpse. It feels thematic now, as if righteous judgement has come. And... it also solves the "what happened to Seth" question, lol.

Makoto shakes his head and sighs, stepping over the corpse and approaching Yuma and Vivia as he comes up with an excuse: "I always told him that those temper tantrums weren't good for his blood pressure. I guess his heart couldn't take it anymore."

He then nods to the others. Seth instructs the peacekeepers to clean up the body, as they rot quickly in this city. There's this foreboding feeling in the peacekeepers' obedience and efficiency, and Yuma begins to wonder if he did a good thing. Did his actions change the peacekeepers for the better, he asks himself, or did he simply shift the power over to someone worse? Shinigami tells him she doesn't know.

Makoto approaches them with good news: they found and arrested the hitman! Yuma, frightened, does not address that and instead asks him why the other high ranking peacekeepers are here. Makoto says that they... owe him a favor. Martina expresses her gratefulness for him stopping her execution order and asks if they can do anything else, to which Makoto replies telling her no, they're doing an excellent job. After some more conversation, Seth, Martina, and the peacekeepers then leave with Yomi's body to let Makoto talk privately to Yuma and Vivia. Makoto apologizes for their loss of Yakou and offers some faux sympathy. They're both... still conflicted about this conclusion, but Makoto tells them they're free to go, so they'll think about it later. Oh, but before they leave, he gives Yuma a little gift: a suspicious black box. Of course, Yuma can't open it just yet- it's a surprise!

Then the rest could play out pretty much normally (though an encounter with zombie Yomi chapter 5 seems inevitable and also awesome).

I think this alone would solve every issue I addressed before. The peacekeepers do not change out of nowhere. They simply reallocate power and there's still this feeling of them being a threat as they're now directly connected to the game's true antagonist. There's now a theme to Martina's return with Seth's presence as well. There's now a narrative purpose to that final section of the mystery labyrinth with proper payoff. And, most importantly, Makoto's motivations to use the detectives make more sense.

By the way, if any Yomi lovers think that he should stay alive for a potential return in the sequel... isn't it such a blessing that Yakou's DLC introduced this pretty neat little pill that could still make that possible? Just saying.

So yeah. Yuma, for the sake of narrative payoff and character writing consistency, please kill this clown. Thanks for reading <3

[utilitycaster]

Hi! Because I genuinely do love your take on things and every time I read through them, a new perspective that I had never even considered before makes itself known to me. So, I wanted to ask! Since Twitter (unsurprisingly) already got its hands on this discussion:

What are your feelings on the Mighty Nein being the ones to handle the Weave Mind over Bells Hells? Because for me, I always sort of knew that BH were going to be the ones to defeat Ludinus no matter what. It’s what they’ve been building up for.

However, some people say the M9 aren’t deserving of handling the Weave Mind because that was an antagonist made specifically for the Bells Hells. So, I was interested in seeing your thoughts about this (strange) discussion.

Hi anon, thanks!

I think it's great to have the Nein go after the Weave Mind, and I think, like most takes from the Twitter CR fandom, this is fucking stupid.

Given that Matt is the DM, and he's like "hey, I'm going to have a Trusted NPC call in the Mighty Nein to deal with the Weave Mind" I think the argument that the Weave Mind was made specifically for Bells Hells is not, in fact, true. The Weave Mind is an antagonist who was introduced with Bells Hells' campaign, rather like how Ludinus Da'leth is an antagonist who was introduced with the Mighty Nein's campaign and who has been the nemesis of Beau and Caleb in particular, and yet Bells Hells will be going after him in this scenario (and, to be clear, I think this is fine; I've expected Bells Hells to face off against Ludinus in the end).

I would be interested in understanding if the motivation here is "I wish the Nein were going after Ludinus and Bells Hells were going after the Weave Mind" which I think is far less interesting given that Ludinus has been such a consistent enemy of Bells Hells as well but at least I can puzzle out a not terribly intelligent but consistent sort of logic in it; or if this is a "I wish the past two parties weren't involved in this campaign at all" argument in which case, far too late for that; or if this is someone who specifically doesn't like the Mighty Nein throwing yet another tiresome and embarrassing temper tantrum on Twitter. But my opinion doesn't change; I think it's far more satisfying to see Bells Hells take on Ludinus than the Weave Mind, whom half of them haven't even met.

More generally, the idea of "doesn't deserve to fight the Weave Mind" is stupid on another level. I understand why people talk about which actual play character they wish to get the final blow on a particular enemy, even though dice will ultimately decide this. When it lines up - Vax with Thordak, Yasha with Obann - it's immensely satisfying. But you do not need to be the most wronged person to make meaning of a How Do You Want To Do This (FCG and Otohan being an obvious case here). Technically, the Volition deserves to fight the Weave Mind more! Half of Bells Hells hasn't even encountered the Weave Mind in any capacity! Braius and Dorian haven't been to the moon! Sometimes, you're fighting because it's part of, for example, a three-pronged plan that needs three separate simultaneous strike forces. Bells Hells can't do all three at once despite having claims to each of the targets unless they split up. Would you rather the parties split up in a mix of each? Because I'm not opposed per se but that could get pretty confusing all around. And if we're going to step out of the Watsonian argument that in-world, they can't do all three at once, see my next paragraph to address the Doylist "but Matt didn't need to set it up this way" one.

I am on the record as loathing the whole "it's their table and you can't criticize it because it's their game" bullshit. You can do so. You can do so even if there are very good reasons for their choices. You're always entitled to your own opinion and as long as you're not harassing people, it is morally neutral to say "this piece of fiction/art/whatever didn't do it for me," end of sentence. With that said. It's fine if people wish Campaign 3, like Campaigns 1 and 2, were more exclusively focused on one party's adventures rather than the all-hands-on-deck story that it is. But it is that story, and pretending this wasn't the result of a number of intentional choices by Matt and the cast and various collaborators is profoundly stupid at this point. I had my complaints as well, early on, but the time to get over this was episode 1, when Orym and Fearne and Dorian and Bertrand showed up with their ties to EXU and C1. Or it was episode 6, when Laudna revealed her connection to Delilah. Or episode 35, when that connection to Keyleth was leveraged. Or episode 50, when Beau and Caleb appeared; or Episode 51, when multiple past PCs were present at the solstice; or Episode 66, when we further met with Keyleth; or Episode 86, when Sending came back on and both Caleb and Jester spoke to the party; or Episode 92, when we cut back to the Crown Keepers; or Episode 94, when Essek showed up; or Episode 99, when Downfall began. If you're still holding on hope now in the endgame, I think it's too late. That's not the campaign this is, and it never was, and you can wish that you had something more self-contained like Campaign 1 or 2 but with Bells Hells, but that's all it is - a wish, unfulfilled.

[golvio]

I think the metanarrative reason for the Princess being put into an antagonistic role in the “intended story structure” instead of being the protagonist is a big hint to her true nature.

While the protagonist gets to have the POV and make the major decisions that determine the story’s resolution, the antagonist is the one who actually makes things happen. Even when she’s not an antagonist and you’re working together, she’s still making things happen solely by being the only visible character present. Her mere presence changes things.

It’s very, very difficult to have a story without some external force or another character acting upon your protagonist and pressuring them to make a move. Even stories told primarily in flashbacks have the main character interacting with something, even if only in the past tense. A story where the main character just sat there, never interacting with anyone or anything, never having any experiences to learn from, would be incredibly boring. Simply having someone else there to talk to and play off of is enough to get things to move again.

Contrast this with The Narrator’s ideal story, which is a Wholesome™️ story where the main character does what they’re told and then never has anything bad happen to them ever because, as the only character left in the story, they’re safe from conflict, change, or heartbreak. Sure, it might not be a controversial story that would upset someone, but it’s also incredibly dull and unfulfilling. The credits roll and that’s it? That’s all we get?

It’s absolutely hilarious to me that, while The Narrator inserted his echo into the Construct under the conceit of being the literary device that’s the vehicle delivering the story to the reader, he really sucks at storytelling. He can’t build rapport with his audience (us) because he doesn’t understand what we want or how to persuade us beyond vague moral arguments with no emotional hooks whatsoever. He’s so inflexible and refuses to allow alternate interpretations that he can’t handle when things go off script, and can’t get the story back on track when we start going off the rails short of pulling a deus ex machina (which only works when the audience still has enough faith in him to take him seriously as storyteller instead of doing their own thing). Things only get interesting when the Princess gets involved. Things only move forward when she forces the issue, particularly in the Nightmare route, where you refuse to commit to a choice out of fear of potential consequences.

A friend of mine who recently did their first playthrough commented on how the underlying quest to collect perspectives for the Shifting Mound was basically an improv session. I think they’re right on the money. Each chapter is like a game of “Yes, And” between you and the Princess that continues until neither of you can think of anything else. The developers mentioned in an interview that Shifty M. only arrives to take the vessel home when the story “ends.” That is, when there’s nothing left to do. Improv is one of the genres of performance that best encapsulates Change in its demand for adapting to circumstances and new information, so of course The Narrator would be against it, preferring simple, linear narratives.

People tend to become fascinated with antagonists because they’re the ones who make things happen. Adding an antagonist who’s also a person is one of the easiest ways to start building a story. By making the Shifting Mound and her fragments our enemy and requiring us to get within talking distance in order to slay her, The Narrator shot himself in the foot by making Her the most compelling and interesting character by default.

[aihoshiino]

chapter 162 thoughts!

Chapters Since The 143 Kiss Happened And Went Entirely Unacknowledged And Unaddressed Count: 19

Aqua Hoshigan Status: uh oh, gamers

damn they dragged his ass right to hell, huh

I was perhaps overly optimistic in expecting an immediate resolution to last chapter's setup. It's becoming increasingly clear that this handful of chapters covering the Aqua-Hikaru confrontation are intended to be read in one go but because I am pedantic I will continue to review them one by one <3 This chapter very much has all the same issues as the previous chapter without quite as many of the things I liked pulling it up, but Mengo's art is back to going absolutely crazy and I got to see 2.5 new panels of Hoshino Ai so who can say whether it was a good or bad chapter.

Like last time, we're starting with Hikaru again and… basically everything I said I didn't like about this handling of him is still the case but with this almost definitely being his final appearance with no more opportunities to explain anything about him, it really sucks that the note we seem to be ending on is just "damn, bitch be crazy". Given that Tsukuyomi mentioned his previously 'noble soul' last chapter, I was really hoping we might get some sort of flashback or Hikaru POV giving some proper context to his actions but all we got this chapter was him being like "ughh i miss ai. GOD i love killing people" which is, uh, underwhelming as a final note for an antagonist like Hikaru to go out on, to say the least

The thing is, I didn't need or expect Hikaru to be totes 100% an innocent bean or anything like that (ch109 looms large), but if he was going to be the final boss like this, I wanted his antagonism to come from somewhere, to have any kind of connecting thread with the story's themes or to at least tell us interesting things about him both in coming to understand where his behavior came from and why he went down this path. But we don't know anything about Hikaru, really - we know facts about his life but as person and a character in a story, our image of him is shockingly unclear. As far as the story seems to be concerned, he came into existence as an 11yo boy being abused by Airi, blipped out of reality when Ai broke up with him and then idk digivolved back into society into a guy from a yandere otome game when Ai died. Like, how in god's name did Hikaru go from the boy we see being broken up with as a teenager to… whatever the fuck this is? How did he start killing? Why? What is it about killing that makes him feel Ai's supposed presence? And most importantly - why does he pursue killing Ruby as his means of achieving this when the narrative is doing everything it can to convince us she's Ai 2.0 and therefore a living person in whom Hikaru should be able to feel Ai's presence the most strongly since her death? Hello? Can anyone hear me????

We don't get textual answers to any of that - hell, we don't even really have any textual confirmation that he is actually serial killer, despite it being something I guess we're supposed to assume at this point?? Like, whatever happened to Aqua seemingly crediting Yura's death to Nino's involvement? What happened to Aqua saying that Hikaru being the mastermind made no sense? Like, I guess he was right, but jesus

Even things I can take the time to try and infer (which, see last review's discussions on Inferring Things) just make me feel like I'm doing the work the story should have done in terms of trying to get his character to cohere. As it stands, Hikaru isn't in opposition to Aqua because he has harmful beliefs or behaviours born from his participation in society that stem from or are in conversation with the story's wider themes, but because he has one very specific unhinged belief totally disconnected from reality focused on one specific person and manifesting in such a way that caused him to just be Ontologically Evil And Broken.

And it's not like this would even be hard to do! Hikaru is literally, explicitly an affluent and powerful person in the entertainment industry despite being someone who was broken by abuse perpetuated by those very systems of power. Why not lean into that? Why not examine the ways in which Hikaru and Ai converged in their experiences of abuse - Ai able to truly sever the chain and begin healing while Hikaru ends up making Airi's mistakes and enacting abuse and control on people with less power than him to try and regain agency and dignity?

Ryosuke (even post retcon) and ch154 Hikaru work so well because their specific beliefs about Ai reflect real world misogyny and parasocialism that are rife in the entertainment industry (and even outside of it) so they're able to contribute to the story's wider themes pretty well. But as of this chapter, Hikaru's stated beliefs about killing and apparent overall worldview are so fucking detached from reality and so lacking any foundation or grounding in textual events or theming that it doesn't even feel like an exaggeration of real world issues to a logical conclusion like Ryosuke does. He just feels like a cartoon character.

Not only is this shallow in general and really a huge wet fart of an ending for a character who has been built up for 4 actual years and 150 chapters of manga, it's also just bizarrely inconsistent. There's no proper connecting thread in the text between the seemingly emotionally disarmed and remorseful Hikaru of 154-5 and fucking joker slenderman ass here. The story spent so long making Hikaru deeply and viscerally sympathetic through exploring his history of abuse and exploitation mirroring Ai's that I'm not sure of what the point of that was in terms of authorial intent if we were always gonna end at this point of "you are Ontologically Evil and must die". Movie Arc backstory Hikaru flows quite naturally into 153-5 Hikaru but these specific beliefs and fixations on killing almost feel like they popped up from nowhere to force this confrontation to happen.

Ultimately, despite being given ample opportunity to do so, it just kind of feels like Akasaka just kind of lost interest in trying to develop Hikaru into a fully fleshed out and coherent character. We get flashes and teases of what could have come together into a fascinating and compelling antagonist but he ultimately fails to evolve past a vague sketch of a character, full of unconnected ideas and loose threads. In the end, Hikaru is only ever a cipher for the story to enact tragedy through with no real interest in his own feelings and interiority in relation to it - not even his own.

To scooch back a bit into the chapter, I will say that him being dragged down specifically by Gorou is interesting, especially since he seems to have returned to his scary ass Tokyo Blade rage ghost form. This seems to represent Gorou and his rage being sort of 'exorcised' from Aqua now his revenge is complete (as I theorized might happen last week) - his memories and existence obviously live on in Aqua (F… FOR NOW…..) but as a character in a narrative, this feels like a fine enough place to leave him.

Anyway, speaking of Aqua! How ya doing, champ?

that bad, huh

The back half of this chapter revolves around giving Aqua some emotional resolution of his own and even though I've been kicking and biting to get some Aqua introspection for so long now, this one left me feeling pretty cold. After all this time of floating around the 'why' of his reincarnation, the answer we're finally given is….. just that Aqua was reborn to be Ruby's guard dog lol.

The idea that the twins were specifically reborn to be together has been imo pretty obvious for a good long while and I think it's a perfectly fine idea on paper, but this framing of it just kind of falls flat to me. I don't like that it positions Aqua's rebirth not as a second chance for him to love and be loved in a way he wasn't able to as Gorou, a gift from Tsukuyomi to two people who showed her a selfless, thoughtless kindness but as just yet more of the story using other characters and their stories to try and prop up Ruby or imbue her with more importance in a way that I think feels forced and does the characters who are used in this manner a huge disservice. I'm sure we could conclude that this is just Aqua's feelings on the matter and I really, really hope that Tsukuyomi fishes him out and gives him a slap while yelling YOU WERE SUPPOSED TO LIVE FOR YOURSELF AND BE HAPPY IDIOT or something next chapter, but the extremely warm framing this is all given makes me think this is something the narrative both agrees with and approves of and as an Aqua enjoyer I just kind of hate that for him.

I also have to say that like… it doesn't not make sense for the story's finale and this aspect of the reincarnation plot to center Ruby specifically. She is one half of the titular Oshi no Kos and at least hypothetically the co-protagonist of the story. But suddenly making her the answer and central turning axis of basically the biggest ongoing mystery in the story like this feels kind of jarring when Akasaka spent a solid half of this entire manga not really doing her justice. This attempt to tug on our heartstrings via flashbacks to the twins' childhood also doesn't really do anything for me because as cute as it is, it's just disconnected flashbacks to brand new events in their childhood we never saw or heard about before. And it's weird because it's not like we don't have in-story examples of Aqua being over protective of Ruby, so why not flashback to those?

Idk. It's hard for me to articulate why this left me feeling kind of cold, but it feels like a symptom of this being part of an ending that Akasaka set in stone too early on and hasn't compromised for he way the character dynamics and story that made it onto paper have shifted and changed in ways that don't one hundred percent line up with the ending he wanted. If the twins' relationship was going to be this important to the ending and be so central to Aqua's existence as a character, I wish we'd spent more time on it. One of the major critiques of OnK that people had from like chapter 12 onwards that I still agree with is that Aqua and Ruby's relationship doesn't feel like a close knit connection between two people who grew up together for 1X+ years, and that continuing issue makes it kind of hard for me to feel the warm and fuzzy sibling feels right now. Which sucks because I LOVE the Hoshino family trio and I love Aqua and Ruby's family dynamic when we actually get to see it - their chapter of interlude and some of the scenes in their home in early OnK are some of my fave parts of the story for that exact reason. But this just kind of whiffed for me.

It also isn't lost on me that Ai is basically absent from these flashbacks despite them primarily taking part in the part of the twins' childhood they spent with her. I get that the idea was to focus specifically on Aqua and Ruby's dynamic there but it still feels kind of…

I've already written a short essay on this topic as it pertained to the initial reveal of Tsukuyomi's role in AQRB's reincarnation and the TL;DR of that post is that early in the series, Ai is centered as a character of as much significance to the reincarnation plot as Gorou/Aqua and Sarina/Ruby are, with the togetherness of the Hoshino family as a trio and Ai specifically as Aqua and Ruby's mother being emphasized as having a great deal of meaning and importance. But this chapter doubles down on essentially erasing her as a figure of weight and consequence in the twin's reincarnation in a way that is both inconsistent and just kind of leaves a bad taste in my mouth.

Like… I'm sorry, but given how much of Ai's character revolves around her being the victim of exploitation, of objectification, sexual and otherwise, of being forced to warp herself to response to the filthy desires thrust on her by the people around her, it's really just gross and a huge misstep for her to be reduced to a convenient walking uterus. It is yet another example of Ai being reduced to just a stepping stone in Ruby's narrative and part of a pattern in this regard I've come to really dislike. Framed like this, Ai's own act of bravery and love in giving not just herself but Sarina and Gorou the family all three of them were denied all their lives is now nothing more than a vessel for Sarina's wish fulfillment. As you can imagine, I kind of hate this too!!

Depending on if volume 16 follows 14 and 15's trend of being 11 chapters long instead of 10, vol16 will end on either 162 or 163 - based on how 162 ends, my guess is that this is our volume ender so I'm curious to see what form 163 will take - straightforward continuation of this scene or focus switch to other characters to maintain suspense? I guess we'll see in THREE FUCKING WEEKS……. Akasaka i swear to god……………………….

sidebar but tsukuyomi just out here floating is kind of wild. what happened to 'it's a normal child's body' ya little twerp?

[dross-the-fish]

Why do you dislike Musical!PoTO?

I've heard that there are better versions than the ones I've seen (a couple of clips of boots on youtube, the 25th royal albert hall performance and the 2004 movie) so take my ranting with a grain of salt. I've said it before and if you've followed me you probably know by now that I don't care much for Andrew Lloyd Webber, I feel like he's very hit or miss and for every Jesus Christ Superstar he writes there's a Joseph and the Amazing Technicolor Dreamcoat (pure shit, irredeemable, possibly the worst musical I've ever had to sit through) Something about Webber's music rubs me the wrong way, it seems like it's trying to be tongue-in-cheek but it just comes off as smug. Characters tend to feel extremely one-note. I HATE madam Giry in the musical. They kind of gave her the Daroga's role and it DOES NOT WORK. She says something early on in the film about how she thinks of Christine as a daughter but she doesn't do a fucking thing to protect her from Erik for the bulk of the musical? Like, you know what's going on, you know who her teacher is but your complicit in helping him deceive her? Why are you protecting him? It's not that you don't think he's dangerous, you clearly know he's capable of murder. I also hate how they handle Carlotta, she's not really a major character in the book and her singing is lacking not because she's bad but because she doesn't have any passion for her performances and she's wonderfully ruthless and calculating about ousting her competition. The depiction of a spoiled past her prime, primadonna who also can't sing and is too old for the roles she cast in is just another example of ALW being needlessly mean spirited. In the book she was actively manipulative about trying to kill Christine's career. There was something really villainous about the way she would use her popularity and her friends in high places to bribe the managers with flattery and gifts. She made newspapers stop giving Christine publicity to prevent her from getting her name out, then she filled the opera house with her own fans and supporters to outnumber anyone who was there for Christine. This woman has been in the game for a long time and she knows how to play it, probably because she's worked for years to build up her career and isn't ready to hand it over to some nobody from nowhere who happened to pop up on the one night Carlotta couldn't perform. You could write Carlotta with so much nuance and give her layers, make her an INTERESTING antagonist and ALW just doesn't. He goes for the low hanging fruit. The laziest trope he could have picked. Spoiled, vain and no actual talent. Given how much creative control over the movie he had I'm going to count that as his official adaptation of the musical and it takes everything I already don't like about the musical and makes it WORSE. Also I said before ALW writes music like someone who enjoys rock but doesn't actually understand it? "We needed somebody who has a bit of rock and roll sensibility in him. He's got to be a bit rough, a bit dangerous; not a conventional singer. Christine is attracted to the Phantom because he's the right side of danger." -Andrew Lloyd Webber on the character of Erik for the 2004 film. Honestly, no? No he doesn't, he has no rock and roll sensibility. Not in your musical, not in the book, not in the movie. What are you talking about Andy? That ridiculous guitar riff during the song The Phantom of the Opera? Because that meshed about as well with your hokey showtune style as eating cole slaw with your Chinese takeout. You CAN do it but you really shouldn't. "The film looks and sounds fabulous and I think it's an extraordinarily fine document of the stage show. While it doesn't deviate much from the stage material, the film has given it an even deeper emotional centre. It's not based on the theatre visually or direction-wise, but it's still got exactly the same essence. And that's all I could have ever hoped for." – Andrew Lloyd Webber

Andy you're full of crap. Go home. That said there are moments and songs I really like. Wishing you Were Somehow Here Again is heartbreaking and I like to think that she's talking about Erik and the broken pedestal of their relationship as much as she is her father. I don't know if that was intentional but I like the angle of Christine feeling heartbroken at the loss of a friend and father. But well, ALW ships Erik and Christine so of course that angle is never really considered. We get one moment where Christine is upset and says she gave Erik her mind blindly and one where she admits to being frightened of him before the performance of Don Juan, but I feel like as much as Christine is verbally resistant to him and clearly terrified of him the musical doesn't really validate her and takes every opportunity to build up the sexual tension between her and the phantom. The supporting characters don't really help either, Madam Giry is complicit in Erik's manipulations, Raoul seems largely dismissive and more focused on hunting down Erik when he finally believes her than protecting Christine (AllI Ask of You is a nice song but Raoul's actions and attitude before and after make it feel a bit hollow). In some weird ways I get why people watch the musical and think Erik is the better choice despite...the stalking, kidnapping and murder. No one is really committed to protecting this girl, not even the people who claim to love her. I can easily see how she'd still feel a need to cling to her angel of music even after the mask comes off given how completely ALONE she seems while surrounded by people who allegedly care about her. I also don't like how Raoul is depicted. Maybe it's the actors but I feel like he and Christine don't have chemistry and half the time he seems annoyed with her. Especially Hadley Frasier feels like he's ten minutes from being completely done, he has no patience. I don't buy that this is a man who ran into the sea to fetch her scarf or would run into a dangerous underground lair to rescue her but I do buy that he's going to become a drunken asshole in 10 years so I guess what they did with him in LND is predictable even if it is completely stupid. If you made it to the bottom of this rant congratulations, I hope that explains why I am not among the musical's phans and why I don't like how much it eclipses the book or other versions. I do think it's good but overrated and the flaws are more than I can over look. And yet I still seek it out from time to time, I still like the parts of it that I like and that I think do work. It's like a toxic ex I can't fully break up with, which I suppose is kind of fitting given the subject matter.

[honestlyvan]

I do kind of wonder if the implicit assumption that Door is mad at Alan for involving Saga should be re-examined a little bit.

The game is very careful to not frame any of Saga's relationships as paternalistic. Like, repeatedly, with emphasis, especially among the relationships with people who are close to her and have reasons to act protective over her. Having Door primarily be motivated by a sense of righteousness over someone messing with his protectorate goes against theme with her, and would single him out as the only male character whose help Saga does need.

Furthermore, we know Freya didn't seem to think that highly of Door, never telling Saga anything about him and being firm in not wanting to discuss the topic. Her considering Door a potential danger to Saga just like her powers and choosing to hide the truth to protect her wouldn't make sense if she, too, could use her seer powers to confirm that Door did have Saga's best interest at heart, and with Door existing outside of time, I don't think there's adequate signalling that this would be something he would have had a change of heart about.

Furthermore, while Door is very likeable and definitely not a villain or even an antagonist... he is very trickster-like, and seems very cavalier with how he chooses to interfere and when. From his interactions with the Old Gods, spending fourty years on kill-on-sight terms with them only to happily fanboy over having them on his show and collaborate with them to mess with Alan, to the way he almost deigned to let Alan create a hint for Saga about how to use her powers rather than letting Saga and Tim just work it out amongst themselves, he's playing the long game in every situation and seems to enjoy making the story take twists and turns because of his involvement.

So Door is in a weird superposition of meddlesome/hands-off largely because I almost got a sense that with Saga, he's keeping his distance on purpose. Keeping himself concealed and out of the conversation, despite much of her story being discovering her origins and discovering her own supernatural influence. Outside of letting Alan create a single manuscript page about him, he doesn't even hint at his own existence while Saga is in the Dark Place, theoretically right there for him to reach out to.

And if Door does ultimately think that surely any daughter of his can handle herself, there is one another innocent that has been involved in this all by Wake I could see him getting worked up over instead.

[crossdressingdeath]

Thinking about it having taken some time away, a revenge plot like Karlach's was I think one of the worst possible choices for a BG3 companion quest even before we get into what a half-assed fake drama story it is (why isn't her quest finding a damn Wish scroll, Larian, that would actually be fun and wouldn't cut into Wyll's quest or demand the player choose her ending if they want her to live, there are multiple spells that could fix this and we're given exactly zero explanation for why we aren't even trying to get one, you even brought Wish into the plot as a non-standard game over and then didn't bring it up here when it would be an ideal solution), because it really brings the massive double standard the game's got going on into stark relief. It's most obvious in contrast with Astarion. Like, think about it: the Gur's desire for revenge against Astarion is every bit as justified as Karlach's desire for revenge against Gortash; actually it's more so, given they have a real (though faint) reason to hope that they can actually accomplish something outside of his death, namely getting their kids back. But giving him to the Gur kills him and costs you a companion; it's a failure as far as his character arc goes, and in fact happens so early on he doesn't really get a character arc. All of that potential development is cut short and you have to see his corpse in the ritual and it is in general treated as a bad thing. The much better way of handling the Gur situation is to talk to them in act 3 and drag Astarion into atoning for what he did by trying to deal with Cazador and rescue the kids. This is good! Blind revenge solves nothing, having people pay for what they did by atoning and having to help the people they hurt as best they can is a much better solution! We love to see it!

Now you'd think the equivalent to that would be to dissuade Karlach from her revenge and instead get Gortash to fix the heart (either with his knowledge of the tech involved or—my personal favourite—his power and influence being used to acquire the use of one of the spells that could repair it or replace it with a normal heart because again there's more than one of those and it's stupid that none of them are even brought up as potential solutions), but... nope! Revenge is only bad when those outsiders do it, when it's a companion it's the only real solution! Like, yeah, she's got that thing where she complains that it didn't help at all but... we knew killing Gortash wouldn't help from the start. I don't remember if Karlach herself ever brings it up, but it's hard to miss that killing Gortash will not solve anything Karlach's got going on. And if you don't kill him you don't even get that much acknowledgement that revenge isn't a great solution. And also that's the most basic revenge plot outline, "revenge feels empty" is so fucking common as an ending. But it's just a moment that makes it so clear that Larian wasn't really interested in exploring the themes of the cycle of abuse and how aggressors can also be victims and all that with... anyone except the companions (and even then not always; see their complete unwillingness to ever engage with pre-amnesia Durge as anything but a heartless, crazy murderer despite the game itself including plenty of implications that that wasn't the case). It makes it seem less like a discussion on the cycle of abuse and more like good old-fashioned protagonist-centric morality, where the bad things the heroes do are forgivable because they had a hard life but anyone who hurts them is irredeemable no matter how hard their lives were. And it could've been avoided so easily (in a way that also gave Karlach's quest a more satisfying ending) by having a better ending to her quest that focused less on revenge and more on restitution. But no, heaven forbid we be allowed to engage with the act 3 antagonists in any meaningful way outside of killing them or acknowledge that the main thing separating them from the less moral companions is that no one helped them...

[foxwitchaine]

Which is your most hated character in Miraculous Ladybug?

I wouldn't say hate so much as strongly dislike, as it takes a lot for me to outright loathe a fictional character. More often than not, I have better things to spend my energy on than hating a fictional character.

But if I were to answer that, five take the top spot:

1.) Lila Rossi

I know. Surprising, isn't it. Well, it's all fun and games until you actually meet one in real life. And it's frustrating as hell getting those with the wool over their eyes to listen until it's too late. I have to emphasize that it wasn't originally part of the plan to redeem her in the early drafts. It was thanks to Rafe that I even considered doing a Lila redemption.

Lila had a lot of potential in the early seasons. Of course, that was before she was turned into a one-dimensional villain with little in the way of making her interesting. It says something that I got the feeling the showrunners were trying to make her hateable without actually putting in the effort while reading the Chameleon transcripts. (I had to stop reading to settle my blood pressure)

All in all, Lila is just a symptom of a bigger underlying issue regarding the show's writing. I personally think she has a very nice design, but it looks better in 2D than 3D.

2.) Gabriel Agreste

He's a severely underwhelming main villain. At the start, he had potential. But as the series drags on, it's become painfully clear that the showrunners don't actually know how to make a compelling main villain. He was surprisingly much more intimidating and better-designed in the pilot PV.

Gabriel also lacks the charisma you would find with iconic main villains such as Sephiroth from Final Fantasy VII, the rogues gallery in the first Powerpuff Girls, Batman's rogues gallery, and so on. I could make a whole post about how to write Gabriel better, but I don't feel like resurrecting a dead horse.

3.) Adrien Agreste

The poster boy for wasted potential. When Rafe and I first started watching Miraculous Ladybug, Season 2 hadn't been released yet. He was nice, if a bit bland. Could have used some flavorblasting in both design and personality (he's a fashion model, for crying out loud. Where's his fabulous wardrobe?)

And then all the red flags in Seasons 3-5 started popping up.

As it stands, he's nothing more than a plot device to humiliate poor Marinette. And a mouthpiece for the writers' very skewed morality. We weren't going to redeem him at first, but then it occurred to me a fantastic way to strike a devastating blow against Gabriel. I won't say anything more since they're spoilers.

4.) Alya Césaire

Ohhhh boy. Where do I even begin with this one? Disregarding the racism allegations towards the writers regarding her character, Alya is just an awful best friend, plain and simple. While it's true that she's a go-getter who isn't afraid to go for what she wants, that same trait has pretty much been solidified into a toxic trait courtesy of her refusal to question Lila later in the show. Even after Marinette broke down in front of her and confessed her secret identity in Gang of Secrets.

I will forever hate that episode just for how entitled everyone was about Marinette's secrets.

When Rafe and I were brainstorming who to use as our civilian antagonist to fill in for Lila, it was rather telling that Alya was among our first choices. It wasn't our intention for her to fall as hard as she did in The Wolves in the Woods, but honestly? It was inevitable.

5.) Caline Bustier

She's a non-authority figure who coddles the troublemakers in her class. I'm restraining myself at the moment because I've had teachers just like her in real life. Who look good on paper and are the sweetest people on the outside. But their inability to discipline a class regardless of behavior does a lot more damage in the long run than many would care to admit.

Bustier is a character who I could have grown to understand if the writers handled her better. The biggest brat of the school is the daughter of the city mayor. That right there is a beautiful setup for interesting conflict. We could have gotten a plot where we had a good, caring teacher trapped in a terrible situation by her superiors. Which is unfortunately something that can and does happen in real life. Instead, we got an airhead who can't for the life of her understand this simple thing called nuance.

I find it very telling the fandom prefers Mendeleiev over her.

Honorable Mentions:

Principal Damocles: Too much of a spineless noncharacter to really care about

Tom and Sabine: I try to understand the parents' side of things given parenting is far from an easy task

Bustier's class: A mixed bag here, since I don't think they're necessarily bad kids

Mayor Bourgeois: Again, another mixed bag here since he's another spineless "parent"

Zoé Lee: Too much of a blank slate to have an opinion on

Félix Fathom: What kind of a name is that?

Master Fu: He was done so dirty in his backstory

Chloé Bourgeois: Another with wasted potential

[charalysis]

Darksiders: War

So, I may once again reference real world disorders as a launching pad for discussion about behaviors and actions. I will reference both games and book. Thank you!

To begin, let's talk about War's baseline characteristics.

War is certainly more, shall we say, heroic of the Four. He is loyal, lawful, and regularly tries to be by the book, methodical, and overall tries to be good. Maintaining Balance in the universe is his main goal, the thing he strives for. He wants things to maintain order, regardless of who's messing it up. Admittedly he had a bias against demons, but that's not to say he likes angels.

In his efforts to be a lawful individual, he also strives to be a better person overall by trying to be kinder than other Nephalim where he can. He seeks connection and even affection, with Strife in particular.

Throughout Genesis, War and Strife can stop and talk and often these conversations drift towards the emotional and hard to discuss. Charged topics that Strife has genuine difficulty addressing.

But War helps him work through these emotions and topics, giving him his own perspective and trying to ease his mind, even if it fails or they disagree. No matter what, War seems incredibly willing to stay by Strife's side.

This loyalty and desire to help and seek connection is also present in Abomination Vault, when he goes to help Death handle the crisis, despite being told no and even threatened. He is eager to help the eldest Horseman, and he is even angry at himself for nearly dying/dying, thinking he's failed Death some how. He doesn't even question it when he's brought back by Death, he just rambles about his failures and saying Death should have let him die.

And with Fury, he shows he cares for her. When Fury is summoned to handle the Seven Sins, War is already bound by the Council. She's surprised by his state and the accusations, but ultimately is dismissive for the moment. War, on the other hand, speaks to her. He tries to warn her to be cautious, tell her something is acting against them and trying to hurt them, showing he very much cares about her well-being and safety.

War is repeatedly shown to be caring, in his own way, with his brothers. He worries about their safety, tries to assist them as needed, and tries to comfort them in their grief or anger. He is exceptionally loyal to them and doesn't seem eager to betray or harm them.

Loyalty, while being a fantastic virtue, is ultimately one of his biggest flaws too.

From Genesis and a good bit into the first game (canon's timeline wise), we hear him constantly say that he doesn't think he or the others should question the Council. He's the biggest believer in the Balance and is the most eager to maintain it. He is unwaveringly and unquestioningly loyal to the Council, which is ultimately why he doesn't suspect them directly of screwing him over until much much later on in game one. His loyalty blinds him to the notion of betrayal from the Council.

However, whenever he finds out his loyalty has been betrayed, he is far from afraid of going scorched Earth and enacting revenge. He, with Uriel's assistance, kills the Watcher for his treatment and for being a pawn in the clearly corrupt Council's machinations against the Horsemen.

And revenge/vengeance is apparently something War isn't unknown for. He's clearly displayed enough "eye for an eye" behavior over the centuries for the Council to note its a perfect motivator for him. Thus, he became their scapegoat and was thrown to Earth to prove his innocence. And Samael later points out that he "knows a quest for vengeance when he sees one". Samael's semi-Omniscience aside, he isn't wrong in just making the assumption. War was absolutely aiming to make Abbadon, Straga, and anyone else in his way pay for their actions. I do find it interesting that, ultimately, he chooses to spare Ulthane and Azrael.

Granted, Ulthane does help him more than hinder him despite being antagonistic. And in the case of Azrael, War realized he needed the angel's help, then also saw the immense regret within him. Of course, War is also fully aware that Azrael is a powerful archangel, adept in illusions. He also likely wouldn't have risked a fight with Azrael lest he die, or he actually kill the angel and lose out on valuable information. All this to say, War's intelligent and isn't a stranger to variables, despite often acting on emotions.

Despite popular belief, War is not hot headed or temperamental. War is actually extremely level headed and calm. He thinks through his actions and possible causes. He tries to account for all outcomes, and the consequences of his actions. If he can gain a tactical advantage.

Because he is an embodiment of war itself.

Wars are brutal, bloody, violent... But it's not about whos weapon is better that wins. There's strategy, planning, and a lot of luck.

War himself strategizes a fair bit when it comes to who he can keep alive and who he can get away with killing. Who can be his ally and who he can sacrifice as a foe. He measures who he can take on and who's not worth it.

Its why Samael and Vulgrim don't die, despite War's bias against demons.

Samael, even in a weakened state, is too powerful for War to take on alone. Samael, though, offers assistance if he himself is helped first. War isn't stupid enough to reject help from someone he a, can't kill, and b, is offering their powerful assistance.

Vulgrim had the benefit of Council endorsement at first, but War certainly realized the value he got from dealing with the merchant. Vulgrim offers him health shards, weapon and magic upgrades, and of course, Serpent Holes.

The value of these two cannot be understated in the first game, especially since War is utterly alone otherwise. They're who we spend most of the game with, aside from the Watcher.

Now onto my favorite topic! Symbology!

Similar to Death's mask, War's got a hood obscuring most of his face, particularly his eyes. In fact, he often has to adjust how he's looking around to properly see sometimes.

In terms of symbology we can infer this to be representative of his own clouded and obscured view of things. He has to shift the facts into just the right order and perspective to see the truth of what's happening to him and what happened to cause the apocalypse.

Another piece of symbology is which arm of his his prosthetic.

The left.

Biblically speaking there's a few things to address, as Darksiders is heavily based in Christian and Jewish mythology. I am wildly unfamiliar with Judaism and their symbology, despite lengthy research attempts, and thus am uncomfortable addressing the possible symbology on that side if things. However, I am familiar with Christianity.

In the Bible, the hands are referenced a few times, but the right hand is referenced about 100 times, where as the left hand is mentioned maybe 25, all negatively. However I wish to focus on one particular passage.

Matthew 6 says, "Verily I say unto you, They have their reward. [3] But when thou doest alms, let not thy left hand know what thy right hand doeth: [4] That thine alms may be in secret: and thy Father which seeth in secret himself shall reward thee openly."

This essentially says, "don't tell everyone when you're being generous. Don't brag about generosity or your righteous deeds, for that's not righteous or virtuous. That needs to stay between you and God".

In the case of War, he doesn't often hide what he's doing when he's been told to do it by the Council, often announcing it to those he deems allies. He's not exactly subtle or easy to miss. Nor is his prosthetic.

He's obviously a Horseman, he's obviously on a mission when he's seen out places he's not normally. Everyone knows something has happened, or going to happen, when War shows up. War isn't keeping his service to the Creator secret in any way.

Outside of Christianity, and into more occult and spiritual circles, the left hand is symbolic of dark magic, darkness, and weakness.

War's left arm is the one he was wielding Chaoseater with when Death cut his arm off.

Since that, hes worn a almost demonic looking, magical prosthetic that basically has a pocket dimension I think.

When his arm was cut off, it was in a moment of emotional weakness, and he just so happened to run Death through, a far stronger opponent. So his weakness was cut from him in a way and replaced with the stronger, and useful, prosthetic gauntlet.

Bad segway: War's also not taken as seriously by the other Horsemen. He's the baby of them, likely the last of an entire generation of young Nephalem. Often it seems the other three don't take him seriously until he proves them right. Strife though seems more willing to hear him out, but that could be because they're pretty close, even able to laugh together.

Tl;Dr: War is intelligent and loyal, even kind, but lacks the ability to see passed his ambition or goals until its almost too late. He's also surprisingly impulsive.

[taylor-titmouse]

my review: i liked how comedic it was, youre good at comedy. i like sex farce

the dubcon felt a lot more like noncon in this one, kinda like the tower book (autocorrect flat out wont let me try to write the actual title. sigh.) and the threats felt a lot more threatening and the villains a lot more villainous. the bandits are definitely the most antagonist-y antagonists youve written aside from the cult in the risen king and our lovely wizard friend romick. mark and george are especially unpleasant (in an amusing way) and i wonder if you intentionally wrote them to be misogynistic as thats something i picked up on from them. they (sam and vanesse too but to a lesser extent) felt like they were written to be actual threatening sex criminals whose acts are considered sex crimes within the narrative/universe, once again similar to romick. angre definitely did not seem to be having a good time during the sex scenes and neither did vanesse when the goblins got her. now none of this is bad in my opinion, i actually quite enjoyed these aspects. but i do think its something people who are sensitive to that type of thing should be aware of

another thing about the story is how it handled gender and expression and all that. that was my favorite aspect of the book. i also enjoyed the world building. youve got a good eye for fantasy world building thats both fun and makes sense. i think you also do in-universe species-ism/prejudice very well too. id read a book by you thats a field guide to the world youve crafted

this is an interesting takeaway because what you're saying much more accurately describes the first draft, to the point that when i read this ask the first time, i was suddenly paranoid i had somehow uploaded that version. the second, final draft involved taking a lot of that real threat out and making it funnier, and trying to play closer to the space the chique books are in, where getting fucked by whoever catches you is a common, acceptable risk.

like the only sex in the whole thing that you could call non-consensual was vanesse and the goblins, but it's presented as a fair punishment given what she does to angre, and it's not presented as a horrible/violent violation, just an annoyance. it's a villain getting what was coming to her. tonally it's different from what people generally think when it comes to non-con, which is why i group it in with dub-con. if she would consider anyone she defeats on the road fair game, the same must be true of her. that's the nature of the world. she "consents" by playing the game, essentially.

similarly angre knew the risk he was taking and specifically goads vanesse into fucking him, so i don't know where you got the idea he didn't want the sex. he came twice. he was fine.

anyway. the question of whether i wrote georgie and markie to be misogynistic on purpose is really funny. no man it happened by accident in the book about fantasy intersectional misogyny. i didn't think about it at all.

i'm glad you liked it i'm just very "huh." about some of your takeaways lol

[warden-melli]

So we know that Melli Pretends to have another personally. Like he pushes people away with a completely different personality than is naturally shy one. Does this mean that people have hurt him in the past due to this? Because normal people, who aren't hurt by others, don't push others away from themselves by having a different personality. This just makes me sad for him, that people have hurt or even used him due to him being shy.

I feel it’s very much open for interpretation. It’s an interesting angle to examine his character from, even if I don’t share that headcanon/interpretation. While it’s true that Melli has adopted a different personality, I personally don’t believe that the intention in him doing so is to “drive people away” at all, actually it’s the opposite. He’s just really bad at it

Mai tells us that Melli’s goal in life is to help Adaman become a great leader, and it was the declaration of that goal that accompanied his change in persona. Melli is a naturally shy person, so in order to help Adaman, Melli felt it was necessary to change the way he presented himself in order to be the type of person that could help Adaman achieve that goal. That if he was seen as meek, timid and unsure of himself, that he would never be taken seriously. That he wouldn’t be good enough.. So he had to be great. It was more a fear of not being perceived as good enough, not a confirmed reaction to any specific act of trauma that caused Melli to adopt his persona. He is “fake it till you make it” personified, the only problem is that he never did “make” it, so he just comes off as fake. Because he is.

As a naturally shy person, Melli truly lacks the understanding of what it means to truly be confident, so the persona that he presents is more of a caricature of what he believes a confident person to be, resulting in an over exaggerated performance of “confidence” by a person who is not confident in the slightest. I think an important aspect of Melli’s character is that he genuinely doesn’t know that he is being perceived as arrogant, he thinks he’s performing confidence. He doesn’t necessarily think he’s being rude, he is trying to be assertive. The same lack of social skills that facilitated his shyness, now render him incapable of correctly interpreting how others perceive him at all. He genuinely believes that he has everyone fooled, that his act is flawless and that no one can tell that he isn’t still that same, shy little boy from all those years ago. And he’s partially right, because to a lot of people he is not perceived as shy or insecure anymore, but as overconfident and stuck up. This is ironic because in his attempt to be seen as someone more likeable and worthy of being included, he has accidentally presented a persona that has instead pushed others away

It could actually be argued that his entire motivation in the plot of PLA is to actually be more included, not to push people away. He’s is upset and confused when he isn’t invited to the meeting about Lord Electrode. He is actively distressed and insulted by being asked to let you handle the situation with Lord Electrode without his help, and asks to be included in the plan later on in the plot, becoming angry and upset when Adaman turns his help down. He seems deeply upset that Adaman intends to rely on other people, including the player character, instead of him. The entirety of the duration of PLA, Melli is advocating to be included, and all of his purposefully antagonistic behaviour during the events of the plot can be linked to situations where Melli is insulted or excluded in some way, especially by Adaman, the person he looks up to (metaphorically lol) more than anyone in the world. Melli’s happiest moment in the entirety of the game is actually when Adaman chooses to invite him to battle alongside him down in Jubilife village, finally being included by Adaman after being pushed away the entire game

Personally I think the saddest part of this interpretation is that the tremendous and years long effort he has put into masking his true self is most likely unnecessary, and its his own anxiety and lack of self worth, not any real tangible threat of rejection or incompetence thats lead him to act this way. He appears to be an extremely gifted singer and performer, and there is supplemental material that indicates that he is generally pretty well liked in his community. He was also able to achieve the position of warden, something unlikely if he wasn’t a capable person, regardless what persona he presents. Even his main goal in life, dedicating himself to helping someone else to achieve the honour becoming a great leader, as opposed to trying to become a great leader himself, highlights his lack of self worth, as it doesn’t even seem to have crossed his mind in the slightest that he could be capable/worthy of achieving something like that for himself. Quite the contrast to the persona of “the great Melli”, but that’s precisely the point, isn’t it?

But this is just my interpretation of course, and while I don’t really see any evidence that mistreatment is the reason behind Melli adopting his persona, that doesn’t mean its not a valid, and super interesting interpretation. I think it would be incredibly tragic to learn that he has been hurt in his past, especially with how dedicated he seems to be to his people, their leader and their beliefs. I would feel sad for him too :(

[homestuckreplay]

no such thing as a free fetch modus

(Page 111-130)

I'm trying to feel sympathetic for John, I really am, I love the kid, but... he found a free fetch modus in the back of a book called 'Data Structures for Assholes', where the whole premise of the book is the author yelling at the reader for being stupid, immediately applied it to his sylladex without knowing if or how he could switch back, proceeded to fill his inventory with the sharpest, messiest and most dangerous objects in his room... and was surprised when it didn't end well?

Like, John doesn't need to read Data Structures for Assholes because he's living it. Nothing else in that book could be more assholish than a modus that cuts off his hair and launches fragile objects out the window. It's a weirdly interesting comparison with his dad - John seems convinced his dad is an antagonist he needs to outwit, and he also called Betty Crocker his arch nemesis, even though his dad actually just loves him and goes overboard in showing it, and Betty Crocker makes sweet treats that most people enjoy. Meanwhile, Buckminster Funnyuncle aggressively telegraphs how much of a rude bastard he is, and John is like, 'surely this guy isn't trying to screw me over with this new fetch modus'. Is John naive? Bad at reading people? Or simply a massive contrarian?

John's frustration is so clear in the text, and I'm feeling it too from the update schedule. These past few update days have felt very one step forward and two steps back, like we're further than ever from achieving John's simple goals of playing a game and opening a box. And for all I'm judging him, I know the feeling of getting so frustrated with something that you can't think straight, and keep throwing shit at the wall instead of taking a deep breath and trying to fix things reasonably. It's a testament to the writing how well these emotions carry over to the reader.

Unrelated; I wonder why John is having connection issues with Sburb, considering his internet has been good up until now. I wonder if lots of other kids in the neighborhood are trying to play this game too, if they all got their deliveries today. The game is clearly a Big Deal and well publicized, and maybe the servers can't handle it. That, or MS Paint Adventures has given John's computer a virus that's getting in the way. Any other theories, I'd love to hear them.

[reedeemable]

I don’t know where this “Connor killed Gavin in the evidence room, he didn’t knock him out” shit started but it makes no sense.

If Connor killed Gavin in the evidence room, you know that he would be arrested, possibly deactivated, right?

I don’t care how much you hate Gavin, how much of an asshole he is, there is no way, even if the revolution was successful that anyone would pardon that.

Connor was somewhere he wasn’t supposed to be. Connor, at that point, failed his mission. He was to report to Cyberlife and he would be deactivated. That was it.

Whether he asks Hank for help or creates a diversion, he illegally accesses the evidence room.

Gavin following him, Gavin checking on what he was doing and then, depending on Connor’s answers, deciding to investigate because he was acting suspicious was what he was supposed to be doing.

Yes, Connor wasn’t a deviant at that point and was trying to stop the revolution but why would Gavin believe that? Connor is a robot, he is supposed to follow orders. When Gavin saw Connor messing with shit he shouldn’t have been messing with, what was he expected to do?

Yes, Connor tried to explain but why would Gavin trust him. Connor was already disobeying commands. What reason did Gavin have to trust him at all?

And lastly, Connor isn’t stupid. He would know all of this. Connor was somewhere he wasn’t supposed to be. That’s already a strike and then he kills a human who was just doing his job?

Cyberlife agents are a different story since Cyberlife is the antagonist and such but even with them it could be argued that they were just doing their job as well and trying to stop the threat of deviancy. So it would actually be interesting to see how that would have been handled post game.

But anyway, it’s just so dumb and it clearly comes from a mindset of “I hate Gavin, I want him dead”. There’s no reasoning, no thought and no common sense behind that idea at all.

[moltensmusings]

Would love your headcannons/thoughts on how you'd do GMG differently if you have them! Sometimes with the later arcs they're so bad it's tricky to think how they could go better I feel because the fundamentals are flawed rather than just a few bits you can ignore. Does your version of Mavis still turn up and strategise? I kinda love that thought because I can see your version of Mavis running things like it's a battle even though its much less of a big deal 🤣

Ah this might be a long one. I do want to note, we're only on episode 171, but I do distinctly remember most of the arc since I liked it so much as a teenager (it does have some good moments in spite of my complaints.)

Gonna put it under the cut!

So first: I actually am torn about how I'd handle the existence of Mavis in the grand magic games. I kind of like the idea of her only appearing to Cana because (in my rewrite) she actually fully passes her magic to Cana on Tenrou leading to her spirit being tied to her directly. She can leave the island because she goes where her essence does.

That said I'm also really liking the idea of Hyper serious Mavis who is otherworldly and militaristic, being incredibly reactive and emotional due to her competitive spirit. Her swapping from being upright and poised to Sports coach in an instant as she wills the guild to win is so incredibly funny to me.

Next: in the lead into the grand magic games we do a training arc. Most focus would be on Lucy and team Natsu would seperate. I mentioned in an earlier post we should've had a mentor figure who is a celestial mage and this would be the arc where they get the most screentime. They'd have been introduced pretimeskip and them training lucy would've been set up as a "once you get back from tenrou we have things to discuss" bit. During this arc Lucy learns about the concept of star dresses (she isn't able to use them for a while), how different spirit combinations can produce new attacks, and also heavily focuses on strengthening how well she can maintain multiple summoned spirits. We could get glimpses of the other characters doing training of their own but part of this mini arc would be to set up anticipation for what everyone else learns in their time away.

Raven tail not being one of the competing guilds would open up the chance for us to have someone else take their place and remove the Lucy vs Flare fight, replacing it with a fair fight instead where we actually see how much Lucy has grown as a mage and build up a high of her winning before we have the Minerva fight where the cruelty of sabertooth is shown. Lucy gets at least 1 win. It would make the Minerva loss hit harder and honestly make Minerva work better as an antagonist in my opinion if we get relatively clean and fair matches up until she arrives. She never outright breaks rules so no one can penalize her, but she does make things hell for fairy tail.

I'd have the audience be less of a hive mind in reacting to what happens in the games. Add In a mix of jeers and cheers for various guilds. Have side characters from magnolia who still love the fairy tail guild be in the audience voicing their support. In general just add some variety to the reactions we get.

Overall I'd probably keep the general plot outline the same outside of this, however I'd make things less one note. None of this "all guilds only stand a chance because the tenrou crew wasn't there" nonsense. Each guild gets highlighted as a strong presence in its own right. Though I will admit, I'd swap out Jura for a different mage in Lamia Scale because them allowing a wizard saint to compete feels like a conflict of interest. He can still be there as a character to interact with, just not competing.

Similarly I'd remove Jellal as Mystogan because i was under the impression people knew mystogan was inactive and the choice to include him was only done to give Jellal more presence in the plot, when him running an almost espionage like mission during the games with Crime Sorciore works fine on its own. We don't need to tie his plot directly into the fairy tail guild, focus instead on how he plays off Ultear and Meledy and the mission they came for. This does mean Cana would be our team B main stay instead of swapping in.

I mentioned in my complaints that someone else should've gone through the time gate Lucy creates and and I stand by that. I think whoever makes it through stating that everyone is gone and Lucy gave her life for the chance of a redo would be way better than her dying randomly trying to protect Natsu. It would also just fit what I know of the lore far better.

I don't even know what to say about the fanservice fight because conceptually it could be a funny cut away moment, but also it's really grossly handled and purely done to cater to the viewers in a way that sours me on it. So I'm ignoring it.

I think my last major note (with my current memory) outside of "1v1 battles need to be better written" is I'd actually consistently show the streets of the city to be very celebratory and excited. I really did enjoy the drinking party where we saw Fairy tail meet Bacchus and just have fun. We need more of that as well as the general idea that during the games the city is constantly alive. It would make the eventual dragon appearances and shift from revelry to terror more poignant. It would also help lean into the idea that most viewers only see the games as a spectical with no real care for the wizards competing when we have guild members get hospitalized while parties still go on.

I do want to note: I may have more to say once we finish the arc. But for now this is it!

[bravelittleocelot]

Honestly I wanna ramble some more cuz I'm so excited for vengeance and I heard love in paradise and gods games again, and I just,,,,,, I don't think I've actually rambled about my interpretation of love in paradise much outside of calling out the racism im noticing,,, so I'm going to do that now and then I'll stop posting for a bit cuz I need to lmao

this got long so I'm putting it under a cut, last chance to not read this. if you just want to argue with me about it just scroll by or block me. I'm not here to change anyones mind or argue I just want to talk about how I interpret the songs. Please don't bring up how you think she raped him on this post.

I think that both Calypso and Ody went through those seven years literally like, that bus meme LMAO. But I still think they developed in really interesting ways too (for better and worse). like,,, when we first meet Her we meet this goddess who has no idea how to exist with another person, she dismisses everything Ody says, she seems to view him closer to a pet than anything else (one way to interpret why she does this is because up until now she's had animals and inanimate objects to keep her company? If what I'm gathering from not sorry for loving you is right she was just fuckin left there) but by the end of the song she's pleading for him to listen to her. She's calling him Ody - he doesn't tell her his name in the start of the song (and as much as I like the theory that he repeats the things his friends have said to him in his sleep, I prefer the idea he did introduce himself at some point) and I think it really does feel like she's listening to what he's saying but she has no idea how to handle it. Like, even if we do use the "she still sees him as a pet" interpretation, your pet becomes suicidal, wtf are you gonna do? If my cat went to a cliff and started screaming about me not knowing what he's done and gone through I wouldn't know what the fuck to say either. I don't think she's trying to seduce him off the cliff (and I think it's super weird people make it out that's what happens!) I think she's literally on her knees begging the only person she's ever known to come back to her so that she can help him,,,, she doesn't help him, obviously, she triggers the fuck out of him but by god she's trying!!! lmfaooo.

....actually I guess Ody is more a golden retriever but you hear me.

Anyway

She's an antagonist for a reason, she literally cannot understand why keeping him captive there is wrong. I still don't think she rapes him, but I do think it took her a long time to understand he has boundaries. and I think "and if I pushed you/ came on too strong" etc in not sorry for loving you shows us, she, still, can't understand why what she did was bad after all this time, she was just trying to love him in the way she wanted to be loved. and that is, honestly, terrifying and heartbreaking all at the same time.

as a side tangent, Because we know Jorge loves to use wordplay (look how he used double meanings during Suffering) when she sings "Under my spell, we're stuck in paradise. No one can come or go, my island stays unknown" you can for sure take that to mean "under my Curse, we're stuck here Together", and tbh I feel like that's backed up in what I've heard of Not Sorry For Loving you? She's, for sure trapped him, im not arguing that, but she's stuck there too. I don't have a point here cuz imo it doesn't actually make her anything other than more tragic and more of an antagonist cuz girl you KNOW what it's like to be stuck there, it might be paradise but you said it yourself you're!! stuck!! Jorge uses his words so carefully (at least 98% of the time), she's not just casually saying stuck imo!! Actually maybe I do have a point cuz imo that makes it even more interesting!! Like, no wonder she doesn't want to let him go!! He's the only person she's ever met and probably the only person she ever will meet!! "My island stays unknown"!! Selfishly, there's no fucking way she'd let him go without divine intervention!! Scary!!! UGH I love this, it's so tasty and complicated and!! That makes a good antagonist!!! She's great I love her 10/10 mr jorge this is a GREAT version and I will marry her.

And Ody,,,,,,,

God where do I even begin with Ody. I said before that I think the worst part of this for him was to be reminded of Polites every fucking day for seven years. Because lets be real, she might be Coping but she calls her own prison a paradise, she greeted him with open arms and greets her world with open arms (lmao and he becomes her world.... im not crying much its fine) . And like, there are a few ways to view that last bit of the song cuz she IS repeating things from the people he loved most, he could've been talking in his sleep and she's trying to use familiar phrasing or she could just be, yknow, Like This. and personally I love the idea that Ody was faced with someone who reflected all the pieces of the people he loved back to him, everyone except!! his wife!! She reflects the words of his mom, the strength of Eury, the open arms of Polites.... and my GOD would that be torture on top of being trapped. I said it before, there's three people on that island, Ody, Caly, and the intense!! guilt!! Ody feels!! And she makes it worse!! He's trapped, and he can't even escape the people he failed because she constantly reminds him of them (accidentally but still, constant).

but like he says in not sorry for loving you ( and I do not want to hear a fucking word about Stockholm syndrome this is my post and I'm putting my foot down) he loves her. cuz again, of course he loves her, how could he not love someone who reminds him of all the best parts of the people he loves. It's not romantic, it's not in the way she wants to be loved, It's probably incredibly painful, he for sure also hates her, but they spent seven years together. Seven years of existing together isn't something to sneeze at!! No matter what happened, there had to be Moments. Moments that gave him some sort of peace because otherwise he would've been on that cliff before the year was up.

And speaking of that??? What did he say to her all these years. That's what I want to know. Cuz despite me calling bullshit on sir yaps a lot NOT telling her about what happened to him, can we talk about

You don't know what I've gone through You don't know what I've sacrificed Every comrade I long knew Every friend, I saw them die And all I hear are screams

cuz what if!! she doesn't know!!! what if this whole time he tried to just talk about them like they were still alive or focus in on getting home to his wife and as he lost hope he stopped speaking so much, kept seeing her act like the people he loved, kept watching her try and love him in all the wrong ways, and kept the demons and guilt at bay until he just broke???

Also? again, the pet thing, if we want to go there.... if your golden retriever burst out with "ALL MY FRIENDS DIED" what the fuck would YOU do.... sorry im coping with humour, ANYWAY.

idk like, I just feel like there's so much to unpack here and I hope we DO get a little backstory on their lives together, I want to see people explore this in more ways than what I've seen. Cuz I think he connected to her, I think he understands that she's trapped there too, I don't think this makes it better but I think it enriches the story and it gives them such a cool dynamic.

Anyway this is long enough, it's late and I'm having many thoughts. Again if you don't agree with me that's ok just scroll on, I'm just yelling at the void