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mostlysignssomeportents · 10 months ago

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My McLuhan lecture on enshittification

IT'S THE LAST DAY for the Kickstarter for the audiobook of The Bezzle, the sequel to Red Team Blues, narrated by @wilwheaton! You can pre-order the audiobook and ebook, DRM free, as well as the hardcover, signed or unsigned. There's also bundles with Red Team Blues in ebook, audio or paperback.

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Last night, I gave the annual Marshall McLuhan lecture at the Transmediale festival in Berlin. The event was sold out and while there's a video that'll be posted soon, they couldn't get a streaming setup installed in the Canadian embassy, where the talk was held:

https://transmediale.de/en/2024/event/mcluhan-2024

The talk went of fabulously, and was followed by commentary from Frederike Kaltheuner (Human Rights Watch) and a discussion moderated by Helen Starr. While you'll have to wait a bit for the video, I thought that I'd post my talk notes from last night for the impatient among you.

I want to thank the festival and the embassy staff for their hard work on an excellent event. And now, on to the talk!

Last year, I coined the term 'enshittification,' to describe the way that platforms decay. That obscene little word did big numbers, it really hit the zeitgeist. I mean, the American Dialect Society made it their Word of the Year for 2023 (which, I suppose, means that now I'm definitely getting a poop emoji on my tombstone).

So what's enshittification and why did it catch fire? It's my theory explaining how the internet was colonized by platforms, and why all those platforms are degrading so quickly and thoroughly, and why it matters – and what we can do about it.

We're all living through the enshittocene, a great enshittening, in which the services that matter to us, that we rely on, are turning into giant piles of shit.

It's frustrating. It's demoralizing. It's even terrifying.

I think that the enshittification framework goes a long way to explaining it, moving us out of the mysterious realm of the 'great forces of history,' and into the material world of specific decisions made by named people – decisions we can reverse and people whose addresses and pitchfork sizes we can learn.

Enshittification names the problem and proposes a solution. It's not just a way to say 'things are getting worse' (though of course, it's fine with me if you want to use it that way. It's an English word. We don't have der Rat für Englisch Rechtschreibung. English is a free for all. Go nuts, meine Kerle).

But in case you want to use enshittification in a more precise, technical way, let's examine how enshittification works.

It's a three stage process: First, platforms are good to their users; then they abuse their users to make things better for their business customers; finally, they abuse those business customers to claw back all the value for themselves. Then, they die.

Let's do a case study. What could be better than Facebook?

Facebook is a company that was founded to nonconsensually rate the fuckability of Harvard undergrads, and it only got worse after that.

When Facebook started off, it was only open to US college and high-school kids with .edu and k-12.us addresses. But in 2006, it opened up to the general public. It told them: “Yes, I know you’re all using Myspace. But Myspace is owned by Rupert Murdoch, an evil, crapulent senescent Australian billionaire, who spies on you with every hour that God sends.

“Sign up with Facebook and we will never spy on you. Come and tell us who matters to you in this world, and we will compose a personal feed consisting solely of what those people post for consumption by those who choose to follow them.”

That was stage one. Facebook had a surplus — its investors’ cash — and it allocated that surplus to its end-users. Those end-users proceeded to lock themselves into FB. FB — like most tech businesses — has network effects on its side. A product or service enjoys network effects when it improves as more people sign up to use it. You joined FB because your friends were there, and then others signed up because you were there.

But FB didn’t just have high network effects, it had high switching costs. Switching costs are everything you have to give up when you leave a product or service. In Facebook’s case, it was all the friends there that you followed and who followed you. In theory, you could have all just left for somewhere else; in practice, you were hamstrung by the collective action problem.

It’s hard to get lots of people to do the same thing at the same time. You and your six friends here are going to struggle to agree on where to get drinks after tonight's lecture. How were you and your 200 Facebook friends ever gonna agree on when it was time to leave Facebook, and where to go?

So FB’s end-users engaged in a mutual hostage-taking that kept them glued to the platform. Then FB exploited that hostage situation, withdrawing the surplus from end-users and allocating it to two groups of business customers: advertisers, and publishers.

To the advertisers, FB said, 'Remember when we told those rubes we wouldn’t spy on them? We lied. We spy on them from asshole to appetite. We will sell you access to that surveillance data in the form of fine-grained ad-targeting, and we will devote substantial engineering resources to thwarting ad-fraud. Your ads are dirt cheap to serve, and we’ll spare no expense to make sure that when you pay for an ad, a real human sees it.'

To the publishers, FB said, 'Remember when we told those rubes we would only show them the things they asked to see? We lied!Upload short excerpts from your website, append a link, and we will nonconsensually cram it into the eyeballs of users who never asked to see it. We are offering you a free traffic funnel that will drive millions of users to your website to monetize as you please, and those users will become stuck to you when they subscribe to your feed.' And so advertisers and publishers became stuck to the platform, too, dependent on those users.

The users held each other hostage, and those hostages took the publishers and advertisers hostage, too, so that everyone was locked in.

Which meant it was time for the third stage of enshittification: withdrawing surplus from everyone and handing it to Facebook’s shareholders.

For the users, that meant dialing down the share of content from accounts you followed to a homeopathic dose, and filling the resulting void with ads and pay-to-boost content from publishers.

For advertisers, that meant jacking up prices and drawing down anti-fraud enforcement, so advertisers paid much more for ads that were far less likely to be seen by a person.

For publishers, this meant algorithmically suppressing the reach of their posts unless they included an ever-larger share of their articles in the excerpt, until anything less than fulltext was likely to be be disqualified from being sent to your subscribers, let alone included in algorithmic suggestion feeds.

And then FB started to punish publishers for including a link back to their own sites, so they were corralled into posting fulltext feeds with no links, meaning they became commodity suppliers to Facebook, entirely dependent on the company both for reach and for monetization, via the increasingly crooked advertising service.

When any of these groups squawked, FB just repeated the lesson that every tech executive learned in the Darth Vader MBA: 'I have altered the deal. Pray I don’t alter it any further.'

Facebook now enters the most dangerous phase of enshittification. It wants to withdraw all available surplus, and leave just enough residual value in the service to keep end users stuck to each other, and business customers stuck to end users, without leaving anything extra on the table, so that every extractable penny is drawn out and returned to its shareholders.

But that’s a very brittle equilibrium, because the difference between “I hate this service but I can’t bring myself to quit it,” and “Jesus Christ, why did I wait so long to quit? Get me the hell out of here!” is razor thin

All it takes is one Cambridge Analytica scandal, one whistleblower, one livestreamed mass-shooting, and users bolt for the exits, and then FB discovers that network effects are a double-edged sword.

If users can’t leave because everyone else is staying, when when everyone starts to leave, there’s no reason not to go, too.

That’s terminal enshittification, the phase when a platform becomes a pile of shit. This phase is usually accompanied by panic, which tech bros euphemistically call 'pivoting.'

Which is how we get pivots like, 'In the future, all internet users will be transformed into legless, sexless, low-polygon, heavily surveilled cartoon characters in a virtual world called "metaverse," that we ripped off from a 25-year-old satirical cyberpunk novel.'

That's the procession of enshittification. If enshittification were a disease, we'd call that enshittification's "natural history." But that doesn't tell you how the enshittification works, nor why everything is enshittifying right now, and without those details, we can't know what to do about it.

What led to the enshittocene? What is it about this moment that led to the Great Enshittening? Was it the end of the Zero Interest Rate Policy? Was it a change in leadership at the tech giants? Is Mercury in retrograde?

None of the above.

The period of free fed money certainly led to tech companies having a lot of surplus to toss around. But Facebook started enshittifying long before ZIRP ended, so did Amazon, Microsoft and Google.

Some of the tech giants got new leaders. But Google's enshittification got worse when the founders came back to oversee the company's AI panic (excuse me, 'AI pivot').

And it can't be Mercury in retrograde, because I'm a cancer, and as everyone knows, cancers don't believe in astrology.

When a whole bunch of independent entities all change in the same way at once, that's a sign that the environment has changed, and that's what happened to tech.

Tech companies, like all companies, have conflicting imperatives. On the one hand, they want to make money. On the other hand, making money involves hiring and motivating competent staff, and making products that customers want to buy. The more value a company permits its employees and customers to carve off, the less value it can give to its shareholders.

The equilibrium in which companies produce things we like in honorable ways at a fair price is one in which charging more, worsening quality, and harming workers costs more than the company would make by playing dirty.

There are four forces that discipline companies, serving as constraints on their enshittificatory impulses.

First: competition. Companies that fear you will take your business elsewhere are cautious about worsening quality or raising prices.

Second: regulation. Companies that fear a regulator will fine them more than they expect to make from cheating, will cheat less.

These two forces affect all industries, but the next two are far more tech-specific.

Third: self-help. Computers are extremely flexible, and so are the digital products and services we make from them. The only computer we know how to make is the Turing-complete Von Neumann machine, a computer that can run every valid program.

That means that users can always avail themselves of programs that undo the anti-features that shift value from them to a company's shareholders. Think of a board-room table where someone says, 'I've calculated that making our ads 20% more invasive will net us 2% more revenue per user.'

In a digital world, someone else might well say 'Yes, but if we do that, 20% of our users will install ad-blockers, and our revenue from those users will drop to zero, forever.'

This means that digital companies are constrained by the fear that some enshittificatory maneuver will prompt their users to google, 'How do I disenshittify this?'

Fourth and finally: workers. Tech workers have very low union density, but that doesn't mean that tech workers don't have labor power. The historical "talent shortage" of the tech sector meant that workers enjoyed a lot of leverage over their bosses. Workers who disagreed with their bosses could quit and walk across the street and get another job – a better job.

They knew it, and their bosses knew it. Ironically, this made tech workers highly exploitable. Tech workers overwhelmingly saw themselves as founders in waiting, entrepreneurs who were temporarily drawing a salary, heroic figures of the tech mission.

That's why mottoes like Google's 'don't be evil' and Facebook's 'make the world more open and connected' mattered: they instilled a sense of mission in workers. It's what Fobazi Ettarh calls 'vocational awe, 'or Elon Musk calls being 'extremely hardcore.'

Tech workers had lots of bargaining power, but they didn't flex it when their bosses demanded that they sacrifice their health, their families, their sleep to meet arbitrary deadlines.

So long as their bosses transformed their workplaces into whimsical 'campuses,' with gyms, gourmet cafeterias, laundry service, massages and egg-freezing, workers could tell themselves that they were being pampered – rather than being made to work like government mules.

But for bosses, there's a downside to motivating your workers with appeals to a sense of mission, namely: your workers will feel a sense of mission. So when you ask them to enshittify the products they ruined their health to ship, workers will experience a sense of profound moral injury, respond with outrage, and threaten to quit.

Thus tech workers themselves were the final bulwark against enshittification,

The pre-enshittification era wasn't a time of better leadership. The executives weren't better. They were constrained. Their worst impulses were checked by competition, regulation, self-help and worker power.

So what happened?

One by one, each of these constraints was eroded until it dissolved, leaving the enshittificatory impulse unchecked, ushering in the enshittoscene.

It started with competition. From the Gilded Age until the Reagan years, the purpose of competition law was to promote competition. US antitrust law treated corporate power as dangerous and sought to blunt it. European antitrust laws were modeled on US ones, imported by the architects of the Marshall Plan.

But starting in the neoliberal era, competition authorities all over the world adopted a doctrine called 'consumer welfare,' which held that monopolies were evidence of quality. If everyone was shopping at the same store and buying the same product, that meant it was the best store, selling the best product – not that anyone was cheating.

And so all over the world, governments stopped enforcing their competition laws. They just ignored them as companies flouted them. Those companies merged with their major competitors, absorbed small companies before they could grow to be big threats. They held an orgy of consolidation that produced the most inbred industries imaginable, whole sectors grown so incestuous they developed Habsburg jaws, from eyeglasses to sea freight, glass bottles to payment processing, vitamin C to beer.

Most of our global economy is dominated by five or fewer global companies. If smaller companies refuse to sell themselves to these cartels, the giants have free rein to flout competition law further, with 'predatory pricing' that keeps an independent rival from gaining a foothold.

When Diapers.com refused Amazon's acquisition offer, Amazon lit $100m on fire, selling diapers way below cost for months, until diapers.com went bust, and Amazon bought them for pennies on the dollar, and shut them down.

Competition is a distant memory. As Tom Eastman says, the web has devolved into 'five giant websites filled with screenshots of text from the other four,' so these giant companies no longer fear losing our business.

Lily Tomlin used to do a character on the TV show Laugh In, an AT&T telephone operator who'd do commercials for the Bell system. Each one would end with her saying 'We don't care. We don't have to. We're the phone company.'

Today's giants are not constrained by competition.

They don't care. They don't have to. They're Google.

That's the first constraint gone, and as it slipped away, the second constraint – regulation – was also doomed.

When an industry consists of hundreds of small- and medium-sized enterprises, it is a mob, a rabble. Hundreds of companies can't agree on what to tell Parliament or Congress or the Commission. They can't even agree on how to cater a meeting where they'd discuss the matter.

But when a sector dwindles to a bare handful of dominant firms, it ceases to be a rabble and it becomes a cartel.

Five companies, or four, or three, or two, or just one company finds it easy to converge on a single message for their regulators, and without "wasteful competition" eroding their profits, they have plenty of cash to spread around.

Like Facebook, handing former UK deputy PM Nick Clegg millions every year to sleaze around Europe, telling his former colleagues that Facebook is the only thing standing between 'European Cyberspace' and the Chinese Communist Party.

Tech's regulatory capture allows it to flout the rules that constrain less concentrated sectors. They can pretend that violating labor, consumer and privacy laws is fine, because they violate them with an app.

This is why competition matters: it's not just because competition makes companies work harder and share value with customers and workers, it's because competition keeps companies from becoming too big to fail, and too big to jail.

Now, there's plenty of things we don't want improved through competition, like privacy invasions. After the EU passed its landmark privacy law, the GDPR, there was a mass-extinction event for small EU ad-tech companies. These companies disappeared en masse, and that's fine.

They were even more invasive and reckless than US-based Big Tech companies. After all, they had less to lose. We don't want competition in commercial surveillance. We don't want to produce increasing efficiency in violating our human rights.

But: Google and Facebook – who pretend they are called Alphabet and Meta – have been unscathed by European privacy law. That's not because they don't violate the GDPR (they do!). It's because they pretend they are headquartered in Ireland, one of the EU's most notorious corporate crime-havens.

And Ireland competes with the EU other crime havens – Malta, Luxembourg, Cyprus and sometimes the Netherlands – to see which country can offer the most hospitable environment for all sorts of crimes. Because the kind of company that can fly an Irish flag of convenience is mobile enough to change to a Maltese flag if the Irish start enforcing EU laws.

Which is how you get an Irish Data Protection Commission that processes fewer than 20 major cases per year, while Germany's data commissioner handles more than 500 major cases, even though Ireland is nominal home to the most privacy-invasive companies on the continent.

So Google and Facebook get to act as though they are immune to privacy law, because they violate the law with an app; just like Uber can violate labor law and claim it doesn't count because they do it with an app.

Uber's labor-pricing algorithm offers different drivers different payments for the same job, something Veena Dubal calls 'algorithmic wage discrimination.' If you're more selective about which jobs you'll take, Uber will pay you more for every ride.

But if you take those higher payouts and ditch whatever side-hustle let you cover your bills which being picky about your Uber drives, Uber will incrementally reduce the payment, toggling up and down as you grow more or less selective, playing you like a fish on a line until you eventually – inevitably – lose to the tireless pricing robot, and end up stuck with low wages and all your side-hustles gone.

Then there's Amazon, which violates consumer protection laws, but says it doesn't matter, because they do it with an app. Amazon makes $38b/year from its 'advertising' system. 'Advertising' in quotes because they're not selling ads, they're selling placements in search results.

The companies that spend the most on 'ads' go to the top, even if they're offering worse products at higher prices. If you click the first link in an Amazon search result, on average you will pay a 29% premium over the best price on the service. Click one of the first four items and you'll pay a 25% premium. On average you have to go seventeen items down to find the best deal on Amazon.

Any merchant that did this to you in a physical storefront would be fined into oblivion. But Amazon has captured its regulators, so it can violate your rights, and say, "it doesn't count, we did it with an app"

This is where that third constraint, self-help, would sure come in handy. If you don't want your privacy violated, you don't need to wait for the Irish privacy regulator to act, you can just install an ad-blocker.

More than half of all web users are blocking ads. But the web is an open platform, developed in the age when tech was hundreds of companies at each others' throats, unable to capture their regulators.

Today, the web is being devoured by apps, and apps are ripe for enshittification. Regulatory capture isn't just the ability to flout regulation, it's also the ability to co-opt regulation, to wield regulation against your adversaries.

Today's tech giants got big by exploiting self-help measures. When Facebook was telling Myspace users they needed to escape Rupert Murdoch’s evil crapulent Australian social media panopticon, it didn’t just say to those Myspacers, 'Screw your friends, come to Facebook and just hang out looking at the cool privacy policy until they get here'

It gave them a bot. You fed the bot your Myspace username and password, and it would login to Myspace and pretend to be you, and scrape everything waiting in your inbox, copying it to your FB inbox, and you could reply to it and it would autopilot your replies back to Myspace.

When Microsoft was choking off Apple's market oxygen by refusing to ship a functional version of Microsoft Office for the Mac – so that offices were throwing away their designers' Macs and giving them PCs with upgraded graphics cards and Windows versions of Photoshop and Illustrator – Steve Jobs didn't beg Bill Gates to update Mac Office.

He got his technologists to reverse-engineer Microsoft Office, and make a compatible suite, the iWork Suite, whose apps, Pages, Numbers and Keynote could perfectly read and write Microsoft's Word, Excel and Powerpoint files.

When Google entered the market, it sent its crawler to every web server on Earth, where it presented itself as a web-user: 'Hi! Hello! Do you have any web pages? Thanks! How about some more? How about more?'

But every pirate wants to be an admiral. When Facebook, Apple and Google were doing this adversarial interoperability, that was progress. If you try to do it to them, that's piracy.

Try to make an alternative client for Facebook and they'll say you violated US laws like the Digital Millennium Copyright Act and EU laws like Article 6 of the EUCD.

Try to make an Android program that can run iPhone apps and play back the data from Apple's media stores and they'd bomb you until the rubble bounced.

Try to scrape all of Google and they'll nuke you until you glowed.

Tech's regulatory capture is mind-boggling. Take that law I mentioned earlier, Section 1201 of the Digital Millennium Copyright Act or DMCA. Bill Clinton signed it in 1998, and the EU imported it as Article 6 of the EUCD in 2001

It is a blanket prohibition on removing any kind of encryption that restricts access to a copyrighted work – things like ripping DVDs or jailbreaking a phone – with penalties of a five-year prison sentence and a $500k fine for a first offense.

This law has been so broadened that it can be used to imprison creators for granting access to their own creations

Here's how that works: In 2008, Amazon bought Audible, an audiobook platform, in an anticompetitive acquisition. Today, Audible is a monopolist with more than 90% of the audiobook market. Audible requires that all creators on their platform sell with Amazon's "digital rights management," which locks it to Amazon's apps.

So say I write a book, then I read it into a mic, then I pay a director and an engineer thousands of dollars to turn that into an audiobook, and sell it to you on the monopoly platform, Audible, that controls more than 90% of the market.

If I later decide to leave Amazon and want to let you come with me to a rival platform, I am out of luck. If I supply you with a tool to remove Amazon's encryption from my audiobook, so you can play it in another app, I commit a felony, punishable by a 5-year sentence and a half-million-dollar fine, for a first offense.

That's a stiffer penalty than you would face if you simply pirated the audiobook from a torrent site. But it's also harsher than the punishment you'd get for shoplifting the audiobook on CD from a truck-stop. It's harsher than the sentence you'd get for hijacking the truck that delivered the CD.

So think of our ad-blockers again. 50% of web users are running ad-blockers. 0% of app users are running ad-blockers, because adding a blocker to an app requires that you first remove its encryption, and that's a felony (Jay Freeman calls this 'felony contempt of business-model').

So when someone in a board-room says, 'let's make our ads 20% more obnoxious and get a 2% revenue increase,' no one objects that this might prompt users to google, 'how do I block ads?' After all, the answer is, 'you can't.'

Indeed, it's more likely that someone in that board room will say, 'let's make our ads 100% more obnoxious and get a 10% revenue increase' (this is why every company wants you to install an app instead of using its website).

There's no reason that gig workers who are facing algorithmic wage discrimination couldn't install a counter-app that coordinated among all the Uber drivers to reject all jobs unless they reach a certain pay threshold.

No reason except felony contempt of business model, the threat that the toolsmiths who built that counter-app would go broke or land in prison, for violating DMCA 1201, the Computer Fraud and Abuse Act, trademark, copyright, patent, contract, trade secrecy, nondisclosure and noncompete, or in other words: 'IP law.'

'IP' is just a euphemism for 'a law that lets me reach beyond the walls of my company and control the conduct of my critics, competitors and customers.' And 'app' is just a euphemism for 'a web-page wrapped enough IP to make it a felony to mod it to protect the labor, consumer and privacy rights of its user.'

We don't care. We don't have to. We're the phone company.

But what about that fourth constraint: workers?

For decades, tech workers' high degrees of bargaining power and vocational awe put a ceiling on enshittification. Even after the tech sector shrank to a handful of giants. Even after they captured their regulators so they could violate our consumer, privacy and labor rights. Even after they created 'felony contempt of business model' and extinguished self-help for tech users. Tech was still constrained by their workers' sense of moral injury in the face of the imperative to enshittify.

Remember when tech workers dreamed of working for a big company for a few years, before striking out on their own to start their own company that would knock that tech giant over?

Then that dream shrank to: work for a giant for a few years, quit, do a fake startup, get acqui-hired by your old employer, as a complicated way of getting a bonus and a promotion.

Then the dream shrank further: work for a tech giant for your whole life, get free kombucha and massages on Wednesdays.

And now, the dream is over. All that’s left is: work for a tech giant until they fire your ass, like those 12,000 Googlers who got fired last year six months after a stock buyback that would have paid their salaries for the next 27 years.

Workers are no longer a check on their bosses' worst impulses

Today, the response to 'I refuse to make this product worse' is, 'turn in your badge and don't let the door hit you in the ass on the way out.'

I get that this is all a little depressing

OK, really depressing.

But hear me out! We've identified the disease. We've traced its natural history. We've identified its underlying mechanism. Now we can get to work on a cure.

There are four constraints that prevent enshittification: competition, regulation, self-help and labor.

To reverse enshittification and guard against its reemergence, we must restore and strengthen each of these.

On competition, it's actually looking pretty good. The EU, the UK, the US, Canada, Australia, Japan and China are all doing more on competition than they have in two generations. They're blocking mergers, unwinding existing ones, taking action on predatory pricing and other sleazy tactics.

Remember, in the US and Europe, we already have the laws to do this – we just stopped enforcing them in the Helmut Kohl era.

I've been fighting these fights with the Electronic Frontier Foundation for 22 years now, and I've never seen a more hopeful moment for sound, informed tech policy.

Now, the enshittifiers aren't taking this laying down. The business press can't stop talking about how stupid and old-fashioned all this stuff is. They call people like me 'hipster antitrust,' and they hate any regulator who actually does their job.

Take Lina Khan, the brilliant head of the US Federal Trade Commission, who has done more in three years on antitrust than the combined efforts of all her predecessors over the past 40 years. Rupert Murdoch's Wall Street Journal has run more than 80 editorials trashing Khan, insisting that she's an ineffectual ideologue who can't get anything done.

Sure, Rupert, that's why you ran 80 editorials about her.

Because she can't get anything done.

Even Canada is stepping up on competition. Canada! Land of the evil billionaire! From Ted Rogers, who owns the country's telecoms; to Galen Weston, who owns the country's grocery stores; to the Irvings, who basically own the entire province of New Brunswick.

Even Canada is doing something about this. Last autumn, Trudeau's government promised to update Canada's creaking competition law to finally ban 'abuse of dominance.'

I mean, wow. I guess when Galen Weston decided to engage in a criminal conspiracy to fix the price of bread – the most Les Miz-ass crime imaginable – it finally got someone's attention, eh?

Competition has a long way to go, but all over the world, competition law is seeing a massive revitalization. Ronald Reagan and Margaret Thatcher put antitrust law in a coma in the 80s – but it's awake, it's back, and it's pissed.

What about regulation? How will we get tech companies to stop doing that one weird trick of adding 'with an app' to their crimes and escaping enforcement?

Well, here in the EU, they're starting to figure it out. This year, the Digital Markets Act and the Digital Services Act went into effect, and they let people who get screwed by tech companies go straight to the federal European courts, bypassing the toothless watchdogs in Europe's notorious corporate crime havens like Ireland.

In America, they might finally get a digital privacy law. You people have no idea how backwards US privacy law is. The last time the US Congress enacted a broadly applicable privacy law was in 1988.

The Video Privacy Protection Act makes it a crime for video-store clerks to leak your video-rental history. It was passed after a right-wing judge who was up for the Supreme Court had his rentals published in a DC newspaper. The rentals weren't even all that embarrassing!

Sure, that judge, Robert Bork, wasn't confirmed for the Supreme Court, but that was because he was a virulently racist loudmouth and a crook who served as Nixon's Solicitor General.

But Congress got the idea that their video records might be next, freaked out, and passed the VPPA.

That was the last time Americans got a big, national privacy law. Nineteen. Eighty. Eight.

It's been a minute.

And the thing is, there's a lot of people who are angry about stuff that has some nexus with America's piss-poor privacy landscape. Worried that Facebook turned Grampy into a Qanon? That Insta made your teen anorexic? That TikTok is brainwashing millennials into quoting Osama Bin Laden?

Or that cops are rolling up the identities of everyone at a Black Lives Matter protest or the Jan 6 riots by getting location data from Google?

Or that Red State Attorneys General are tracking teen girls to out-of-state abortion clinics?

Or that Black people are being discriminated against by online lending or hiring platforms?

Or that someone is making AI deepfake porn of you?

Having a federal privacy law with a private right of action – which means that individuals can sue companies that violate their privacy – would go a long way to rectifying all of these problems. There's a big coalition for that kind of privacy law.

What about self-help? That's a lot farther away, alas.

The EU's DMA will force tech companies to open up their walled gardens for interoperation. You'll be able to use Whatsapp to message people on iMessage, or quit Facebook and move to Mastodon, but still send messages to the people left behind.

But if you want to reverse-engineer one of those Big Tech products and mod it to work for you, not them, the EU's got nothing for you.

This is an area ripe for improvement, and I think the US might be the first ones to open this up.

It's certainly on-brand for the EU to be forcing tech companies to do things a certain way, while the US simply takes away tech companies' abilities to prevent others from changing how their stuff works.

My big hope here is that Stein's Law will take hold: 'Anything that can't go on forever will eventually stop'

Letting companies decide how their customers must use their products is simply too tempting an invitation to mischief. HP has a whole building full of engineers thinking of new ways to lock your printer to its official ink cartridges, forcing you to spend $10,000/gallon on ink to print your boarding passes and shopping lists.

It's offensive. The only people who don't agree are the people running the monopolies in all the other industries, like the med-tech monopolists who are locking their insulin pumps to their glucose monitors, turning people with diabetes into walking inkjet printers.

Finally, there's labor. Here in Europe, there's much higher union density than in the US, which American tech barons are learning the hard way. There is nothing more satisfying in the daily news than the latest salvo by Nordic unions against that Tesla guy (Musk is the most Edison-ass Tesla guy imaginable).

But even in the USA, there's a massive surge in tech unions. Tech workers are realizing that they aren't founders in waiting. The days of free massages and facial piercings and getting to wear black tee shirts that say things your boss doesn't understand are coming to an end.

In Seattle, Amazon's tech workers walked out in sympathy with Amazon's warehouse workers, because they're all workers.

The only reason the tech workers aren't monitored by AI that notifies their managers if they visit the toilet during working hours is their rapidly dwindling bargaining power. The way things are going, Amazon programmers are going to be pissing in bottles next to their workstations (for a guy who built a penis-shaped rocket, Jeff Bezos really hates our kidneys).

We're seeing bold, muscular, global action on competition, regulation and labor, with self-help bringing up the rear. It's not a moment too soon, because the bad news is, enshittification is coming to every industry.

If it's got a networked computer in it, the people who made it can run the Darth Vader MBA playbook on it, changing the rules from moment to moment, violating your rights and then saying 'It's OK, we did it with an app.'

From Mercedes renting you your accelerator pedal by the month to Internet of Things dishwashers that lock you into proprietary dishsoap, enshittification is metastasizing into every corner of our lives.

Software doesn't eat the world, it enshittifies it

But there's a bright side to all this: if everyone is threatened by enshittification, then everyone has a stake in disenshittification.

Just as with privacy law in the US, the potential anti-enshittification coalition is massive, it's unstoppable.

The cynics among you might be skeptical that this will make a difference. After all, isn't "enshittification" the same as "capitalism"?

Well, no.

Look, I'm not going to cape for capitalism here. I'm hardly a true believer in markets as the most efficient allocators of resources and arbiters of policy – if there was ever any doubt, capitalism's total failure to grapple with the climate emergency surely erases it.

But the capitalism of 20 years ago made space for a wild and wooly internet, a space where people with disfavored views could find each other, offer mutual aid, and organize.

The capitalism of today has produced a global, digital ghost mall, filled with botshit, crapgadgets from companies with consonant-heavy brand-names, and cryptocurrency scams.

The internet isn't more important than the climate emergency, nor gender justice, racial justice, genocide, or inequality.

But the internet is the terrain we'll fight those fights on. Without a free, fair and open internet, the fight is lost before it's joined.

We can reverse the enshittification of the internet. We can halt the creeping enshittification of every digital device.

We can build a better, enshittification-resistant digital nervous system, one that is fit to coordinate the mass movements we will need to fight fascism, end genocide, and save our planet and our species.

Martin Luther King said 'It may be true that the law cannot make a man love me, but it can stop him from lynching me, and I think that's pretty important.'

And it may be true that the law can't force corporate sociopaths to conceive of you as a human being entitled to dignity and fair treatment, and not just an ambulatory wallet, a supply of gut-bacteria for the immortal colony organism that is a limited liability corporation.

But it can make that exec fear you enough to treat you fairly and afford you dignity, even if he doesn't think you deserve it.

And I think that's pretty important.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/01/30/go-nuts-meine-kerle#ich-bin-ein-bratapfel/a>

Back the Kickstarter for the audiobook of The Bezzle here!

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#pluralistic #transmediale #lectures #enshittification #big tech #berlin #mcluhan lecture #Youtube

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ozzgin · 1 year ago

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heya...!!!! Sweetypie 🍓🥧🧁.... It's me again, i want to make a request again...if you don't mind 😃.

Can you make a request regarding creepypasta with ticci tobby and eyelash Jack .Previous request for a creepypasta

Most certainly! Though my drafts are a mess so I’m no longer sure what the previous request refers to. ;-; Hopefully this is close to what you pictured.

Yandere! Creepypasta x Reader

Featuring Ticci-Toby and Eyeless Jack and a clueless reader that caught their attention. TW: dubious consent, gore and violence

Ticci-Toby

Oh, he really can’t explain it but you’ve tied his heart into a knot. His chest is tight and it’s almost as if his lungs struggle to get enough oxygen. You seem kind and he can’t help but daydream that he’s the subject to your friendly gestures. He feels like a spoiled child, drinking up every drop of affection, tipsy with delight. If only those doll eyes of yours looked at him.

He’s hesitant to approach you because his moods are so unpredictable. He’d love to shower you in adoration and spend the rest of his life protecting you from any threats. Then comes his rage and he’s tempted to scratch your face off for smiling to anyone else but him. Why are you trying so hard for other people? No one appreciates you as much as he does, (Y/N). Is his attention not enough? Does he need to hold your gaze in by force?

Suffice to say that Ticci-Toby can be extremely jealous and possessive well before you’re even aware of his existence. Unlike Eyeless Jack, however, he is very open about his displays of love and doesn’t wait too long to introduce himself. His impulsive desires take over any consideration he’s had regarding your safety in front of his mood swings. He can worry about it when it actually happens. Now matter the anger, he’d never hurt his darling, would he? It’s the others that will have to pay.

If he’s feeling particularly hyperactive he will begin parroting his reasons for your fated romance and why you were meant to be. If anxiety equates in, the narrations turn into regurgitated, repetitive questions stemming out of insecurity. Are you really certain you haven’t gotten tired of him? Truly, without a doubt? Perhaps you were thinking of leaving him? The interrogations culminate in desperate begging for reassurance. Please let him know you’ll never, ever abandon him. Otherwise he will have to guarantee it himself one way or another.

Eyeless Jack

You happened to be the next victim on his list. The creature stood above your sleeping form in absolute silence. You barely shuffled at the sudden coldness from the edge of the scalpel coming into contact with your abdomen. The blade, however, remained still on the surface. The hollow sockets were fixated on your unconscious face, seemingly deep in consideration.

He can’t quite pinpoint a reasoning to it, but your presence has caught his interest. On the bright side, you get to keep your kidney. The only caveat is that you now have a rather dedicated admirer with a less orthodox approach to his growing crush.

Jack primarily enjoys watching you from afar and leaves only vague hints of his presence. Which, of course, depends on your definition of vague. At first you didn’t make the connection between the people wronging you in your daily life and the mysterious packages you’d receive in the mail containing frozen raw organs. You had assumed some neighbor might’ve gotten some subscription for their dog and messed up the address. As the news piled up, often involving these particular people as abruptly missing, your suspicions increased. Especially after noticing that none of your neighbors seem to have pets. And then the love notes started and you nearly threw up next to your mailbox.

Jack is fidgeting like a schoolgirl upon seeing your reaction to his confessions. Could you be that overwhelmed by his love? It wasn’t a big deal, really. He’s just doing what he’s best at. He’s just glad to ease your life by erasing the factors that upset you. You don’t have to worry about returning his favors. Humans come with two kidneys for a reason, after all. They were made for sharing.

Now that he’s gotten his answer, he can confidently approach you. He can’t wait to get his claws on you. You look stunning from a distance, too, but nothing compares to actually feeling you. Hearing your whimpers of shy protest, sensing the increased pulse tumultuously running through your veins, observing your pupils contract in mild…fear? No, most likely just excitement. His spiraling black eyes (or rather, lack of) devour your presence with anatomical curiosity. If he’s careful enough, he might even play with you a little. He’ll be extra careful with his darling.

#creepypasta #yandere creepypasta #creepypasta x reader #creepypasta headcanon #ticci toby #eyeless jack #eyeless jack x reader #ticci toby x reader

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kouyou-arc-when · 10 months ago

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ON DAZAI AND EMPATHY: A character study Before you read: Obviously diagnosing any character in fiction seriously is a fool’s errand, but I am a fool, so let’s just do this for amusement. The main thing I desire is to discuss is the extent to which Dazai is capable of various types of empathy, as well as how that influences the way he sees and interacts with others. It will be chaotic and all over the place because I just sat down and wrote this in a fit. Let me explain some factors in analyzing Osamu: The author's intention is clearly to make Dazai's internal world a mystery. Since we don't have enough information, all we can do is hypothesize based on external elements. Generally, across all novels, the only time we’ve seen anything of Dazai’s perspective is in “The Day I picked up Dazai” (Beast continuity) – where he “saves” Oda and tortures that random dude. We don’t hear his thoughts narrated from first-person perspective, unlike many of the other novels.

Now, the crux of the issue. For years, it’s been discussed whether Dazai is a “sociopath”. If we disregard that sociopathy is a very loaded term that can mean a lot of things depending on which specialist you consult, at the very least, Dazai does strike me as someone with a unique expression of empathy, who could qualify for Anti-social personality disorder or a related condition. I will abandon the idea that Dazai is a sociopath, and use actual concepts that have legitimacy within this post. Whether Dazai could qualify for ASPD or any other disorder is something I've seen discussed for many years within the fandom. I'll try to analyze how these concepts could apply to him. In regards to mental health and Kafka (since it is a contentious matter) and the validity of any of this: I understand that a lot of people are resistant to the idea that any of the characters could have conditions more complex than depression, anxiety, and PTSD. This is my counterpoint. I have noticed that Asagiri emulates a lot of characteristics commonly attributed to “geniuses”, without confirming or potentially even intending to write these characters as having a specific condition.

A great example is Ranpo – who will read as autistic to any decent mental health professional (Untold Origins). Did Asagiri intentionally sit down and say “I am going to write an autistic character”? Maybe not. However, the “genius” stereotype is profoundly connected to visions of autism, even if people aren’t aware of it. Take people like Sherlock, House and L from Death Note – they’re commonly believed to be autistic by fans. All of these characters borrow from the same group of traits, that just happens to correspond with a certain condition - savants have always been popular in fiction. It's been known that the favorite type of character for Asagiri is the “prodigy” type, and he has used geniuses across fiction for inspiration of most notable intelligent characters within BSD. For Ranpo it was Sherlock, for Fyodor it was Joker from the Dark Knight (a classic sociopath), for Dazai it was Patrick from The Mentalist.

What I’m trying to say is, you can see various personality disorders connected to the portrayal of these geniuses, and even without confirming their state, it is clear they are either intentionally or unintentionally coded to be that way. Extremely intelligent characters not being able to read social cues, lacking empathy, disregarding rules etc. is something we commonly see in fiction. Basically, a lot of people don’t even know that these stereotypes are based on certain personality types, disorders, and illnesses. It’s sort of like drawing a character and dyeing their hair a certain shade of blue that you don’t know the particular name of: it doesn’t change the fact that you used that color, and the fact it has a name. Most authors are not mental health experts anyways, so they may not be entirely aware of every detail of the psychological framework they write the character to possess. They also may not write it consistently, as they're mostly emulating stereotypes. I mention Ranpo and autism because a character can embody traits of a stereotype without the author even necessarily having the intention to do so, however, to anyone who knows a thing or two, it is clear Ranpo is on the spectrum. If Ranpo were to express a few traits that go against this, it would not necessarily take away from the large-scale portrayal he is meant to exude: an autistic coded genius.

Why am I saying this? It is entirely possible for the author to write Dazai as a person with anti-social personality disorder, to “code” him in that way, but to not be entirely aware of how an individual with ASPD realistically tends to act. Because he may be emulating a certain "stereotype" of a genius, he may also end up emulating specific psychological states, without making them entirely consistent in a realistic way. Writing the way individuals with ASPD tend to deal with empathy can be extremely difficult for anyone. It's easy to emulate a sociopath on a superficial level, but beyond that, it gets more challenging. How would a person with limited empathy act when they're hurting someone? That is an easier idea to handle. But how will they act in a friendly relationship? This is where it gets tricky. That is likely why someone like Dazai can never be consistently compatible with a very specific disorder: but, he can come very close. Besides, concepts such as anxiety and depression are pretty well-known, but more niche mental health conditions are not as well understood. So, BSD Osamu was written with specific attention to mental health issues because the author himself was someone who spoke heavily on the topic. I’ve read a lot of real-life Dazai Osamu, with special attention to No Longer Human (the main inspiration for BSD Dazai was Yozo) – and neither RL Dazai nor Yozo gave me the impression they could qualify for ASPD at all.

I know BSD Dazai is the opposite of the RL author in so many ways, but I guess it’s relevant to mention this because we know so little of BSD Dazai’s internal working processes, and Asagiri's main inspiration can tell us a lot about the intentions behind Dazai's portrayal. Generally, an intention or idea behind a character can give a lot of clues to us - more than anything, I am under the impression some of the main ideas behind Dazai's creation was that: 1) He doesn't feel like he belongs among humans 2) He has mental health issues However, we have difficulty defining the exact source of why all of this is in more realistic terms.

Naturally, since Dazai, an extremely socially intelligent person, sees himself as "othered", it is logical to assume he is not capable of fulfilling some emotional function most people can in a successful enough way. If he were just mentally ill in more typical ways (only depression), I theorize he wouldn't feel that "othered". He specifically is not meant to feel human. Obviously, his extreme intelligence is one of the things that isolates him, but the question is what else?

We are led to believe Dazai "sees" something the rest of us don't, and that is one of the reasons he wants to die. However, there is something more to it, as I believe it to be. We have two characters who are as intelligent as Dazai: Fyodor and Ranpo, and neither of them is suicidal, as far as we know. I believe Dazai "feels" a certain way, and then finds a way to logically justify it. Due to his intelligence, he likely falls into a complex loop which leads him to existential nihilism: but you usually don't end up in a place like that if you tend to feel alright in the first place, regardless of how smart you may be. While Dazai is certainly isolated due to his extreme intelligence, most of the people who made an impact on him are nowhere near him in that respect. In fact, I'd argue Dazai isn't even looking for someone equally intelligent to him, unlike Fyodor (this would take another post to explain).

The man who means the world to him, Oda, is more emotionally intelligent and full of common sense, but definitely not his cognitive equal. You can tell a lot about a person depending on what they value: and due to this I believe that Dazai's main issues relate to emotional matters. He primarily feels isolated due to his emotional state, and his intelligence pushes the problem further. Otherwise, he would treasure people like Ranpo and Fyodor over guys like Oda and Atsushi: he's looking for something to ease his emotional pain. Dazai doesn't seek out raw intellectual stimulation as much as comfort/excitement. This post will be an analysis of how Dazai compares to the "average" psychologically and some of the reasons he may feel so othered. Basically, my theory is that the feeling of being "othered" comes from his emotional profile, as much as it comes from his intellectual capacity. Those two take equal parts in his psyche.

Why would Dazai feel so emotionally "othered"? I believe it may have to deal with a specific personality disorder or condition, and mainly how he experiences empathy. One of the possibilities is ASPD. Anyways, let’s look into common ASPD symptoms, and then we'll look into common behavioral patterns the character shows. Dazai is equal amounts portrayed seriously and in a “jokey” way, but his worst traits and moments are usually described without humor. To preface: Keep in mind that you can have any or all of these traits without it qualifying you for a certain disorder. It is the extent to which you show it that makes a person, like Dazai, out of the norm.

1. Repeatedly breaking the law: This one goes without saying, he was in the Mob as Young as 15, and seemingly a violent criminal even before that age. To differentiate him from other members of the Mafia, it is stated by tons of people throughout the story that Dazai was practically born for this job.

Oda in Dark Era:

He was openly murderous before the age of 15, according to both The Day I picked up Dazai and Fifteen:

Dazai and Oda interacting in TDIPUD When talking to Kyouka, it seems that he has an “interesting relationship” with murder as a whole:

One thing is for sure, Dazai is much calmer, calculated, and more Machiavellian than most criminals in BSD, and this all started at an extremely young age. Many people kill when they're young, but they're not this casual about it. The age at which he was this cold about would be of diagnostic significance.

2. Lack of remorse: Everything mentioned above, it is clear that Dazai has an even more complicated relationship with guilt and empathy. I’m pretty sure anyone in real life would consider him out of the norm, as it’s explicitly stated Dazai doesn’t feel remorse for all sorts of things he does, but there are some hints he is either ashamed of the way he is, or regrets his nature, but accepts it. What is particularly significant here is how young Dazai is when he shows a marked level of these traits. A key event that stuck with me is from the Dragon Head event in Mayoi (from my understanding it was written by Asagiri), where Shibusawa mentions Dazai will regret something (to me it sounded like he meant that killing Shibusawa will end poorly for Osamu). However, Dazai’s reaction was interesting – it was like he was almost amused that anyone would believe Dazai “could” feel regret for anything.

Mayoi Later down the timeline it’s quite questionable whether Dazai feels regret for some of his actions because he hides his feelings like a snake hides its legs, but there are implications he is somewhat remorseful if you read between the lines. More on that later. Dazai has changed compared to his past self, but to talk about that, and the extent to which he has changed would take a whole other post.

More on his lack of remorse, In “The Heartless Cur” Dazai is very young when he gets some randos from the Mafia killed in front of Akutagawa, yet his main emotions are amusement and boredom. This is not the “typical” emotional range of most people, even practiced criminals. For example, Chuuya kills people just like Dazai, but his reactions to it are entirely different.

from The Heartless Cur Murder tends to not be the preferred or first solution Chuuya goes for: there is an expected amount of hesitance if you read into Chuuya. He put a bomb below Chuuya’s and sabotaged Ango’s car without much bother. I’d say even if you do see It as a “means to an end”, the way he did it was really cold. Usually, when people of all kinds do bad things, they have remorse and empathy they need to suppress, but with Dazai we don't see much of that. It's like he can just "do it'. He’s also really great at torture, in Side B at age 15-16, he already describes himself as a “specialist”. This is also touched upon when he speaks to Kouyou:

No matter how "grey" a character is, torture is a very specific process that takes a particular psychological profile to pull off. To be a "specialist" at it, you definitely need to possess dented empathy. Lack of remorse and empathy does not mean a person is going to be a criminal at all - it simply opens the opportunity that they may get lost in those waters more easily compared to the average person.

3. Repeatedly being deceitful I’m pretty sure we don’t have to cover this one. Yozo, the character he was loosely based on, is a big liar, and commonly uses “clowning” to distract from his real personality. Even the real Dazai Osamu wrote extensively about the concept of “lying”. There is a lot to talk about Dazai and “masking”, and I’ll get to that in the second half of the post. Generally, Dazai lies a lot, one can’t even be sure what his personality really is. He lies by omission, manipulates, and intentionally deceives people without any issues. There are so many quotes about this that I’d probably reach the image limit right there if I wanted to reference them all. 4. Being impulsive or incapable of planning ahead Does not apply

5. Has difficulty sustaining long-term relationships: Dazai is famously a hoe. From “All women are his type” (and it seems he has zero issues getting together with any woman, young, old or even taken) to being known as “the enemy of all women” (said by Chuuya), it’s clear he is very promiscuous. Wan is in the gray area of canon, but in one of the earlier chapters he has so many love letters by different women that Atsushi burns them all. Kunikida said he hits on any woman he sees in the Entrance exam novel, which is further supported by random Wan! Chapters, silly crossovers, and everything else (literally anything female).

Not only that, but Dazai sounds like a consistently manipulative and toxic romantic partner. In an Otomedia interview, written by Asagiri, Dazai’s real type was basically something like: “Any woman is fine, because he is confident he can shape her to suit his tastes” which shows a remarkable lack of care for the personhood and individuality of his partner.

When answered what he’d do if his partner cheated or betrayed him, his answer was even more concerning. Depending on the translation, it goes something like: “He has not been cheated on, but he has cheated on others” or “he set up women to cheat on him/betray him” where both are a lot, just in different ways.

Either he is compulsively unfaithful, putting all above together, or he plays mindgames with his partners. He’s also told Kunikida that: “And from my experience, it takes only a smile and some kindness to get a woman swooning over you when she's fallen on hard times” painting an image of someone who takes advantage of people’s weaknesses to get what he wants.

Regardless, it’s clear he is very manipulative and likely emotionally abusive. I won’t even touch upon his obsession with double suicide. There’s also the fact that he seems to use sex to get what he wants – insert scene where he fucks the nurse to get his phone back.

Other than that, Dazai appears to be rather solitary. Ango and Oda are said to be “the only ones close to him” because they respected said loneliness. Even in ADA, Dazai seems to be professionally close to people, but very few people seem to know him on a personal level. I’d say he keeps people at a distance intentionally – before it was violently, later it is by being avoidant. For as much of a womanizer he is, there was that early comic where he spent Valentine’s Day drinking at Lupin “with Oda”, instead of going out with any particular person. I think this demonstrates how emotionally distant he is from all the people he interacts with

6. Being irritable and aggressive:

Dazai is not particularly aggressive, nor irritable, but he has moments where he slips. Tbh, reading back, it says a lot about Dazai’s character who he gets angry at and why. It’s important to say that when Higuchi calls him out on “Hollowing out the hearts of his opponents” in incredibly brutal ways, Dazai replies that he thinks “Sadism is just a method, and how it’s boring”.

Akutagawa is the receiver of a lot of his violence to a disproportionate degree. He beats up Akutagawa beyond what could ever be “just training”. There’s something that ticks him off about Akutagawa, which is interesting, since Dazai tends to not react this way to anyone who doesn’t touch him “intimately” in some way. A lot of people justify Dazai’s physical abuse by saying it is “training”, but it stood out to me how he kicks Akutagawa in the stomach even the first time he meets him in “Beast”, when Akutagawa is just an extremely traumatized and deprived kid he refuses to recruit. There is not much utility to that kick, to me. It felt personal.

Another example of him expressing anger is when people “called him foolish for wanting to die” – clearly he did not take it well since all of those people ended up dead. This is from “The Day I picked up Dazai” when Oda tells him he is a fool for wanting to die.

Other times Dazai expressed rage was in relation to Ango and Oda, particularly anything that related to Oda’s wellbeing.

He snaps at his subordinates when they tell him he shouldn’t be friends with someone “of such low status”, and the only time we really hear Dazai say he hates someone is when he’s torturing one of the guys who put Oda in trouble in the Beast timeline of “The day I picked up Dazai”. Obviously, he is resentful towards Ango and incapable of forgiving him. “Dead Apple” guidebook touches on it.

“Though they were once good buddies who used to drink together, to Dazai, Ango is one of the persons who caused the death of Odasaku. He still holds that resentment up to now, and is unable to forgive. Ango also seems to feel Dazai’s silent wrath towards him.”

Harukawa has said to pay attention to how cloudy the eyes of a character are to accurately interpret their psychological state. I don't think there are many times Dazai's eyes are drawn in such an extreme way - there is no "light" she talks about here. His eyes are pure black when he talks to Mori during the Guild arc.

He also agrees with Fyodor on “Malice being the best fruit that God Bestowed upon Mankind”

There is also this with Jouno:

Basically, Dazai rarely gets angry, insults don’t work on him (as he tells Chuuya), nor does beating him up, but when he does get irritated he flies off the handle and has no issue crossing any normal boundaries.

That detail is what stands out to me – usually, people have a line they won’t cross when getting mad, but for Dazai it’s like most moral lines disappear. Imo, his anger is for social standards over disproportionate in how far he’ll go and how he'll act on it– he usually has a clear intention to harm the individual he's mad about. In comparison, Chuuya is someone who gets angry more than Dazai, but Chuuya clearly has a line he won’t cross. There is also no pointed sadism in his reactions. Dazai will likely do almost anything.

Basically, it's not how much Dazai gets angry, but the way he gets mad that sticks out to me. Most importantly, Dazai only ever gets enraged if it concerns something very personal and intimate: Oda and his death, his suicide attempts etc. At this point, for me, It’s safe to say that if Dazai gets extremely angry, it means the topic affects him on a deep level (a hint to whatever Is happening between him and Akutagawa, I could talk a lot about that).

More on Dazai’s unpredictable and violent nature:

Stormbringer I think there is a valid argument in seeing Dazai’s aggression as just a tool he uses to keep others at bay, something to hold over people and control them – but even then, it shows a marked disinterest in social norms people usually respect.

7.Having a reckless disregard for their safety or the safety of others This one builds upon all the others. However, it’s always been interesting to me how it’s clear something flies over Dazai’s head when it comes to regularly empathizing with others.

This is often seen with Chuuya. In my opinion, most of the bullying Dazai gives Chuuya is not motivated out of rage, but rather some form of spite. He goes at length to Rimbaud about planning Chuuya’s murder in “15”, then he also lets Chuuya be tortured in “Stormbringer”.

I am under the impression he sees these moments as “amusing” and doesn’t fully emotionally understand why this is something bad, even if he does on a rational level. I’ll say that Dazai did seem to show some rage whenever anyone hurt him physically in the past (seems likely to be a hint to a traumatic past), which Chuuya did when they met, but I don’t get the impression he is generally angry with Chuuya, it’s more like he just enjoys fucking with him. Ironically, for how rarely Dazai gets angry, it seems he reserves his rage/irritation exclusively for people and things he cares about, so Dazai being specifically irritated at Chuuya is just a sign of how much the guy gets to him.

If Dazai were angry at Chuuya, it is in character that he would try to hurt him a lot more than he does. However, I'd say Dazai has a blurry space for what's ok between "keeping someone purely safe" and "deeply hurting them". There is some lack of emotional empathy there - to him, it is more amusing than anything to see someone he finds interesting struggle.

Dazai sees boundaries differently. He’ll put people into danger or through discomfort without worrying much, especially if he’s sure they’re going to walk and live after it, but sometimes not even that. (there’s so many examples of it). I’d say it’s not that Dazai doesn’t care, he just cares about people differently compared to what we’re used to socially.

Regarding personal safety, it’s pretty obvious: he’s a suicide maniac, but even more, he also puts himself in harm’s way all the time without any anxiety present. Examples are when he provokes that sniper in Dark Era (when Oda gets angry at him and wants to punch him), knows he is going to get shot by Fyodor, but lets himself get hurt anyway. When he “dies” in 55 minutes, he seems “lightly” surprised, but there’s no strong reaction to it. To me, it seems that the only physical harm he dislikes is pain he suffers from another person (when he doesn’t plan it). Dazai apparently doesn’t feel much “anxiety” – I remember many different times when he comments on another character’s timidness or meekness, seeing it as something unusual.

8. Behave irresponsibly and show disregard for normal social behaviour He’s extremely eccentric, and even Ranpo says he doesn’t get him. Dazai asks women to commit suicide the moment he meets them, and often attempts suicide around people even if it distresses them (Entrance exam).

While I think he made this excuse in Dark Era to Taneda because he didn’t want to work with Ango, I do believe he believes what he said: “You’d lose your job if I did that.” Dazai wryly smirked. “I don’t like places with lots of rules.” Not being able to accept conventional rules is very often a telltale sign of a personality disorder. Clearly, Dazai fits many of the criteria necessary for having ASPD, so let’s look at some other details that are common for people with ASPD.

Masking: In psychology and sociology, masking is the process in which an individual camouflages their natural personality or behavior to conform to social pressures. Masking is common with many disorders, such as autism, ASPD etc. I am pretty sure it’s canon Dazai masks – on a BSD exhibit, the key element Asagiri wanted to talk about in Dazai’s personality was related to this.

“When I describe Dazai to the staff, there is a phrase that I always use, “an unworldly being with a mental age of two thousand years.” Dazai has far surpassed the mental dimension that human can reach, thus no-one can even tell if the emotions he shows are the real things or not.

There are rare moments when that Dazai shows his very “human” side. That is when he talks to another superhuman who is on the same level with him. The other is when he talks about his old friend who has passed. This is the scene when Kyouka wondered “Maybe I’m, after all, just a murderer at heart.” and refused to be saved. And Dazai’s reaction to that. When he said “Don’t give me any of that!” here, he really meant it. That was an outburst from Dazai, as a 22-year-old boy, in this scene.” Light novels often describe his smile as fake, mask-like, and I could probably find 20 panels where Harukawa clearly drew him to intentionally seem like a fake smiler. From “15” to “Entrance exam”, Dazai often drops his mask, and then goes back to acting silly just to make the other person relax. He does this with everyone, Mori, Kunikida, Atsushi, etc. Chuuya also mentions that Dazai’s “happy-go-lucky” personality in ADA is something new, and he believes it doesn’t fit him.

Kunikida says this in the Entrance Exam: "For someone so full of eccentricities, there is something about his behavior that makes it seem as if he has an unobstructed view of the world. I don’t know exactly why, but all his emotions strike me as an act to some degree. Is he just playing dumb? Could there be more to him than he’s letting on, lurking behind his ambiguous mannerisms?"

More than anything, Dazai himself says that Oda was the person closest to seeing his “real” personality. That pretty much confirms he keeps his real self hidden away. I’d say that there are several possibilities to why this is: He hides it because he dislikes being vulnerable, he doesn’t know how to act “normal”, people are unable to understand him, so masking makes it easier for him to communicate with others…there’s a lot of theorizing I could do here.

Dazai also tends to have interesting thoughts about personalities as a concept.

You’ll commonly see Dazai say something serious, followed by a severe reaction of the other character, ending with Dazai changing his demeanor and saying “just kidding” to lighten the air.

Manipulation: Dazai is extremely Machiavellian – he is prone to manipulating everyone around him, regardless of how much they care about him or not. He manipulated Chuuya into joining the mafia, he does the same with Akutagawa even today: Here we have him preying on Aku's insecurities to sabotage his self-confidence

He seems to be able to cut off his emotions from any situation, seeing people in a raw, factual sense.

There are several moments throughout the novels where Dazai talks about people as if they’re purely resources or pawns. An example of this in Dead Apple (where Chuuya gets angry because he doesn't respect people or show enough sympathy)

The way he speaks of Atsushi, when asked what he thinks of him in a guidebook, is something like “developing as expected”. Especially in the original, it sounds extremely factual, mechanical, and cold. To me, that doesn’t mean he doesn’t care about Atsushi, he’s just the type to compartmentalize his emotions in opposition to his thinking. This is very common for a few personality disorders and mental health conditions: the capacity to totally cut off your emotions from the equation. Obviously, many people are capable of doing this to one extent or another, but the amount to which he does it is what makes it significant.

Lack of traditional empathy: Personally, I think everything comes down to this. Dazai's experiences with empathy are one of the main themes of his character arc. I believe one of the things that makes him feel othered is his lack of emotional empathy.

People with ASPD tend to have issues experiencing what a lot of people consider “typical” empathy – however, ASPD is also on a large spectrum, so experiences certainly vary. Keep in mind that "lack of empathy" is common for all sorts of disorders, but since ASPD seems to be one of the most popular choices for Dazai, I decided to start there.

Before we continue, there are 2 types of empathy: Cognitive empathy is the ability to recognize and understand someone’s feelings and experiences and imagine yourself in those scenarios. Emotional empathy is experiencing shared emotions with someone or feeling emotions as though the experience is your own.

People with ASPD can commonly do the first type easily, and struggle with the second one. It does not mean they cannot experience emotional empathy, it’s just rarer for them to feel it. In my opinion, Dazai heavily relies on Cognitive empathy compared to Emotional empathy.

You can see often that he seems to not entirely understand “why” something is wrong on a personal level, but he can logically see it. This is a running theme, and you can commonly see that Dazai doesn’t fully understand “normal”.

“15” Asagiri seems to be writing Dazai as someone who has gone “beyond the human dimension” in his skills and intelligence, so other people can’t fully understand him, but I think this goes both ways. Dazai has lost touch with what’s the standard human experience.

One of the times Chuuya specifically calls out Dazai for not "acting human-like" is when he's not expressing empathy and respect. It is clear that Dazai's lack of empathy is one of the aspects which make others see him as "inhuman".

There is another situation with Kunikida during the Azure Messenger arc where Dazai seems to apologize for not getting something “is normal”, it slips by you very easily. It is framed as a joke, and it can be read as him making fun of Kuni, but Kunikida asks himself why Dazai apologized. It does read a bit unusually.

To me it seems like Dazai doesn’t fully emotionally understand other people, so when his mask slips you can see that he struggles a ton with getting what’s exactly “typical”.

Because Dazai is extremely intelligent, he masks in order to fit into society, and he does it successfully since he can intellectually understand most social and emotional functions and processes. However, he slips up like everyone does. This is why he got along with Oda well – since Oda just let him act like himself without having ulterior motives. Dazai didn’t have to “mask”. He didn't see Dazai as "just anyone", but he also realized Dazai was human. Basically, to Oda Dazai was a kid that had empathy issues, but he was struggling much like everyone else.

Personally, I feel like Dazai doesn’t feel entirely “human” because he doesn’t feel “emotional empathy” on the same level as other people, and this is one of the key issues of the character (as it's clearly stated in the Dead Apple manga, where Dazai does seem a bit upset by Chuuya's reaction)

. The reason he felt “seen” by Oda is because Oda fully recognized this and still believed Dazai could do “good”. In our society, it is common for people to think that "empathy" and "sympathy" are conditions for being a good person, but it isn't so simple. The possible complexity of Dazai's moral state is why I find the character so interesting - a person without traditional empathy choosing to be good is really fascinating. (more on this later).

Boredom and general emptiness: “Boredom” is an extremely common complaint for people with ASPD – in fact, intense, non-standard boredom, along with other symptoms such as atypical experience with empathy, is one of the easiest ways to recognize ASPD. A “numbed” emotional state is common for people with ASPD, and due to their different emotional range and inability to connect with others in a more typical fashion, they are prone to “boredom” and seeking out extreme experiences.

Alcoholism/Substance abuse is common for people with ASPD, and it’s pretty much canon Dazai drinks a lot (alcohol is even in his likes). Aside from that, Dazai often cites boredom as one of the main reasons he wants to die, and I remember so many instances where he complains about it in bizarre circumstances. This is common for people with ASPD: depression/suicidality is comorbid, and I have heard people with ASPD mention they wanted their life to end once they no longer have enough stimulation. Dazai is often stated to be “bored”, or look bored even when extremely horrifying things are happening (people dying around him/telling their life stories..). An example with Mori where he talks about wishing to die (from 15):

Another really funny thing, a lot of people with ASPD I have seen tend to dislike “dogs”. Obviously, this hatred comes from the real life Dazai being scared of them and thinking they can attack at any moment, but it’s a funny coincidence. They tend to dislike dogs for an entirely different reason than Dazai does, to be fair.

How Dazai seems to see himself and morals in general

Generally, to me it seems like Dazai is not entirely happy with his nature. He admires Oda and doesn’t understand why he wouldn’t use his talents to rise up in ranks within the Mafia, simply because that is logical to Dazai – perhaps it is that difference between them that he enjoys so much. He is frequently attracted to displays of empathy:

Examples: 1. Ango documenting the deaths of people within the mafia even if it’s “just a waste of money” 2. Almost everything Atsushi and Oda do

He often describes altruism as “interesting”. I am also under the impression that Dazai has a tendency to project his nature onto others, which we can gather from his “Evil expects evil from others” quote to Mori. Furthermore, he sadly remarks in Dark Era that he is “a man despised by righteousness”. so I feel like there is something up here, some sort of guilt, distaste or shame.

This tells me:

a)Dazai sees himself as “evil”

b)He is constantly assuming the worst in others or is prepared for the worst

Another thing this tells me is that Dazai is someone who is likely extremely wary of people’s intentions. This is a ubiquitous theme all across BSD, especially when we see him as a kid. Osamu tends to be skeptical of everyone and everything, as if he’s waiting for people to betray or fuck him over at any corner. In TDIPUD, he keeps getting upset that he can't figure out Oda, since it makes no sense for him to be so charitable for absolutely no reason. Oda said “good and evil are the same to you” – personally I interpret this as Dazai being largely amoral rather than immoral. Whether Dazai can be described as “good”, “evil” or “neutral” largely depends on your view of ethics. Just because someone lacks traditional empathy, it doesn't mean they are necessarily sadistic or bad at all. Immoral and Amoral are two words that sound similar but have different meanings. Immoral is an adjective that describes “something against pre-established morals, ethics, or standard societal practices.” Amoral, on the other hand, is an adjective that describes “something or someone completely lacking morals.” In common society, if you’re not “good”, you are often automatically “evil”. Basically, a person who has "no morals" is just as bad as a person who has cruel beliefs, but those two fundamentally differ. However, in a technical, utilitarian fashion – this is often seen to be true. More or less, “good” is the neutral state, and the more you step away from it, the more “evil” you are perceived to be. The more moral conventions you break, the more "evil" you are, regardless of your intentions. The results of the actions matter more than the source and motivations. In the end, a person is dead, regardless of why you killed them or how you felt about it. The reasons why people do conventionally moral things can be all over the place too - people aren't always kind because they have sympathy. When I hear “evil and good are the same to you”, it sounds like Dazai has no need for either, meaning, yes, he has no inherent need to do good, but no need for bad, he is simply not opposed to either of them. Regardless of what he's doing, he feels the same way. They're both tools to satisfy particular needs. Many people read this and say "aha, so if he sees no difference between the two, that means he is evil", but I think the truth is in the middle. I always say that to estimate Dazai's moral framework, you need to judge him outside of normal conventions. Basically, his starting point in making decisions is different. He begins his process likely by thinking "what will this bring me?" Most of his “evil” is not out of pure sadism, it’s just that he feels no need to stop himself due to moral conventions, he mostly cares about practical results. This is opposed to Kunikida who cares about ideals and morals in a vacuum and pursues them in their most idealized version (and it's well known Asagiri writes duos as opposites). Entrance exam as a novel was about how idealism can lead people to ruin when it's unrealistic.

He’s naturally immune to socialized pressure that forms the moral frameworks of most people on an emotional level. All of this is very common for ASPD, and a few other conditions. The more I see Dazai talk about how he sees the concept of personality, murder, morality – the more I am convinced his ethical framework is focused on results rather than the inherent morality of said actions. Example: He's going to lie to you to make you happy, even though "lying is bad". There is no inherent value in staying honest if it makes an individual miserable in the long run, even though society sees frankness as a virtue. That way, most actions are “open” for Dazai to undertake, he has no qualms most people have against them, since he doesn’t have socialized morals. A lot of the time, we only see certain things as "unconditionally bad" because we've been socialized to see them that way, even if it's not necessarily logical. He simply lacks socialized morals, leading to a tendency to be amoral. Everything is a means to an end, every action is alright if it's a tool that has more pros than cons. Oda's death was a useful character arc, since it led Dazai to taking Oda's moral framework as his own. He doesn't believe he is better than others, nor does he enjoy hurting random people, he doesn't kill or rob randos to get something and believes he is justified in it. Things of that type would make him “immoral”. Most of Dazai’s evil actions seem utilitarian, rather than committed for the pure act of pleasure or cruelty. When I say “amoral”, I mean this from Dazai’s point of view. Since he has no “moral boundaries”, all actions are open for him to undertake. He can go as far as he wants to any extreme largely depending on his subjective worldview and feelings (as seen in Beast, where he breaks all sorts of ethical codes of being "a good man" so Oda could get a decent life). However, since he is aware that there is a fight between good and bad in every person, and that evil tends to win out compared to the good, under enough pressure, he admires people who selflessly continue to be kind. That is why Oda, a highly moral person even beyond what is logical (his insistence to not kill even if it harms him) is the opposite that pushed him to change. Ulterior motives tend to be something Dazai is worried about in people, perhaps because he is possibly projecting all he is, or can be, on others. He describes Oda specifically as:

"a man who has no ulterior motive". Oda is obviously being a good person partially out of self-interest ("people live to save themselves"), but this self-interest is not destructive. I think for Dazai, it was difficult to find people who didn't have an ulterior motive that was ultimately hurtful, and he projected that onto everyone. Oda acting in his self-interest was ultimately beneficial to everyone. All in all, while Dazai does admire Oda's morals - I think a lot of this appreciation comes from an intimate and subjective place, where he feels comforted someone like Oda even existed. Continuing Oda's work is likely an extension of this as well. Keep in mind, any person has the right to see Dazai's actions as bad, as they often are. I am more speaking of Dazai's internal mental framework. Conclusion: Dazai has no inherent need to do good or bad, for the most part. He just goes as far as he needs to to satisfy his emotional needs.

Oda saved Dazai’s life in the day I picked up Dazai, and listened to him, but expected nothing in return. I feel that Oda saw this struggle within Dazai, and the way “good and evil don’t mean much to him” due to his disorder, but recognized that Dazai perhaps didn’t want to be this way.

Since Oda saw Dazai’s “irregular” nature, and still believed he could be a good person, Dazai was touched and decided to change his life. I believe Dazai had some distaste for himself, regardless of his lack of empathy, he could recognize what he was doing was not entirely right. As Asagiri mentioned, Oda told him exactly what he needed to hear, and the fact that these words were so life-changing to Dazai tells us a lot about what he had on his mind. In my opinion, to see who Dazai is, you need to follow exactly which words got to him.

In my opinion, it likely meant a lot that a person he actually admired wanted to be in his life, especially a person he considered so kind like Oda. He often says that Oda is “the most interesting person he knows”. Imo, this is because “empathy” is one of the things Dazai doesn’t fully understand. He had to learn it. Since he understands human nature so well, cognitive empathy comes easy to him, but he still fucks up sometimes.

Here, I also feel like he is talking about himself – he sees himself in Kyouka. It doesn’t come naturally to Dazai to be “good”, but he is trying his best, that is his ideal now. (Asagiri said this was one of Dazai's rare human moments). For that reason, I think Dazai admires empathetic people and tends to dislike those who are naturally violent, or even choose to be violent out of sadism.

On the BSD exhibit, Asagiri said Atsushi was "an empathy user", and how that is the key to his character. During one interview, the author mentioned that Dazai keeps testing Kunikida's ideals, but Osamu secretly hopes that Doppo will prove to be right, and Dazai wrong. This to me paints a picture of someone who hopes that "good" is worth it, at least from an intellectual point of view. When talking with Fyodor, he seems to admire people who live emotionally, thinking god doesn't prefer perfection, logic and harmony.

"The ones who actually make the world run Are those who scream in the storm of uncertainty and run with flowing blood"

Dazai seems to reject the idea that him and Fyodor and better because they are more calculating and cold - like I mentioned earlier in this god-forsaken post, this to me says Dazai believes empathetic and emotional people are better than him.

"I've come to see it many times, his gimmicks are the accidental and illogical that's a weakness two of us have in common" He suffers because he is not like them, and that contributes to him feeling "othered".

Negative emotions and Akutagawa

My guess is that one of the reasons Dazai has so many issues with Akutagawa is because he is projecting his own issues with his lack of empathy onto him. This makes him relate to Akutagawa, but also dislike him beyond how he usually treats people. Akutagawa questions why Dazai's acts of violence are justified, while Osamu is judging Akutagawa: to me it sounds that Dazai sees his actions as at least partly justified because they are "logical" and utilitarian. He puts a difference between him and Aku, as if Dazai's natural instinct is not to mindlessly hurt others. However, it's interesting he needs to draw this line.

I believe Dazai sees a lot of the hurt he enacts on others as either "justified" or subconsciously defensive. "If I don't hurt others, they will hurt me", and he uses this against all kinds of people to keep them in control. In the Dark Era novel, Dazai speaks of Akutagawa like this:

“When I first saw him over in the slums, I was horrified. His talents are extraordinary, and his skill is extremely destructive. Plus, he’s stubborn. If I’d left him to his own devices, he would’ve ended up a slave to his own powers until he destroyed himself.” Interestingly, Dazai was "horrified" at what Akutagawa was capable of, where most things don't seem to exactly phase him. I think something about Aku's capacity for violence even scares him, and he "lashes" out in response to control him.

Later on Oda calls out Dazai's thinking indirectly in Beast, saying that hurting Aku is still bad no matter why he did it. (more on this in the next section) However, it’s very clear he cares for Akutagawa in “Chopsticks and a Spoon”, so I do feel like he’s likely aware of it. In fact, that story contains one of the gentlest expressions Dazai has pointed at anyone, so I think he partially sees Akutagawa as "innocent" in nature, and more like a wounded animal. I'll likely write a post about it. Since Dazai has expressed some lament or even shame regarding him being a person "hated by righteousness", I do think he is a bit ashamed of who he is. This part is a theory: When talking about "No Longer Human", Asagiri mentioned that he felt the book was about "embarrassment". Since Dazai is canonically famously based on Yozo to some extent, I feel that we can guess that Osamu likely does feel some shame - the question is about what. The rare times we see BSD Dazai express something similar to shame is when talking about his moral nature (when he beat up Akutagawa in Dark Era), but it's a "blink and you'll miss it" type of thing. Yozo and RL Dazai's relationship with his father was one of the cornerstones of his work (NLH even ends with him mentioning how he would have been alright if he had a better relationship with his father). Within the book, Yozo feels all sorts of things which make him feel "inhuman", but he is terrified about being open about it due to his strict father who sees him as somewhat strange. Since the theme of "fatherhood" was lightly touched upon when Atsushi's orphanage director died, I do think this is potentially a sore spot for BSD Dazai too. My guess is that Dazai likely had a poor relationship with his father figure, who saw him as "strange" or "inhuman" due to the way he acted: leading BSD Dazai to feel shame over his nature. Perhaps one of the things that made his father see Dazai as inhuman was his lack of typical ethics and empathy. Osamu internalized this - and ended up becoming a criminal at a very young age, perhaps in an attempt to confirm what hurt him, seeing himself as someone who could mostly do bad (which could be one of the reasons he wanted to die so young). Perhaps Oda making a way for him to "act good" was life-changing because of that too - it targeted a specific wound. All of this is speculation, but Dazai did mention that "self-pity leads you to living a life that is an endless nightmare". My guess is he was talking about himself there: and his own experiences with shame. To extend this: I think one of the reasons Dazai is so harsh on Akutagawa is because he is possibly projecting his relationship with his father onto Aku. Akutagawa is violent and troubled, and Dazai was shamed for the same thing. (but it would take a lot of time to work through this theory, so moving on..)

Dazai exhibiting empathy However, Dazai does show empathy for Oda, and a lot of it. I’d go as far as to say that he over-empathizes with Oda, while he underempathizes with everyone else. His relationships with the people closest to him tend to be why some people think he may have BPD. Especially due to devaluation and the "favorite person" concept. For someone with this type of BPD relationship, a “favorite person” is someone they rely on for comfort, happiness, and validation. A FP is a person who someone with BPD relies heavily on for emotional support, seeks attention and validation from, and looks up to or idealizes. For Dazai, this is Oda. On the other hand, In the context of BPD, “devaluation” refers to a psychological defense mechanism or coping strategy that individuals with BPD may employ in their interpersonal relationships. Devaluation involves a shift in the person’s perception of others, where they view someone they previously idealized or held in high regard as unworthy, flawed, or worthless. They become unworthy of their affection and praise. The person with BPD may engage in behaviors such as intense criticism, verbal attacks, withdrawal, or even cutting off contact with the person they have devalued. These actions are often driven by the individual’s fear of rejection, abandonment, or a desire to protect themselves from potential hurt or disappointment. For Dazai, the clearest example of this is Ango. However, a person can exhibit the "favorite person" and project the phenomenon of devaluation without having BPD. In my opinion, Dazai does show heightened polarity in his feelings toward others, but I am not sure if BPD would be my choice for him. It's very difficult to say, as many conditions mask as BPD, and Dazai's expression of empathy is unique.

Dazai idealizes Oda, and deeply sees his pain as his own, while he always frames Akutagawa in a negative light, even though he is likely one of the people Dazai cares about the most (next to Oda, Chuuya, Ango, Atsushi, especially according to Beast). Another example of his heightened negative emotions are Ango, and Chuuya to a much lesser extent. My guess is that Dazai doesn’t deal with caring about people well, especially when they are any sort of “threat”: which is why he tries to “bully” them down. The reason he goes easier on Chuuya than Akutagawa is because he feels Chuuya is in his nature more sympathetic.

In my opinion, the moment Dazai warmed up to Chuuya was when he realized that The Sheep were pushing Chuuya around: he was no “King of the sheep”, he was acting out of empathy and care. Since Chuuya is so powerful, it was likely admirable to Dazai that he didn’t abuse his abilities for self-gain. This is when he decided to isolate Chuuya from the Sheep: and I think the reason above is specifically why

I'd say Dazai is likely "spikey" to anyone he cares about but has less confidence they won't hurt him. There are two camps of people: 1. Atsushi, Oda, Kunikida, Sigma (generally upright, meek, moral at the end of the day) 2. Chuuya, Akutagawa, and lastly Ango (people who are aggressive, challenging, and need to be put down in Dazai's eyes).

He cares about both camps (Sigma is debatable, I spoke of the type of personality Dazai seems to deal with easily in his case), but he likely feels "less safe" with the second type. Mori could potentially go into the second camp - there is some respect and resentment there at the same time. He even talks about this with Kunikida in Entrance exam.

"“I guess. But you, Kunikida, I’ve got a good idea of who you are now, so nothing you do will ever surprise me. I mean, compared with me, you’re just a simple man with a simple mind, after all.”

See? You wear your heart on your sleeve. You don’t hide how you’re really feeling. It’s nice. You know what else is nice? Just knowing that you’re going to be worrying later to yourself, ‘Am I really that simple?’”

“Why, you—”

But I refrain from arguing. Whatever my response, he’s just going to end up telling me, “I knew you’d say that.”

I suppose that being around Kunikida comforts him since he is predictable, yet kind. On the other hand, someone like Chuuya excites him, because he is wild and challenging enough, but is still a good person when it comes down to it. Basically, Dazai is hypervigilant of pain.

Akutagawa is “off the chain” in comparison to all of them. I am under the impression that Dazai can care about people without treating them well at all, and 2 of the people who are at the top of his list (Chuuya and Aku) are people he “seems” to dislike (In Chuuya’s case rather openly in his profile).

It appears that the more “intense” and “unpolished” parts of Dazai’s personality are strictly reserved for people he cares about, but he is extremely selective about who he shows emotional empathy to as it’s such a rare experience for him. He may capable of "cutting off" empathy to protect himself emotionally. It is quite clear some aspects of empathy miss him broadly in Beast, when he appears shocked that Oda would react so strongly to endangering Akutagawa since “it’s all supposed to end well if he survives”. That sentence itself is totally tone-deaf, yet Dazai is acting as if Oda is supposed to take that normally. It’s quite clear that Dazai doesn’t treat Atsushi all that well in Beast either, as he exploits his fears for Atsushi to be totally obedient to him.

I really like this moment, because it demonstrates that even if Dazai does have some point regarding Akutagawa and the way he goes about things, the way he has treated him is still too much – and Dazai can’t exactly convince Oda, a decent person, why this is ever justifiable under any circumstances. There is an aspect of regular empathy that misses Dazai – it doesn’t cross his mind why his actions are inherently bad. Perhaps it is possible that Dazai was treated with little to no empathy growing up, so he accepted that as a model for acceptable behavior. A lot of the time, cruel actions don't seem to even register to him as bad, in an almost innocent way. It's like it doesn't cross his mind that stuff is out of the ordinary. When talking to Oda about this, he was described as "childlike".

However, Dazai shows a lot of extreme emotional empathy for Oda, which tends to be rare for people with ASPD (obviously, all traits of it are on a spectrum).

Dazai clearly feels as if he himself is being beaten when Oda suffers. Furthermore, “Beast” shows that he is willing to endanger multiple people he cares about so Oda could live and write his book. In his words “the me from other worlds doesn’t care about the world” – showing that even though he may “care” about people, it’s really hard for him to fully emotionally connect with others.

This leads him to severe feelings of loneliness and isolation, but it’s quite clear Oda is the exception to this.

Dazai has multiple anxiety attacks when meeting with Oda in Beast and TIPUD:

“I see.” Oda says after he gives it a moment of thought. “I’ll do so then. That is very kind of you. You are a good guy.”

Dazai’s expression becomes distorted.

He opens his mouth, and closes it again, as if he can no longer breathe.

If he tells him everything now, maybe things will go back to how they were. The two of them will go to the bar together and have a toast. Just like that night.

“Odasa…”

Just as Dazai is about to say that name, a train passes by. The express train passing through that station cuts through the silence of the night, right next to where Dazai and Oda is."

and obviously the whole showdown at the bar. Earlier, Oda mentions that Dazai looks like he is about to cry:

An interesting part here is that Dazai gets shocked that Oda would even consider that Dazai could hurt him:

It almost sounds absurd that Dazai, who is known for scheming even against people he likes, would be that surprised someone would expect this from him. This, to me, shows that Dazai does have that underdeveloped, childish emotional side to himself, where he doesn’t understand everything he does. It’s quite logical why Oda, or anyone else, would be consistently doubtful of Dazai, yet he is so used to not caring about anyone, that when he does feel things he is remarkably unpolished and just as illogical as anyone else. I’d say his heart is like a knife that went blunt from lack of use. Since he has no experience dealing with people he feels strongly about, it always comes across very messy – and Asagiri himself often describes him as childish at his most vulnerable.

Furthermore, the lyrics of the song for Beast have these words to say: “Loving you to death won’t kill me Because I don’t love this world enough” And in the Beast novel, he mentions all he has to give to the world is love. I think we can certainly see that Dazai is not emotionless.

To me it seems like Dazai is capable of selective emotional empathy. I feel like one of the reasons Oda was “the one” Dazai attached himself to the most, is because Oda was a struggling man who was also depressed (rather clear the more you read), but he was empathetic and accepted Dazai for who he was.

Him and Dazai had difficulties in common (the guy was a killer as a kid too), yet Oda did his best to be a good person – that is one of the reasons, as Asagiri mentions, why he had an “outburst” when Kyouka implied former killers can’t be good people. Oda was a good person in his eyes, and his role model of “empathy”: someone he wished to emulate. I am pretty sure that Oda became the blueprint for the moral compass he strives towards.

Most importantly, Oda didn’t really judge Dazai when he showed his lack of empathy, while he remained firm in what he believed in.

“Odasaku is the type of person who will never lecture anyone. Because he does not consider himself a superior person who can teach and guide others. However, it doesn’t mean that he has nothing he wants to say. The sentiments that he couldn’t convey in these two scenes were finally delivered to Dazai in the last scene through the words “Become a good person.” Very meaningful scenes when read as a set.”

is how Asagiri described Oda during the exhibit. As Asagiri says, one of the reasons he didn’t tell Dazai anything when he provoked the sniper was his modesty. Since Oda didn’t look down on him, yet showed concern and fully understood Dazai wasn’t just a struggling depressed kid, but someone with serious issues who also happened to be a child – Dazai grew to deeply care for him. Oda didn't shame him, likely avoiding Dazai's hypervigilant sensor for pain.

Selective empathy is common for many disorders – and Dazai, after not feeling “seen” his whole life, ended up making a true connection with Oda. I guess, in that sense – Oda was the one who really reached Dazai’s heart, and since he was the only one who came that close, all of Dazai’s emotional empathy is reserved for him.

In my opinion, the reason Dazai was so difficult to “get to” was that even people who had good intentions toward him never truly saw him.

To see Dazai as a depressed woobie who just needs to be saved is to idealize him – which wouldn’t exactly help him. They’re talking about a version of him that doesn’t exist. If the only way he could be seen as worthwhile was someone seeing him as more “traditionally good” than he truly is, it’s not going to work. He needs to be seen for exactly who he is, and still given a chance to be better.

Likewise, it had to be someone who wasn’t helping him in order to get something from him. I would say that one of the main reasons why Dazai got so attached to Oda was because his friend had no reason to save him, he gave him space, and didn’t even force himself into Dazai’s life.

It was purely altruistic, and for Dazai, who expects the worst from others and seems to fear people’s intentions, this was perfect. One of the main aspects of Dazai's character is his anxious-avoidant attachment style, where he is likely so afraid of potential pain, he pushes others away, or punishes anyone he cares about who might hurt him preemptively. A lot of this is not impulsive, but calculated, which is why he feels a natural resistance to Akutagawa (but relates to him and cares all the more because of it). He understands the self-destructive nature of Akutagawa.

"If I’d left him to his own devices, he would’ve ended up a slave to his own powers until he destroyed himself.”" I believe Dazai likely allows himself to fully empathize with Oda because he feels only Oda is "safe" in this world. The fact that Oda is dead and gone perhaps makes caring for him even safer, as his image of Oda will never change.

Conclusion: I'd say Dazai is someone who is probably extremely traumatized, with a specific emotional profile that doesn't allow him to experience empathy like normal people do - and this is one of the defining traits of the character for me. He is able to isolate himself from normal social pressures and boundaries - and because of this and his extreme intellect, he feels like an alien in this world. A lot of his struggle likely deals with the fact that he dislikes the hurtful person he is, but has difficulty seeing why he should be better - all while he has a distaste for sadism, cruelty and senseless violence in others. In my opinion, a lot of his own cruelty is "reactive": he acts "evil" because he expects the same from others ("evil expects evil from others), and decides he wants to beat them to the punch. He is comforted when he is in the presence of altruistic and empathetic people, because he doesn't have to be what he dislikes (as "enemy" evil will always make him react since he is threatened). In the end, he rationally sees that cruelty is negative, but he still feels it is an effective tool. If Dazai weren't this way, he wouldn't consistently choose empathetic people for his company throughout the story, while acting callous himself most of the time.

A lot of things Dazai does to me feel like he is avoiding hurt, or attempting to "control the pain" he gets in his life. Notably, Dazai mostly lets himself get "bullied" by people he sees as innocent and simple like Kunikida, since "Kunikida will never surprise him" - he knows that Doppo won't cross the line. Ironically, he famously says he "dislikes physical pain", but often gets himself into physically dangerous scenarios.

It's like he doesn't mind pain if he's the one in control (when Fyodor let the sniper shoot him, when that dude from Mimic shot him point blank). Avoidance of pain and control are other keys to Dazai's character. In that sense, I think Dazai was possibly traumatized and learned to almost completely disassociate from empathy early in his life. There are so many theories I could think of here that we'd get nowhere.

It is clear that Dazai is capable of extreme emotional empathy due to his relationship with Oda, and it's possible he doesn't allow himself to feel it in most scenarios due to his avoidant nature regarding pain. However, whatever the reason behind it, it is clear he doesn't feel a ton of emotional empathy in his day-to-day life, and this disassociation from empathy has crafted him into a person who doesn't fully understand "normal humans".

That is why he sees them as fascinating after Oda dies - he reaches Dazai's heart and opens him up to the idea that not all people are unempathetic and cruel - meaning Dazai doesn't always have to be on guard. Does Dazai have ASPD, or is his lack of empathy a result of other things: PTSD, CPTSD, is he perhaps autistic? I can't say for sure, as it could be so many things. Personally, anyone could make an argument for any of these in my eyes. Above, I mostly analyzed his displays of empathy and tried to study which emotional patterns he appears to follow. I think Dazai's character arc has a lot of worth specifically because we see someone for whom emotional empathy may not be natural trying to be good. It's a unique ethical dilemma, and that's one of the reasons I feel in love with the series. Since it isn't natural for him, his efforts mean a lot, and the struggle feels real and genuine.

Thank you all for reading if you made it this far <3 I've taken a lot of posts and translations I've gathered over the years, and I am sure I won't be able to thank everyone, but, I'd like to show appreciation for popopretty, aja154ever and many others for sharing info from exhibitions, databooks and so. Have a nice day !

#bsd #bungou stray dogs #bungo stray dogs #dazai #dazai osamu #osamu dazai #osamu #oda sakunosuke #bsd dazai #theory

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pen-and-umbra · 1 month ago

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So far, Episode 2 has been quite intriguing. The following is a stream of consciousness with some preliminary theories.

The wisp-things are extremely suspicious. At first glance, they appear to be linked to Masamune the Swordsmith (who kind of resembles a wraith or another type of undead?), but in fact they are Jenova-coded, with those distinctive purple/magenta hue visuals.

Consequently, Sephiroth's "dream" sequence seems to be induced, similar to Angeal's. The telling purple/magenta vignette around the edges implies Jenova's influence.

Then there's Alissa, who resembles Lucrecia and makes the strangely accurate assumption that she reminds Sephiroth of his mother.

So, what do we have so far? We have an anomalous, off-limits zone that the locals avoid. No one knows how the village was destroyed. We have a legendary swordsmith, whose life-force (?) appears to be maintained by unknown means. We got some classic Jenova effects, purple visuals, and possibly induced lucid dreams or hallucinations. And we have a mysterious carnage survivor who resembles Sephiroth's mother.

My supposition is that there's a remnant of Jenova residing in Igara Forbidden Zone. I previously explored some unusual possibilities derived from the Temple of Ancients narration in FFVIIRebirth, where the Cetra mentioned their celestial adversary's "scattered malignancy". [Link] Unless the message is to be interpreted as prophetic, referencing ShinRA age experiments, it implies that Jenova's biologics were already “scattered” during Cetra's time.

What if the Igara Forbidden Zone ended up sitting atop a sealed deposit of Jenova's biological matter from the Cetran War?

The ground is depicted as having cracks, with some kind of purple substance visible beneath. Furthermore, Angeal observes that the soil is as fine as ash but glitters — and remarkably fresh Jenova's blood or goo has been shown to glitter in the ShinRA headquarters.

So perhaps at some point in time, the residents discover the sealed organic traces. Someone like a swordsmith would be closely dealing with matters of mining ore, so there's a chance of mining taking place in the vicinity. The mining process may have unearthed biological remains that had been buried for eons. Alternatively, there could have been ancient Cetran ruins nearby—perhaps an entombment site—that were intended to seal off alien matter. The opening sequence does feature what appears to be an abandoned Petra-inspired temple carved into the rock.

Although it has strong Wutaian ornamental motifs, it could be a repurposed Cetran site, so the idea stands.

Masamune's lifespan, if he is a living being, appears to be much longer than that of a normal human, or so his speech about finding a wielder for his masterwork implies. Lucrecia's situation immediately comes to mind, as the compilation states that Jenova cells prevent her from dying, thereby extending her life. While this is an unlikely scenario, Masamune appears to be bound and unable to rest until his sword is passed on.

In this case, it is almost implied that the sword possesses its own power. Could this be a cursed masterpiece? Could Jenova's remnant essence from the ancient war have been mixed in during Masamune's forging process? After all, during the battle, the swordsmith does display those Jenova-esque visual effects.

Another peculiar and somewhat ominous link between Jenova and Sephiroth's weapon can be seen in his dream/hallucination sequence. Jenova-Lucrecia gives Sephiroth a "charm" to wrap around his sword, promising to "always be with him".

Granted, it could be a manifestation of his deepest desires (such as wanting to eat pumpkin soup again), but the purplish Jenova-esque vignette at the edges of his vision lends the scene a sinister feel. What if her power is actually imbued in the weapon Sephiroth carries? In that way, her shadow is always present beside him.

The act of wielding Masamune is presented as some type of a tipping point in the opening sequence as well. During the intro Alissa mentions that she feels like the world will change once Sephiroth takes up the sword. The notion is further implicitly corroborated by Bachman, who stated the "course of history was altered forever".

Speaking of Alissa, according to FFVII Rebirth, Jenova can "peer into one's soul" and transform into those they hate, fear, or love. With this in mind, Alissa's resemblance to Lucrecia is extremely suspicious and raises numerous questions. Is she real, or a hallucination? It's telling that her face isn't revealed until the party comes into contact with suspicious purple wisps (which allegedly manifest as Masamune battle).

For all we know, if Jenova’s presence is there — if her power is unchained and lingers — then Alissa's might look completely different for Angeal, as her appearance is being specifically tailored to the beholder. It's also worth noting that the opening sequence features frequent flashes of Alissa surrounded by purple wisps and glitching.

To continue this line of thought, is it really coincidental that Bachman is carrying a camera, a device that captures unbiased visuals? Is it really an accident that Bachman is later portrayed as a mumbling, disorganized mess, despite the fact that he ostensibly never participated in the SOLDIER program? It's almost as if someone didn't want him to reveal his findings.

Written by @pen-and-umbra

#ffvii@luv fandoms #penumbra@theories #sephiroth #jenova #alissa goldie #lucrecia crescent #final fantasy vii #ffvii ever crisis #final fantasy 7 #ffvii first soldier #ffvii ec #ff7 first soldier #ff7 ever crisis #ff7

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literaryvein-reblogs · 16 days ago

Note

hello I was wondering if you had any tips on how to write/create an outline for psychological thrillers/horror?

Hi! I have this post on horror.

Writing Notes: Psychological Thriller

A subgenre of thriller that explores the psychology of its characters, who are often unstable.

The biggest questions revolve around the mind and behavior.

Often incorporates elements of mystery and include themes of crime, morality, mental illness, substance abuse, multiple realities or a dissolving sense of reality, and unreliable narrators.

Generally stays away from elements of science fiction, focusing on events that could take place in real life.

The 3 C's of a Thriller

The contract: An implied promise you make to the reader about what will be delivered by the end of the book. It’s crucial to keep every single promise you make, no matter how trivial.

The clock: The fact that adding time pressure to any character’s struggle will create higher stakes and more interest for the reader. The goal of this element is not to be stunningly original but to add pressure that will prompt conflicts and intense responses from your characters.

The crucible: A box that constrains your characters, offers them no escape, and forces them to act. Your story should present an increasingly difficult series of tasks and situations for the hero that will funnel them into the most severe trial of all. You must make sure that each successive task is harder than the previous one and that, for the hero, there is no escape. If readers begin to sense that the journey is becoming easier, they’ll lose interest.

The 3 Elements of a Good Psychological Thriller

Although psychological thrillers vary widely in their storylines, some common elements include:

Major plot twists: Psychological thrillers can be ruined by spoilers, since so much of their excitement hinges on the unexpected twists and turns that the novel takes.

An unreliable narrator: Revealing the narrator, or another important character, to be unreliable is another way authors create suspense as the reader tries to figure out who they can trust. Lies, paranoia, and flawed memories are all staples in the psychological thriller genre.

Familiar elements: Psychological thrillers often take place in the home (aka domestic thrillers) and feature ordinary-seeming characters. This allows thriller writers to get inside the reader’s mind, making them wonder, “What if this happened to me?” Starting with the familiar also allows writers to slowly introduce characters’ backstories, mental health issues, and other elements that create suspense over the course of the novel.

Tips for Writing a Psychological Thriller

The best psychological thrillers keep readers on the edge of their seats with unexpected twists. While reading a psychological thriller is easy, writing one can be difficult. Here are some writing tips to help you from first draft through editing:

Keep tension high. You can do this descriptively by showing your characters in tense situations, and you can do it structurally by rearranging the parts of a chapter to keep the pacing swift. Both techniques involve withholding information from the reader. By doing this, you don’t get bogged down in details or information dumps that slow down the pacing. Crucially, withholding allows room in the reader’s mind for the growth of questions and ideas.

Craft situations where characters are unable to get the information or tools they need. This forces the characters to strategize and take actions to reach their goals. If you do this, it’s important to construct believable scenarios. Make sure your characters don’t have an easy way of getting the information they need. Otherwise, your readers will lose respect for you and your characters.

Heighten the tension. In general, there are two ways to augment tension in your story. Descriptive elements that create tension are individual; they come from your story and from the forces or events that are pressuring your characters. Structural elements that create tension involve the way you write your story, like starting your chapters with a sense of urgency or blending descriptive passages into action scenes.

Flesh out character backstories. One way to create twists and suspense is to slowly introduce surprising elements of your characters’ backstories. A backstory can create a plot twist, or reveal why a character may be unreliable. Backstories can also raise the stakes of a story by giving your characters motivation.

Some Subgenres of Psychological Thriller

The psychoanalysis or ‘psycho-traumatic’ thriller

The amnesia thriller

The stolen identity thriller (including mistaken identity)

The ‘woman in jeopardy’ thriller

The stalker thriller

Serial killers or psychopaths and their psychological profiling arguably fit better in the forensic criminal investigation sub-genre, so they may be classified in the Crime Thriller subgenre.

From the sub-categories listed above, it is obvious that as well as overlap with the crime thriller sub-genre, the psychological thriller is also related to psychological horror. The ‘woman in jeopardy’ and ‘stalker’ thrillers also have elements in common with romance – particularly Gothic romance.

Common Psychological Thriller Tropes

Tropes appear repeatedly for a reason: they're what the readers are looking for. Decide which ones to include in your novel.

The protagonist has an inner conflict exacerbated by an external event.

Some sort of mental health issue plays a major role in the story (doesn't have to be the main character). This could be a diagnosed or undiagnosed mental health issue, paranoia, deep distrust, suspicion, or a slow slipping away of sanity.

Reality comes into question as the story progresses.

The protagonist finds it hard to decide who to trust.

There's a major plot twist at the climax. (There may be multiple plot twists.)

The characters are flawed, complex, and relatable.

The settings are common (home, office, child's school, church, etc.)

The stakes may not be life or death (although they can be), but they should be sanity or insanity, or well-being or a ruined life.

Sources: 1 2 3 4 ⚜ More: Writing Notes ⚜ Mystery ⚜ Tension ⚜ Violence Kidnapping ⚜ Backstory ⚜ Plot Twists ⚜ Crime Fiction ⚜ Character Journey

Hope this helps with your writing!

#psychological thriller #writing notes #writeblr #fiction #spilled ink #writers on tumblr #poets on tumblr #literature #writing tips #writing advice #writing prompt #writing reference #creative writing #dark academia #light academia #lit #writing inspiration #writing ideas #writing resources

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elyvorg · 1 year ago

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The Real Reason That Sissel Refused to Help

(or: the subtle genius of Ghost Trick’s tutorial)

“I just want to find my own lost memory. I’m sorry, but I can’t help you.”

Here’s a post in which I talk about this particular part of Ghost Trick’s story, which I’m keeping as vague as possible outside of the spoiler cut, but those who’ve finished the game should know what I’m referring to. What’s actually going on here is rather interesting, and paints our friend Sissel in a much less negative light than the face-value assumption I tend to see most people jumping to with this.

First, though, I have written a fic illustrating this idea in narrative form rather than lengthily explaining it. If you’re interested, I recommend you go read that first before reading this, because being shown is more fun than being told!

(Also, spoilers, obviously. Go play Ghost Trick if you haven’t; it’s so good and absolutely not the kind of thing you want to be spoiled for.)

So, in the original timeline, Sissel refused to help Missile save his mistresses, stating that he just wants to find his own lost memories.

It could easily seem at a glance like Sissel’s character development over the course of the game is that he started off selfish, only caring about his own mystery, and it’s only through getting attached to everyone throughout the night that he begins to care about others and the bigger picture. As such, his refusal to help Missile in the original timeline is easy to read as being born of that, since this was early on when Sissel still only cared about himself.

But… it’s not actually that simple, because Sissel isn’t as selfish in the beginning as one might think. Sure, he’ll say things like “I have to focus on my own mystery”, or “this is all for my own benefit”. But that doesn’t actually match up with his actions. His own mystery may be, in theory, his number one priority, but a remarkably close second priority for him is to save the lives of any dead person he happens to come across. Even very early on, before he’s grown to care about any of these people!

He doesn’t hesitate to save Missile, despite having zero reason to assume that this little doggie will be any help with his mystery. The second time he finds Lynne dead, when he’s getting to talk to her and learns that she doesn’t actually know much about him and probably won’t be able to help him because she’s got her own case to pursue tonight, he still reassures her that she doesn’t owe him and he’s going to save her life anyway.

And even right at Lynne’s very first death, in the game’s opening narration, Sissel makes a point that he doesn’t want to stand back and let her get shot, and that he feels bad for her, despite her being a complete stranger!

Evidently, even right at the beginning, Sissel isn’t selfish. He just thinks he is. Because cats can be tsundere like that.

Sissel: “Why am I so determined to save this woman? After all, it’s not as if I know her. My reason is twofold. Number one, I’m not the type to leave women lying around, discarded like trash.”

(Here’s a bit from later in chapter 1 featuring Sissel being amusingly surprised by his own altruistic streak. He seems to expect to only care about himself – yet here he is, not wanting to leave a stranger lying dead if he can help it. Not so selfish after all, huh?)

So if that’s not the problem in the original timeline, then what is? Why does Sissel leave Missile to deal with saving his ladies alone when he’d have no reason not to try and help? – after all, he hasn’t been given a fake time limit in this timeline! He’s not even in a hurry with his own mystery! For that matter, Sissel was still there in the junkyard at the beginning – why didn’t he just save Lynne himself?

We can get a good indication of what the issue is from that very same opening narration I was just talking about.

Sissel: “Now, I’m not the kind of guy who can just stand back and watch a poor woman get shot. But I have just one little problem… I’m already dead myself.”

Sissel: “I feel bad for her, sure. But what can I do? I’m dead. But just as I was thinking that…”

The real problem is not that he doesn’t care about saving a stranger’s life. Rather, it’s that, because he’s dead, he doesn’t think he can. He’s not expecting to magically have ghost superpowers; why would he?

And it’s just as he was thinking that he can’t do anything (which, while part of his screen-filling monologue narration, was still his thoughts and therefore something any nearby ghost could hear)… that Ray speaks up to tell him that actually he can save her.

Sissel: “Huh?” (Me? Save her? Uh, how?)

Immediately, Sissel questions the notion once again, not with a why but with a how. It’s not that he doesn’t want to; he simply doesn’t think it’s possible.

This general idea continues throughout the entire tutorial, which is absolutely packed with lines that show Sissel being deeply sceptical about the idea that he could possibly save someone’s life or alter someone’s fate.

Once Ray’s taught him about his basic ghost tricks and he’s managed to delay Lynne’s death by a few moments… she still ends up dead anyway. And Sissel thinks that’s it. Because of course he does. Even if he can stop time and manipulate objects, he has zero reason to believe that his powers can undo a death that’s already happened.

Sissel: “In the end, it looks like her fate remains unchanged. So what good are these ‘ghost tricks’ of mine? But just as I was thinking this…”

Sissel: “It looks like my ghost tricks didn’t do much good.” (She still ended up just as dead as before.)

He even ends up feeling like his new superpowers are barely worth anything, because he can play a few little tricks on someone, but that’s not enough to save someone’s life, is it?

Ray: “Isn’t it a shame to see such a pretty young woman lying here discarded like a piece of trash?” Sissel: “But what can I do? She’s already dead.”

Ray: “And while she’s resting, you can save her life.” Sissel: “Oh, sure. You make it sound so easy.”

And again, he’s very dismissive of Ray implying or telling him that he can do something about this. After all, how could that be possible any more?

In particular, there’s this vital little bit of trickery here…

Ray: “Now what do you suppose will happen if you possess a corpse?” Sissel: “Nothing, because I already tried that, remember? And nothing happened at all.”

…in which Sissel assumes his powers just don’t work on corpses, because he’s already tried and failed to do anything with “his” corpse. If he’d been alone, without Ray to guide him through things, he most likely wouldn’t have even tried to possess Lynne’s corpse in the first place, because he would have had no reason to believe it would achieve anything!

(Meanwhile, Missile in the original timeline also had zero reason to believe he could do anything for Kamila, but he was so anguished and desperate that of course he would have tried anyway. He’d try anything to save her, because he is good and loyal and Dog. So he was able to discover his time-rewinding powers where Sissel didn’t, and thus he passed that knowledge onto Sissel in the game’s timeline.)

And as Ray tells Sissel that he can in fact rewind time to redo the last moments of Lynne’s life, he’s completely dumbfounded and bewildered by the very idea of it.

Sissel: “Are you serious?! Back through time?!”

Sissel: “But this is crazy! None of it makes any sense!”

Ray: “To the time four minutes before this woman was murdered!” Sissel: “H-Hey, wait a second! I still don’t know what you’re talking about!”

What is this lamp even talking about?! Of course turning back time isn’t possible! He had no reason to believe it was possible, even as part of his new wacky ghost powers.

(Meanwhile, when Sissel is saving Missile in the game, we get a little exchange that shows Missile being completely unfazed by the idea that Sissel’s brought them back in time. It’s no weirder than humans walking around on two legs, right? One way or another, the cat can barely wrap his head around it, while the dog sees it as perfectly plausible.)

One thing Ray says more than once during the tutorial is, “The best thing to do is try it.” Because Sissel is being so stubbornly cynical that he will not take this desk lamp’s word about how useful his powers are and has to literally be pushed into trying it himself in order to believe it, every time.

Even after seeing for himself that he can go back in time and watch Lynne’s death again, Sissel still manages to be pessimistic about this.

Ray: “And there you have it. The last four minutes of her life.” Sissel: [strained] “No…!” Ray: “It’s kind of ironic, when you think about it. A woman toyed with by fate, and a man toyed with by a ghost.” Sissel: “But she still died.”

He went back in time, and she still died. There’s still apparently nothing he can do, right? No, Sissel, just have a bit of patience! This is just the mechanic that lets you understand what happens before you dive in and start changing things; you’ll get your chance soon!

And once he’s finally successfully saved Lynne…

Ray: “You used your powers to avert that woman’s fate.” Sissel: “So I did that?”

Sissel still has a moment of being surprised at the notion that he was capable of something like this.

It’s really striking to me, watching over chapter 1 again with this thought about original-timeline Sissel in mind, just how many lines to this effect there are throughout the whole thing. The writers did not need to include this many moments of Sissel being sceptical, or even any of them at all, really, in order for the tutorial to do its job as a tutorial! But they’re here anyway, because it is in fact really important to the story that Sissel is somebody who would not have tried hard enough to figure out that his powers can undo deaths unless he had someone holding his hand through it the whole way.

The way old-Missile talks about it when he’s explaining himself at the end, it’s easy to get the takeaway that the most important thing he did as Ray was to take advantage of Sissel’s supposed self-interest: by not contradicting his misconception that he’s the man in red, by telling him Lynne is the key to his mystery (a half-truth at best), and by giving him a fake time limit. And it’s not that those things didn’t help, but they’re not really the most important thing at all.

The most important thing Ray did for Sissel, the thing that Missile absolutely most needed to spend those ten years waiting to do, was exactly what it appeared to be during chapter 1: to teach him how to use his powers to save lives. Because the number one thing the Sissel from the original timeline needed but didn’t get was, quite literally, a tutorial.

There’s a little bit more to it than this, though. So, okay, Sissel in the original timeline didn’t know he had the vital time-rewinding power. But then that begs the question: why didn’t Missile just tell him that while asking for his help?

For that matter, why did Sissel leave Missile shortly after being asked for help? It can’t just be because he urgently had to go and look elsewhere for answers to his own mystery, because he’s not pressed for time here. And he was apparently chilling at the junkyard just eavesdropping on the investigators’ conversations before Missile showed up. Why the sudden shift in locations now of all times, when there’s someone here who’s actually talking to him – the first person Sissel would have been able to talk to all night – and asking him for help?

The issue here, I believe, is that this isn’t just a matter of Sissel’s lack of understanding what his powers can do. It’s also a matter of emotional state – both Sissel’s, and Missile’s. Both of them would have been incredibly stressed out and upset, Sissel due to his loss of memory and seeing deaths in front of him that he doesn’t think he can do anything about, and Missile due to his mistresses’ deaths that he also can’t do anything about, even though he has a superpower that lets him try but it just isn’t quite enough.

How would Missile and Sissel’s interaction go when they’re both so upset like this? There’s actually a fun little bite-sized example of this in the actual canon timeline. During the last desperate struggle to escape the sinking submarine…

Missile: “Sissel! Y-Y-Y… You’re not telling Miss Lynne to leave poor Miss Kamila behind, ARE YOU?!” Sissel: *sigh* “Could you just be quiet for a minute, Missile?”

Missile and Sissel are bound to be both extremely anxious and stressed in this situation – trapped in the submarine, Lynne and Kamila in danger of drowning if they don’t do something. And in that state of mind, it seems that Missile is prone to eschewing logic to be even more loudly desperately protective of his mistresses… while Sissel especially does not enjoy Missile being Loudly Boisterously Dog in his ear when he’s stressed out. After all, cats and dogs have very opposite and very incompatible ways of dealing with stress!

So it follows that the conversation between Sissel and Missile in the original timeline would likely have been an incoherent emotional mess, in which neither of them properly communicated their side of things at all. Missile must have just never even thought to tell Sissel that he can rewind time and therefore saving his ladies is actually possible in theory, because that was already obvious to him! He wouldn’t be capable of understanding why Sissel would be so reluctant about this.

As for why Sissel wasn’t just reluctant to help but outright ran away and sealed the deal – I think, more than anything, it’s got to be down to the fact that he couldn’t stand having Missile being so loud and energetic at him when he was this upset. Especially not while repeatedly saying that he can save them, which would be the exact thing Sissel has been miserably convinced that he just can’t. It follows that he’d just have wanted to run and hide somewhere Missile isn’t, where he can have some peace and quiet. Cats who are upset often like to hide and isolate themselves to feel safer.

There’s one other part in the game’s tutorial that suggests the problem originally might have been partly a matter of Sissel’s emotions:

Ray: “Hello there. How are you feeling? Not very well, I imagine. A terrible tragedy, what happened tonight.” Sissel: “………” [neutral face] Ray: “Ah, ignoring me, are you? It’s a little too early for you to be so stiff and cold, I’d say.” Sissel: [smiling] “Ah, so it was you. You were that voice in my head, right?”

This is very noteworthy, because Ray is the only person in the entire game who ever takes the time to ask Sissel how he’s feeling. He wouldn’t be feeling great after waking up dead, watching a woman die in front of him and failing to save her, would he?

It seems like old-Missile, with his years of wisdom and time to reflect on everything, realised that his approach to getting Sissel’s help last time really was way too focused on his own problems, and he never even stopped to think about how Sissel must have been feeling. So here, he presents himself as a friend, someone who cares about Sissel and his journey, because that’s exactly what Sissel needs! This poor kitty must have felt so lonely and sad and helpless in the original timeline. But hearing Ray’s words, and realising that this desk lamp is someone semi-familiar, does seem to cheer him up at least a little bit here! Sissel really is a character whose core desperate need is to just not be alone, even if you’d be hard-pressed to get him to admit that at the beginning.

Interestingly, way back when I first played Ghost Trick, on the DS soon after it came out, I found myself intrigued by Sissel in the original timeline. I vaguely toyed with the idea of writing a fic exploring how he was feeling and why he refused, though I never got around to actually doing so. Then recently, the game coming out in HD rekindled my hyperfixation and made me think about it some more and actually end up writing that fic after all. And the thing is, back then, I didn’t remotely consciously understand any of this stuff I’ve just explained here. But even so, I find it neat how I still had this wordless sense that what was going on with Sissel must have been so much more than just selfishness – that he must have been so sad in that timeline and that had to be the real basis of why he didn’t help.

#ghost trick #ghost trick phantom detective #ghost trick spoilers #sissel #sissel ghost trick #ray ghost trick #ramble

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quitealotofsodapop · 4 months ago

Note

Imagine how double heartbreaking it would be for the Noodle Gang + Macaque to watch the memories of how Wukong finds and then takes the stone egg back to his hut. The Monkey King had no way of knowing what this mysterious egg is or what creature will come out of it. Yet, he loved it immediately regardless and took it in. He would keep it clean, swaddle in blankets and pillows during cold nights. Sing and talk to it, telling it "I can't wait to get to know you once you get here!" Like a parent talking to a baby still in the safety of their mother's womb.

He was so excited, and gentle. A complete juxtaposition to how Peaches thought/feared his past self to be like. Peaches only had stories to go off of, as well as the biased perceptives of his past enemies. As he "grew up" under the care of Dadsy and Papa Tang, the Monkey King seem like such a distant figure that his baby brother was obsessed with, but he personally didn't worry about. Like, yeah, folklore figures do messed up stuff but those are all legends. No big.

Even if he never admitted it out loud, he had this fear in the back of his mind. That his past self truly was bad, a monster. All the people who knew the Monkey King personally are all unreliable narrators, so that didn't help his anxiety. And perhaps, he was scared, and maybe even unwilling to gain his memories back.

Because what if he becomes that person again. And loses his identity as Peaches. He loves being Peaches. He loves his family. What if gaining back his memories means he loses that loving family?

Prev.

All of this! ^

btw shout out to @soniclozdplove cus we be busting this au out in the dms

Peaches sees so many of his worries about "old him" get tackled inside the Scroll.

Because although Sun Wukong was hesitant to share his issues with others, he shared them with The Egg.

Wukong, watching the Egg: "You know I've been wondering... would you even like me if you knew who I was? I have done some stupid stuff in my life. I don't want any of that to affect you." Stone Egg: (*silent. Tiny brief pulse of magic glows from within*) Wukong, climbing up to curl around it: "You're right. I shouldn't let my past control my future. And you are my future." Wukong: (*rubs face against Egg affectionately*) Wukong: "I've been thinking about names recently. It's a big decision. The Stalwarts gave me my first, and Subodhi my second, and Macaque well... I've already told you how many he gave me-" Stone Egg: (*makes an almost annoyed "kick" of energy*) Wukong, laughing: "Ok, ok! I won't go off on a tangent like last time. Just know that *Peaches* is already taken, so you can't have it. Let's see..." Wukong, thinking hard: "There's one name I think would be perfect, but I want to run it by you first. I focused so much in trying to secure Heaven for my loved ones that I failed to see the Heaven before me... wish I had known that back then so you could have met him..." Wukong, wipes tear from eye: "So! How do you feel about Xiaotian?" Stone Egg: (*pulses happily*) Wukong, fond smile: "I knew you'd like it. My Little Heaven. I can't wait for you to get here. This world is so beautiful, I want to share every piece of it with you. Nothing matters more to me than that." Stone Egg: (*humming pulse of magic*) Wukong: "You're right, I'm getting sappy again... I love you, bud."

The Noodle fam stare wide-eyed at how the Monkey King had dubbed the Stone Egg the same name Peaches would suggest for his baby brother - the name MK was legally known by. How he treated the mystery egg as softly as one would a newborn baby.

The scene turns to the raging king ready to rip the Not-Mayor limb from limb - the Stone Egg held precariously in the Thrall's hand.

How the memory-stealing soup had been forced down the King's throat, the Monkey King distracted by the sounds of the egg's shell cracking prematurely.

And how he made good on his threats to the Thrall the second he heard the first cry of a newborn monkey.

How even with his memories failing; how he crawled over to shield the baby from the rain, cooing in-between worried calls for his long-lost friends and beloved.

Wukong, golden eyes streaked with tears: "Mihou! Please don't let me forget my Yuèhuā! Please! Yuèhuā!"

Macaque gasp at those words. To think he'd believed his mate willingly forgot him when the names he'd given him were the last on his lips?

The family sees how the Monkey King's last act of lucidity was to rip the royal cape from his back and wrap the little one in the red fabric. His golden eyes scanning the horizon for familiar souls.

When his mental slate had cleared, he immediately held the baby close and wandered for hours looking for someone in the direction his gold vision pointed him.

How the monkey demon suddenly paused on the road like a deer in literal headlights as a delivery truck hit the brakes to avoid collision. And how Peaches seemed to recognise the spirit of the driver before him...

Pigsy, getting out of truck: "The Diyu are you doing in the middle of the road, kid? You trying you get yourself killed?!" Peaches: (*scared/hopeful monkey noises*) Pigsy, expression softening as he inspects them: "Wait... are you... gods you're hurt. Do you got anywhere to go?" Peaches: (*thinks hard and looks down at baby in his arms, cooing sadly*) Pigsy, trying to hide worry: "Crap... look, I got a place nearby. You and the little guy need to get out of this rain and get some warm food into ya. Then we can figure... whatever the hell this is about." Peaches: (*hoots happily, following the pig man to the truck, limping from an earlier injury.*)

The memory ends, leaving the Scroll's explorers inside a vision of Pigsy's restaurant.

The memories of thousands of warm mornings and hugs, and meals rush past them. Bright and happy and oh so normal.

Sun Wukong fought for centuries to give young demons the chance to live amongst humans and celestials as equals. And that effort was not in vain as Peaches and MK grew to experience a rich childhood impossible for demons of the King's time.

So many happy memories are playing all around them that the Noodle Family are able to slow down and get a look at one another.

Peaches can't stop crying as he turns to his little brother, someone he'd thought he'd never even consider if he had kept his memories. Memories of a Him that he'd feared was an unfeeling monster. Regained memories showing a side of Sun Wukong that Peaches had not considered - that he had always been the sweet, shy, nerdy, family-driven monkey he was now.

And that he had loved his family from even before the start.

MK can't stop crying either as he slams into his big brother in a mortal-crushing hug. He had feared that Peaches wouldn't care for him if he could remember being the Monkey King. But now he had seen his goofy bog brother singing and caring for him long before MK had ever been born. That the song the Monkey King sang to the Stone Egg was the same one Peaches sang to MK when he was a baby.

Following after them is their parents, the two souls that raised them into the happy demons they are today. Turning to Pigsy and Tang, he asks something thats been plaguing him for a long time.

Peaches/Wukong: "Am I... can I still call you guys baba and dadsy?" Pigsy and Tang: (*pull their son closer to them, both teary-eyed*) Pigsy, looking Wukong in the face: "Kid, immortal monkey superhero or nothing, you're my son. My stubborn, brilliant, son who'd do anything for his family. I am proud to be your and your little brother's father." Tang, unintelligible blubbering: "I can't believe you still want to be ours! You're so wonderful! I thought you would have abandoned us after you learned who you were!" (*blows nose into tissue*) Peaches/Wukong, also blubbering: "I would never leave you! I love you guys so much!!"

Both sons and their fathers join together in tight hug. Not even godhood or the powers of the Underworld could tear them apart.

To the sidelines of this sweet scene is a shadow monkey feeling conflicted

Macaque hesitates. Although his heart ached from seeing how much Wukong still thought about and grieved for him, he still hurt him terribly. Peaches is a good man, why would he have anything to-

Peaches extends his hand out towards Macaque.

Peaches/Wukong, smiling in a painfully familiar way: "My beautiful Yuèhuā. I'm sorry I made you wait so long."

Macaque leaps forward to grasp the open hand in his own. The mated pair rub their faces against one another, cooing and chirping as they did as young loves without a care in the three realms. Regaining his memories did not quench the love in Peaches's heart, but set it aflame with the love Wukong had fostered for his lost mate for thousands of years.

Their relationship is not fully repaired no, but healing - and thats all they can hope for.

MK's indignant *chirp!* Interrupts the lovebirds' song. He empathetically points at the cracks in the universe, averting his gaze from the sappy pair.

So much joyous crying and hugging had taken place that they need to be reminded that there's still a world to save and a Lion's butt to kick.

#peach soup au #sun wukong #lmk mk #qi xiaotian #shadowpeach #liu er mihou #six eared macaque #lmk pigsy #lmk dadsy #lmk tang #lmk papa tang #freenoodles being parents #lmk aus #lmk #lego monkie kid #long post #i ate half a watermelon and feel a little better

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darkficsyouneveraskedfor · 10 months ago

Text

Dirty Work 34

Warnings: this fic will include dark content such as bullying, familial discord/abuse, and possible untagged elements. My warnings are not exhaustive, enter at your own risk.

This is a dark!fic and explicit. 18+ only. Your media consumption is your own responsibility. Warnings have been given. DO NOT PROCEED if these matters upset you.

Summary: You start a new gig and find one of your clients to be hard to please.

Characters: Loki

Note: It must be wet wednesday.

As per usual, I humbly request your thoughts! Reblogs are always appreciated and welcomed, not only do I see them easier but it lets other people see my work. I will do my best to answer all I can. I’m trying to get better at keeping up so thanks everyone for staying with me.

Your feedback will help in this and future works (and WiPs, I haven’t forgotten those!) Please do not just put ‘more’. I will block you.

I love you all immensely. Take care. 💖

Mr. Laufeyson sits with one long leg crossed over the other, his back against the headboard. He holds a book in his hands, eyes narrowed at the tight font as you emerge from the bathroom. You feel a lot nicer after a shower. Calmer too when you see him.

He doesn’t look up as you come around the bed and climb up on the other side. With a long day in the car ahead of you, you’re eager to tuck in. As your bottom touches the mattress, you're reminded of the raw bruises and tender gashes. You hold back a whimper and settle in, fixing the lacy strap of the nightgown.

“You’re tired?” Mr. Laufeyson asks, though it sounds more like an accusation.

“A little,” you answer, “we’re leaving early, aren’t we?” You ask, then sit up as a rush of panic swells over you, “did I forget something? Do you need anything, Mr. Laufeyson?”

He laughs and your heart flips. You stare at him horrified. He reaches over to caress your cheek, “no, you haven’t anything to worry about, pet.”

You exhale and lay back. Your pulse slowly peters out. He trails his hand along your cheek and pets your hair. You look at the ceiling and try to relax.

“I will read to you, it will help,” he offers, “you will need your sleep.”

“Oh, thank you,” you murmur.

“Mm,” he hums before he looks back to the pages. He rescinds his hand and licks his fingertip, flipping back in the book, “let’s return to where we left off…” he clears his throat before he begins. You close your eyes and let his narration ripple over you. How is it that his voice can inspire both peace and horror?

You fall into the rhythm of his cadence. It doesn’t take long for him to lull you into sleep. You succumb to it easily, shielding yourself in your unconscious. Your dreams are fractured and nonsensical between patches of all-consuming blackness.

The morning greets you with the soft speckle of rain on the window pane. Your eyes roll open and you stare at the space between the curtains. You see a rivulet flowing down the glass against the gray cast of the early hours.

You yawn quietly into your arm and turn onto your back. You’re careful not to disturb Mr. Laufeyson as his breath ebbs and flows. You glance over at him. He’s still a mystery to you. Still that unreadable man in his stiflingly silent house.

There’s a soft ticking in the air, as if counting down to something. You peek over Mr. Laufeyson’s profile and see his watch placed on the nightstand. Carefully, you get up and circle the bed to check the time on the face. You don’t dare touch the piece.

As you stand straight, you nearly yipe at the sudden clamp around your wrist. Mr. Laufeyson grabs your arm and tugs you towards the bed. You stumble against the mattress as he yanks you again. You fall over him and he snakes his arms around you.

You lay atop him, squirming as you brace his chest. He chuckles rockily as his green eyes glimmer from beneath his long dark lashes. His hand walks down your back and gathers up the silky skirt of your nightgown. He spreads his large hand across your fiery, bruised ass.

You squeak and wiggle again.

“Good morning, pet,” he purrs and shifts his hips beneath you, “what are you doing tiptoeing around?”

“Um,” you gulp, trying to ignore the rigidness against your pelvis. You think you know what that is. The thought scalds your face. “Checking the time–”

“Ah,” he sighs and gropes your rear until you whimper, “you needn’t lie…”

“Mr. Laufeyson, I…” you search his face. He’s in a pleasant mood, you wouldn’t want to spoil it. “Sorry.”

“You may kiss me,” he declares abruptly.

You bat your lashes and hesitate. You press your lips together as you bolster yourself. You should just do as he wishes and it’s no great task, is it?”

Impatient, his hand crawls up your back and grips the back of your head. He pulls your head down and crushes his lips against yours. You squeak and let him take over, curling your fingertips against the top of his chest.

The world spins as he flips you onto your back, rolling with you as he keeps his mouth over yours. He lifts himself over you, urging between your legs as he traps you against the mattress. He rocks slightly as he devours you, his hand slipping down to your neck, stretching across it firmly.

He grinds into you as he loses himself in his hunger. Your hands trail along his shoulders and you hold on to him, trying to slow him. Your heart is in your throat, knocking behind your ears. Your skin tingles as fire flows through your veins. You’re terrified but excited.

You let your touch wander down his arms, feeling the firm muscle. He’s suffocating but intoxicating. You close your eyes and think of the shower, trying to put yourself in that scene. A blaze sears over your face as you drag your hand down and twiddle your fingers.

You slip your hand between your bodies and feel around, finding his hard bulge and squeezing. He grunts and parts suddenly, pushing himself on one elbow as he keeps his hand on your neck. He dips his head to look down at your grip on him.

“Pet, what…” He murmurs.

You quickly retract your hand in horror, “i’m sorry, I thought–”

“No, no,” he purrs and rubs his thumb behind your jaw, “it’s… it’s nice.” He lowers his hips back down and rolls them. “Do you like touching me?”

You bite your lower lip and nod. You're quivering with embarrassment and eagerness. He draws his hand from your throat and caresses along your chin. He lowers his mouth to yours once more, kissing you hungrily.

He pushes his arousal against you, rocking between your legs as hot friction builds between you. He groans into you as he drags his hand from your face and grabs your arm, pinning it by your head. He does the same to the other, lifting himself over you as you puff weakly beneath him.

He keeps his hips rolling as he watches you. You squeak between shallow breaths and turn your face away. He growls and tilts harder against your cunt. Your nightie is above your thighs and the fabric of his panties is pressed to your bare lips. You feel your own delight staining it.

“Look at me, pet,” he sneers.

You snap your head forward and obey. You almost melt as you meet his fiery gaze. He ruts harder and a heavy pressure fills you, pulsing to the point of agony. Not a bad sort of pain, the type that needs release. You arch your back, pushing your chest up as you whine.

“Is this what you want, pet?” He taunts, “you want me fuck you like this?”

You gasp at the obscenity on his lips. You hum between your pouting lips and nod. He snarls again.

“Say it,” he demands.

“Yes, Mr. Laufeyson,” you babble.

“No, say it,” he repeats.

“I… I want you…” your throat clenches around the words. “I want you to… fuck me… like this.”

He snickers and picks up the pace. He looks down at his pelvis rocking into yours. You whimper and shake as you feel the coil winding tighter and tighter. You push up against him, wanting more, wanting to overflow.

He seems to go forever, groaning and grunting as he simulates his desire. He looks you in the face again and smirks, “tell me again.”

“Mr. Laufeyson–”

“Tell me to fuck you.”

Your eyes round and your lip trembles. You squirm as he keeps your arms pinned, still pounding against your cunt.

“Fuck me…” you whisper.

“I can’t hear you, pet,” he teases.

You recite it again, throat tightening as you do.

“Louder,” he commands.

“Fuck me!” You nearly shout, as close to it as you could ever get.

“Yes,” he puffs, “again,” you say it, “again,” you obey, “again…” He goes on, call and answer, until you’re breathless and he’s quaking.

He lets out a strangled snarl and spasms. His motion staggers but he pushes through. He slows, little by little, and hangs his head. He holds himself over you for just a moment longer then pushes off. He sits back on his heels and you see the sheen of your arousal on his pants.

He looks down at himself and heaves, “I should clean up…” he utters, “I might require some help.”

He backs off the bed and you shakily sit up. You flatten your legs and look down at them as they tremble. You lift yourself as Mr. Laufeyson retreats. There’s a wet spot on the sheets as well. You tamp down your humiliation as delight swells inside of you.

The video once more flashes in your mind. The droplets of water on slapping flesh. You’re wobbly as you stand and cross to the bathroom door. You peer through as you hear the shower humming and see Mr. Laufeyson step inside.

You follow and pull off the nightie. You pull back the door and slip in behind him. You look at his lined back, admiring the muscles and his build. You falter and look down at your body… does he think yours is nice too?

You shrug away the fear. He wants you, doesn’t he? He wouldn’t do all those things if he didn’t? You wouldn’t be here as he never shies away from casting out what he dislikes.

You reach to touch his back, visions of the shower scenes feeding you courage. You trace his spine and watch a shiver ripple through him. He purrs and faces you, holding out a loofah and a bottle of soap.

“Yes, you may get my back, pet,” he shoves both towards you, dismissing your lurid thoughts. “We should set off early to avoid the rush.”

You swallow and nearly choke, “yes, Mr. Laufeyson, of course,” you push the cap of the soap until it opens, turning your focus onto the task. How dumb you are.

✨

You’ve never been on a long road trip. Never spent more than an hour in the car with your father, never left the city limits even. You’re restless within the first twenty minutes, not able to focus on the book as the motion around you makes you dizzy. You squeeze the borrowed book and huddle back into the seat, fidgeting as Mr. Laufeyson cruises down the highway.

Instrumental music wafts in a low drone from the stereo but it’s not enough to entertain you. You stare at the dashboard, the sight of the road makes you queasy. You cross your leg over the other and shift, trying to get comfortable.

“Well, pet, we have some hours ahead of us so you better still yourself,” he reprimands.

“Sorry, Mr. Laufeyson, I’m trying.”

“Mm, well, try harder,” he sighs.

You make yourself stop moving and clutch the book tight. You keep your eyes on the interior, admiring the smooth finish and all the little knobs along the stereo. You could play one of the games you made up for yourself. You take a word and parse it out into smaller words.

“...an idea,” Mr. Laufeyson’s words break past your trance.

You glance over at him, hoping he doesn’t realise you didn’t hear him.

“An idea?” You repeat back to him.

“Yes, to keep you from all that squirming,” he reaches over to squeeze your knee. Your leg was jittering and you didn’t even realise.

“What is it?” You ask.

He grins and snickers as he pulls his hand back. As he does, he pushes up the armrest of your seat, then that on his own. You watch him curiously as he keeps his other hand firmly on the wheel. He beckons you nearer with a flick of two fingers.

“Mr. Laufeyson, “I don’t…”

“We can have some more fun,” he suggests as he rests his hand on the corner of your seat, arm extended between them. “You could… use your mouth again.”

Your eyes round in shock. You peer over the dashboard and immediately regret it. It makes your stomach swirl. You gulp down and look back at Mr. Laufeyson.

“Are you sure?”

“Let me worry about the road,” he dismisses, “come on, pet, you won’t be so bored.”

You restrain a frown and rub your hands together. It isn’t a request, you know that much. His delivery might be gentle but no is not an answer.

You push the seat belt behind you and twist in the seat to reach across as he sits up straight. You pluck open the top of his pants, hands clumsily brushing the fabric as you see him twitching. You push down his zipper, his tip throbbing and unrestrained beneath. You pull him out through the vee as he wiggles in the seat to slacken his pants.

You shudder and grip him firmly. You pump him up then down. He tenses and breathes out through his nose hotly. You do it again and he shivers. His reaction sets you alight. That thrill courses through you, the one where you feel powerful.

You take a breath and think of the shower scene and how the woman did it. She was so reckless and carefree. The way she did it, she seemed to enjoy it. You just have to pretend that you're her… maybe you’ll end up liking it.

You bend further over the space between the seats and bow your head. You pout just above his tip before pressing your lips to it. You flick your tongue against him and he growls. You slide your hand down and follow it with your mouth. You start slow, mimicking the woman as you pull back off of him and swipe along his length with your tongue.

Mr. Laufeyson rumbles and rests his hand between your shoulder blades, a wisp escaping him, “pet…”

You keep going, hiding behind your eyelids as you drift into the fantasy. This isn’t what it is. This is more than a task. In your head, you can make this man want you and you can make yourself want him.

You push your thighs together and moan around him. You do want him. You feel how badly you do. Your core thrums with desperation.

It doesn’t matter what he wants, you will do it. You want to be good for him and for him to tell you how good you are. You want him more than anything. You want this, you do. Don’t you? You must. You have to want this if you’re going to convince him to keep you.

#loki #dark loki #dark!loki #loki x reader #dirty work #series #fic #dark fic #dark!fic #au #maid au #mcu #marvel #avengers #thor

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ineffable-endearments · 8 months ago

Text

The Crow Road by Iain Banks

I finished The Crow Road and had a little time to think about it. I'll put my thoughts under a Keep Reading in case anyone is trying to avoid spoilers.

As I speculated before, I think it's likely that The Crow Road is more related to Good Omens in philosophy than in plot. I mean, it's not that the plots necessarily have nothing in common, and we could be very surprised in the end of course, but now that I've read the whole book, its philosophical commonalities with GO are both apparent and kind of inspiring. Also, if I were a writer, I'd be more interested in dropping hints about what themes are important than telegraphing my whole plot ahead of time.

So here, I will describe the book and point out themes that I believe may reappear in Good Omens 3.

This is a long post. If you read it, make a cup of [beverage of choice].

Update on 4/20/2024: I made a second post: The Crow Road and Good Omens: Further-Out Thoughts

Below are mentions of suicide, death/murder, and sexual acts.

The Crow Road centers around a character named Prentice McHoan, a university student in Scotland who starts to sort out his complicated relationship with his complicated family as he explores the mystery of his uncle Rory's disappearance. Although the book is mostly from Prentice's perspective, the narration jumps around in time with the McHoan family. There are quite a lot of important characters to keep track of; the bare-bones summary I put below doesn't even include some of the important ones. I wanted to make the summary even shorter and simpler than this, but the truth is that this book is not short or simple, and if I made the summary any simpler, it might be downright misleading.

There are at least three major cultural aspects of The Crow Road that I am inexperienced with: the overall culture in the 1950s-1980s (I was born in 1988, so of course wasn't here for the relevant decades), the international experience of the Gulf War (again, born in 1988), and the history and culture of Scotland itself (I'm USAmerican with only reading as a source). As a result, I'm sure there are important dimensions to the book that I've missed. If someone has a different perspective taking some of these things into account, I'd love to know about it.

Also, keep in mind, there is a great deal of descriptive writing in this book. There are a lot of pages about the geography of Scotland, and about Prentice as a kid, and about Prentice's father and uncles hanging out together in their youth, and about various family incidents, and about Prentice spending time with his brothers and friends. At first, these passages seem to just make things more confusing, and in my head, I accused them of being "filler." But they definitely serve a purpose. They're a way of showing and not telling the characters' attitudes and relationships to each other. More importantly, because we get to actually live these experiences with the characters, they are what give all the plot points below their deeper emotional impacts. In other words, the everyday experiences give the plot its deeper meaning. They resonate with one of the core themes in the novel: that our experiences in life, rather than any supposed existence after death, are what matters.

The Crow Road's story is like this:

Prentice is rather directionless in life, and he seems to have trouble investing any energy in his own future as he moons over his unrequited feelings for an idealized young woman named Verity. Soon, Verity ends up in a romance with Prentice's brother, Lewis, and Prentice feels that Lewis "stole" her from him. Prentice has also become estranged from his father, Kenneth, over spirituality. Prentice believes there has to be something more after death because he feels it would be incredibly unfair if people didn't get anything other than this one life; Kenneth is not only a passionate atheist, but is offended by the notion of an afterlife.

Prentice's uncle Hamish, Kenneth's brother, has always been religious, although his religion involves a number of bizarre and offbeat ideas of his own, with inspiration from more traditional Christian notions. Prentice is not really sure about this ideology, but he's willing to talk to Hamish about it and even participates during Hamish's prayers, whereas Kenneth is openly scornful of Hamish's beliefs. Hamish interprets this as Prentice being on "his side."

Prentice has a few opportunities to go back and talk to his father, and is begged to do so by his mom, Mary, with whom his relationship is still good. Mary doesn't want either of the men to give up their inner ideas about the universe; she just wants them to agree to disagree and move on as a family. Prentice says he will visit, but he just keeps putting it off and off and off.

Prentice acquires a folder containing some of his missing uncle Rory's notes in the process of hooking up with Rory's former girlfriend, Janice Rae, who seems to have taken a shine to Prentice because he reminds her of Rory. Using the contents of the folder, Prentice wants to piece together the great literary work that Rory left unfinished, which Rory titled Crow Road; however, it becomes apparent that Rory didn't turn his concepts into anything substantial and only had a bunch of disconnected notes and ideas. He hadn't even decided whether Crow Road would be a novel, a play, or something else. The few bits of Rory's poetry for Crow Road read are bleak and depressing.

Prentice also spends a lot of time with a young woman named Ash. They've been good friends since childhood and seem to have a somewhat flirtatious dynamic now, but they aren't in a romantic relationship; mostly, they drink and hang out together. Ash tells Prentice bluntly to get his life back on track when she finds out he's failing at school, avoiding his family, and engaging in shoplifting. She is a voice of reason, and when Prentice insists to her that he's just a failure, she reminds him that actually, he's just a kid.

Prentice's efforts to figure out Rory's story or location stagnate, and he continues to fail at school and avoid his father. He then receives word that Kenneth was killed while debating faith with Hamish. In fact, Kenneth dies after a fall from a church lightning rod, which he was climbing in an act of defiance against Hamish's philosophy when it was struck by lightning; Hamish is convinced that Kenneth had incurred God's wrath. Ash is there for support when Prentice finds out about the death.

With Ash's help, Prentice returns to his hometown again to help manage Kenneth's affairs. Prentice speaks with a very shaken Hamish, who is handling Kenneth's death with extreme drama and making it all about his own feelings. Hamish tells Prentice that Kenneth was jealous that Prentice shared more in common with Hamish's faith than with Kenneth's lack of faith. However, this isn't really true, and as he contemplates his father's death, Prentice begins to internalize one of the last things Hamish reported that Kenneth had argued: "All the gods are false. Faith itself is idolatry."

As the chapters go on, Prentice is compelled by some of the meaningful items related to Rory that he discovers in his father's belongings. He gains a renewed sense of purpose trying to solve the mystery of where Rory went and what happened to him. Among the interesting items are an ancient computer disk of Rory's that Prentice can't access with any equipment he can find; Ash uses her connections in the US and Canada to find a computer expert who can finally open the files on it. This takes quite a while, since the disk has to be mailed and Ash's connection is investigating the disk only in his free time.

Prentice also discovers that his feelings for Verity have changed. He no longer feels angry with Lewis for "stealing her." At first, Prentice's narration describes this as his feelings "cooling" as a result of the trauma of losing his father, but interestingly, this soon means Prentice gets to know Verity as a sister-in-law without getting caught up in jealous romantic feelings. Verity gets along well with the family, and Prentice is actually happy to discover that she and Lewis have a baby on the way. Prentice's relationship with Lewis improves greatly as well, partly because he is no longer jealous and partly because he realizes he does not want to lose Lewis, too.

Ash's connection who was looking at Rory's computer disk comes through and sends the printed contents of the files to Prentice. The files reveal to him that Rory likely knew Prentice's uncle, Fergus, murdered his wife by unbuckling her seat belt and crashing their car. Rory had written out a fictional version of events and considered using it in Crow Road. I'm not clear on exactly how certain Rory was about Fergus's crime, or whether Rory would have intentionally reported Ferg, or whether Rory even had enough proof to publicly accuse Ferg of murder, but people would likely have connected the dots in Rory's work and become suspicious of Ferg. For this reason, Prentice believes Ferg murdered Rory as well.

Prentice confronts Ferg. He doesn't get a confession and leaves Ferg's home with no concrete proof of anything; Ferg denies it all. But Prentice is soon physically assaulted in the night, and it seems Ferg was almost certainly the culprit, because he hadn't been home that same night, and he had injuries (probably from being fought off) the next day. A day or two later, Ferg's body is found unconscious in the cockpit of a plane, which crashes into the ocean. It's uncertain whether this was a suicide, but Prentice suspects it was. Rory's body is then soon recovered from the bottom of a waterway near Prentice's home, where Ferg had sunk it years ago.

As the mysteries are solved, Prentice realizes his feelings for Ash are romantic love. However, it's too late, he thinks, because Ash is about to take a job in Canada, where she may or may not stay. Prentice also hesitates to approach her because he's embarrassed about his previous behavior, venting all his angst about Verity and his father. He isn't sure she would even want to be in a relationship with him after that. But the very night before Ash leaves, she kisses Prentice on the cheek, which leads to a deeper kiss. They finally connect, have sex, and confess their mutual feelings. Ash still goes to her job in Canada, but says she'll come back when Prentice is done with his studies that summer.

The relationship's future is somewhat uncertain because something could come up while Ash is in Canada, but Prentice is hopeful. The book ends with Prentice getting ready to graduate with his grades on track as a history scholar, fully renouncing his belief in an afterlife while he acknowledges the inherent importance of our experiences in our lives now, and enjoying his time with Lewis and Verity and his other family members.

What's the point of all these hundreds of pages?

Well, look at all of the above; there's definitely more than one point. But the main point I took away is that we get this one life, with our loved ones in this world here and now, and this is where we make our meanings. There is no other meaning, but that doesn't mean there's no meaning at all. It means the meaning is here.

It's not death that gives life its meaning. It's the things we do while alive that give life its deeper meaning.

The Crow Road is described (on Wikipedia) as a Bildungsroman, a story focusing on the moral and philosophical growth and change of its main character as they transition from childhood to adulthood ("coming-of-age novel" is a similar term that is interchangeable, but more vague and not necessarily focused on morality/philosophy). And, indeed, all of the plots ultimately tie into Prentice's changed philosophy.

After his argument with Kenneth, Prentice feels childish and humiliated, and as a result, he refuses to go back home, which leads to a spiral of shame and depression. Kenneth dies and Prentice realizes it's too late to repair the relationship, which also leads him to realize it's what we do in life that matters, and that therefore, his father's argument was correct after all.

At the end of the novel, Prentice outright describes his new philosophy. However, I can't recall one specific passage where Prentice describes the process of how he changed his mind (if anyone else can remember something I missed, do let me know). There is, however, a moment when his narration indicates that Hamish seems less disturbed by his own part in the incident that led to Kenneth's death and more disturbed by the notion that his beliefs might actually be true: there might actually be an angry, vengeful God. In other words, Hamish's philosophy is selfish at its core.

My interpretation is that when his father died, Prentice realized three things: how utterly self-serving Hamish's devout faith is, how Kenneth's untimely death proves the importance of working things out now rather than in an imaginary afterlife, and how much profound meaning Kenneth had left behind despite having no faith at all. After these realizations, a determined belief in an afterlife no longer makes our lives here more profound like Prentice once thought it did.

Also, it's worth noting that this incident changes Prentice's idea of partnership, too. He loses interest in this distant, idealized woman he's been after. In love as in the rest of life, Prentice lets go of his ideals, and in doing so, he makes room for true meaning, both in a sincere familial, platonic connection with Verity and a sincere intimate, romantic connection with Ash.

But what about the sex scene?!

Yes, indeed, at the tail end of the story, Prentice and Ash have sex and admit they want to be in a relationship together. Prentice's narration describes them sleeping together and having intercourse not just once, but many times, including some slow and relaxed couplings during which they flex the muscles in their private parts to spell out "I.L.Y." and "I.L.Y.T." to each other in Morse code. This is relevant because earlier, they had been surprised and delighted to discover that they both knew Morse code; it isn't a detail that came from nowhere.

I didn't get the impression that this scene was trying to be especially titillating to the reader. It was mostly just a list of stuff the characters did together. I felt the point was that they were still anxious about being emotionally honest, a little desperate to convey their feelings without having to speak them out loud, and awkward in a way that made it obvious that their primary concern was the feelings, not the sexual performance. They cared about each other, but they weren't trying to be impressive or put on a show; contrast this with previous scenes where Prentice would act like a clown in front of Ash to diffuse his own anxiety. I've always thought that being able to have awkward sex and still enjoy it is a good sign.

Okay, so what does this all have to do with Good Omens?

Here's where I have to get especially interpretive. I'm doing my best, but of course, not everyone reading this will have the same perspective on Good Omens, the Final Fifteen especially. I believe similar themes are going to resonate between The Crow Road and Good Omens regardless of our particular interpretations of the characters' behavior and motivations, but I suppose it could hit differently for some people.

The TL;DR: I see similar themes between The Crow Road and Good Omens in:

The importance of mortal life on Earth

Meaning (or purpose) as something that we create as we live, not something that is handed to us by a supreme being

Sincere connection and love/passion (for people, causes, arts, life's work, etc) as a type of meaning/purpose

Relationships as reflections of philosophy

The dual nature of humanity

Life on Earth as the important part of existence is a core theme in Good Omens, and has been since the very beginning. We all already know Adam chose to preserve the world as it already is because he figured this out, and we all already know Aziraphale and Crowley have been shaped for the better by their experiences on Earth. But Good Omens isn't done with this theme by a long shot. I think this is the most important thematic commonality Good Omens will have with The Crow Road. Closely related is the notion that we create our meanings as we live, rather than having them handed to us. Isn't this, in a way, what Aziraphale struggles with in A Companion to Owls? He's been given this meaning, this identity, that doesn't fit him. But does he have anything else to be? Not yet.

Partnerships as a parallel to the characters' philosophical development also resonates as a commonality that The Crow Road may have with Good Omens. Prentice's obsession with Verity goes away when he starts to embrace the importance of life on Earth and makes room for his sincere relationship with Ash. Note their names: "Verity" is truth, an ideal Prentice's father instills in him; "Ashley" means "dweller in the ash tree meadow" in Anglo-Saxon, according to Wikipedia, and "ash" is one of the things people return to after death. Prentice literally trades his high ideals for life on Earth. We see in Aziraphale a similar tug-o'-war between Heaven's distant ideals and Crowley's Earthly pleasures, so I can see a similar process potentially playing out for him.

I don't particularly recall a ton of thematic exploration of free will in The Crow Road. However, there is a glimmer of something there: Prentice feels excessively controlled by Kenneth's desire to pass down his beliefs, and part of the reason Prentice is so resistant to change is simply his frustration with feeling censored and not being taken seriously. As the reader, I do get the feeling that while Prentice is immature, Kenneth made major mistakes in handling their conflict, too. And Kenneth's mistakes come from trying to dictate Prentice's thoughts. There is likely some crossover with Good Omens in the sense that I'm pretty sure both stories are going to take the position that people need to be allowed to make mistakes, and to do things that one perceives as mistakes, without getting written off as "stupid" or "bad" or otherwise "unworthy."

Suffice it to say that the human characters in Good Omens will also certainly play into these themes, but it's hard to write about them when we don't know much about them except that one of them is almost certainly the reincarnation of Jesus. This also makes me suspect perhaps the human cast will be 100% entirely all-new, or mostly new, symbolic of how Aziraphale and Crowley have immersed themselves in the ever-evolving, ever-changing world of life on Earth. Alternatively, if we encounter human characters again from Season 1 or 2, perhaps the ways they've grown and changed will be highlighted. For example, even in real-world time, Adam and Warlock have already, as of the time I'm writing this, gone through at least one entire life stage (from 11 in 2019 to 16 in 2024). They'll be legal adults in a couple of years, and if there's a significant time skip, they could be much older. If characters from Season 1 do reappear and themes from The Crow Road are prominent, I would expect either some key scenes highlighting contrasts and changes from their younger selves or for stagnation and growth to be a central part of their plot.

The more I write, the more I just interpret everything in circles. Hopefully this post has at least given you a decent idea of what The Crow Road is like and how it may relate to Good Omens.

I'll end this post with a quotation that feels relevant:

Telling us straight or through his stories, my father taught us that there was, generally, a fire at the core of things, and that change was the only constant, and that we – like everybody else – were both the most important people in the universe, and utterly without significance, depending, and that individuals mattered before their institutions, and that people were people, much the same everywhere, and when they appeared to do things that were stupid or evil, often you hadn’t been told the whole story, but that sometimes people did behave badly, usually because some idea had taken hold of them and given them an excuse to regard other people as expendable (or bad), and that was part of who we were too, as a species, and it wasn’t always possible to know that you were right and they were wrong, but the important thing was to keep trying to find out, and always to face the truth. Because truth mattered. Iain Banks, The Crow Road

#good omens #the crow road #good omens book club #go3 speculation #s3 speculation #good omens 2 spoilers #go s2 spoilers

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anim-ttrpgs · 2 months ago

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Fairy Player Character Rules in Eureka: Investigative Urban Fantasy

Eureka has six playable "monster" types, and about ten total supernatural character options all together. Each supernatural trait is taken basically as if it is a normal trait like the ones you have been seeing us post. You cannot give a character more than one supernatural trait--and from what you are about to read, you probably wouldn't want to. Playing monsters is recommended for "advanced" players only, people who like a lot of "crunch" in their games, as require you to keep track of a lot more mechanics than playing a normal human.

Here is the Fairy Trait as it appears in its overhauled state which will be coming in the next release. The August itchio beta does not currently have these overhauled monster traits(though, you could just use this post as reference if you wanted to play with the overhauled fairy rules, we don't mind! They're much better rules and we want people to have the most fun possible!)

If you are reading this past about October 24th, then there is a good chance that the itchio beta actually has been updated to include these improved rules, fingers crossed!

Anyway here we go. This is going under a Read More because it's long as hell but we really hope that you will check it out and comment. This is, like, the whole entire ruleset for playing a fairy in Eureka.

Stay tuned for the overhauled Wolfman rules next week!

Fairy (Monster Trait)

“Fairy” is a bit of a nebulous term, and has been used to describe all sorts of things which, thanks to modern fantasy literature, are now strictly sorted into all sorts of distinct categories such as elf, goblin, dwarf, fairy, pixie, etc. in our culture, when in the past when such legends were told, many of these words were just different regional names for the same or similar phenomenon in Northern Europe and the British Isles. Mysterious beings outside of normal society—and who may have an entirely separate society of their own—who live by a bizarre set of rules and are as likely to grant a boon as steal one’s child.

What a fairy can actually do is similarly often nebulous, though there are a small handful of through-lines which we extrapolate from. The modern categorization that most people would probably use for the fairy being described by these rules is “elf.” Pointed ears, magic powers, and a sense of superiority.

A fairy investigator could be born and raised as a fairy by fairies, or they may have been raised by humans as a changeling.[1]

[1 off to the side in the final formatting] Unlike with the Changeling Trait, a character with the Fairy Trait is a respectable, fully capable fairy regardless of their origin. That does not mean, however, that they cannot fall into disgrace by means other than the circumstances of their birth.

The Fairy rules tackle some very different themes compared to most of the other supernatural character options, but, mechanically, certainly don’t fit anywhere but the Monster category.

A lot of a fairy’s powers hinge on them knowing someone’s “full true name.” What exactly is meant by a person’s “full true name” is a matter of discussion between player and Narrator, but as a general guideline, if a person is named Jeremy Matthew Jones IV, then “Jeremy Matthew Jones IV” is needed, and just “Jeremy Jones” or “Jeremy M. Jones” won’t be enough. Nicknames also do not generally count. A fairy cannot make their magic work by just guessing a person’s true name, they have to know the name with certainty.

Spiriting Away

Sometimes, a fairy wants someone to just go away forever, and they do.

So long as the fairy is not debilitated by a weakness, can see and is within 5 feet of the target, and knows the target’s full true name[1], at the fairy’s whim the target appears to simply pop out of existence, or at least out of this existence. If done while time is being measured in Turns, this takes one Movement. This can be done without the fairy knowing the full true name of the target, but under these circumstances, the fairy must make voluntary skin-to-skin contact with the target.[3] There are a number of explanations and possibilities as to what happens to them or where they go,[2] but for the purposes of gameplay, it does not matter, because the ‘camera’ of the story will never follow them there. They are out of the Scene, and potentially out of the adventure entirely. There will be no Scenes exploring the fate of a spirited away character.

[1. Off to the side in the final formatting] What exactly is meant by a person’s “full true name” is a matter of discussion between player and Narrator.

[2. Off to the side in the final formatting] They may be transported to a sort of “pocket dimension,” transported to the “fairy world” if such a thing even exists, still technically present but unable to interact with the rest of reality, or perhaps all or none of the above. It depends on the whim of the fairy - and they may not even know!

[2.1. Off to the side in the final formatting] A thorough explanation of fairy society and where they come from would be far beyond the scope of an investigative TTRPG, any fairy’ll tell you that.

[3 off to the side in the final formatting] “Voluntary” means that the target knowingly accepts the physical contact and does not do anything to resist it, or initiates physical contact themselves voluntarily. They do not have to be aware that the fairy is a fairy or that the fairy intends to spirit them away.

Spiriting Back

It is much easier to send someone away than to bring them back.[1] To return someone they have spirited away, when not debilitated by a weakness, the fairy must make a full Success on a Nature, Paperwork, Blacked Out, or Senses roll. Each Skill can only be used to attempt this once per fairy per victim, and each attempt costs the fairy 1 point of Composure. If another fairy knows both the full true name of the victim and the full true name of the fairy which spirited them away, they may do the same, but with a -2 modifier.[2]

[1. Off to the side in the final formatting] It’s possible that the fairy’s household may have changed the servant’s name to thwart efforts to retrieve them.

[2 off to the side in the final formatting] The return of a spirited away person does not need to happen at the same location where they were first spirited away.

Taking Names

When not debilitated by a weakness, a fairy can be “given” a mortal’s name voluntarily, though the mortal need not fully understand the situation coming to pass.[1][this sentence sucks help me rewrite it]

[1. Off to the side in the final formatting] This could be anything from a formal signed contract detailing the transfer, to giving one’s full name in response to the simple request of “Can I have your name?” It is up to the fairy if they actually want to take the name or not. Voluntarily handing over a physical nametag could potentially count as well, if the nametag has the full true name.

A person whose name has been taken by a fairy will perpetually forget their own name, and will not respond to it when called by it. The fairy must take the full name of the victim for this to work, and a fairy will quickly become aware if they do not have the full name.[1]

[1 off to the side in the final formatting] A fairy does not have to take possession of someone’s name to use name-based magic such as curses or spiriting away on them, they just have to know the name.

Write the person’s full true name in the fairy’s inventory.

A fairy can relinquish a person’s name and return it to them at any time, from any place.

A fairy can also take possession of a person’s voice in the same way. If a voice has been taken, the person missing their voice will be unable to speak, and the fairy in possession of it will be able to speak in the taken voice at will.

Using Names

So long as a person is missing their name, no name-related magics, such as curses or a fairy’s spiriting away, will be able to affect them. These magics will instead affect the fairy in possession of the name.

Spiriting away has no effect on a fairy regardless of the name.

If a curse is put on a fairy through any of the names in their possession, they may instantly transfer the curse to any name they possess, and send that name back to the original owner, along with the curse.

A fairy can *truthfully* answer with any name in their possession when asked their name.

The Gentry

When not debilitated by a weakness, fairies have a +3 Base bonus to Wealth. Their Wealth Skill Rating and any Wealth bonus they get from any other Traits will also always be considered Base. While this means that Composure will cap their Wealth Skill checks during the adventure, it will not cap their Wealth Skill during the Wealth Point Roll in character creation.[1]

[1 off to the side in the final formatting] Some kind of joke about exchange rates.

Fairies also seem to be able to pull things out of the most unlikely of locations sometimes. Add +2 to the Property Modifier of any home or vehicle owned by the fairy.

A backpack, purse, duffle bag, or similar personal storage device given to a fairy at character creation at a WP cost of 2 will be a little bit bigger on the inside than it looks like on the outside, and can be used to roll Wealth for items just as a home or vehicle could, with a Property Modifier of -3.[1][2]

[1. Off to the side in the final formatting] This already accounts for their +2 Property Modifier bonus. It would be -5 otherwise.

[2. Off to the side in the final formatting] Maybe they could even cram a person in there with a bit of effort. If the fairy does try to cram an unwilling person into their purse or whatever, consider this to require a successful Hold. Regardless of compliance, this will deal 2 Superficial Damage.

Glamor

When not debilitated by a weakness, fairies appear supernaturally attractive and supernaturally well-groomed at just about all times. They have a +2 Base bonus to all Interpersonal Skills except Social Cues and Threaten.

A Keen Interest

Fairies gain +1 Investigation Point for any Investigative Roll that involves asking or otherwise inquiring about someone’s family history or personal identity.[1]

[1. Off to the side in the final formatting] “Personal identity as in how a person would identify and think of themselves. This would not apply to a fairy asking “Who is the killer?”

Weather Affect

When not debilitated by a weakness, fairies can exert very minor influence over the weather in a localized region of about a mile radius around them for the duration of a Scene. They could not turn a hurricane into a sunny day, but they could turn a storm into a drizzle, a drizzle into a cloudy day (or vice versa). They could raise or lower the temperature by about ten degrees Fahrenheit, cause the fog to thicken or dissipate, part the clouds to allow sunlight or moonlight through, or help block it out, etc.

With use of a Eureka! Point, the fairy can change the weather much more drastically, such as summoning a violent rainstorm out of nowhere, initiating a snap freeze or sudden thaw, or parting the clouds during a hurricane.

With use of a Eureka! Point,[1] a fairy can extend the duration of the weather change to last for the whole day, and one day per Eureka! Point after.

[1 off to the side in the final formatting] This is a separate Eureka! Point usage from the above option of making the weather change more drastically, though they can be combined to make the drastically changed weather last longer.

Poltergeist Activity

When not debilitated by a weakness, fairies have the ability to exert “poltergeist activity�� in their general vicinity, such as within their line of sight or the building[1] they are in. This ability essentially causes chaos and unexplainable accidents. Equipment malfunctions, food mysteriously spoils, objects fall over or off shelves, people trip and drop things, unidentifiable banging may be heard, etc.

[1 off to the side in the final formatting] The wing or floor of the building they are in, if it is an exceptionally large building.

For each use of this ability, the Narrator rolls 3 hidden D6s. For each 4 or above, something advantageous to the fairy will happen, and for each 3 or below, something disadvantageous or at best unhelpful to the fairy will happen. When deciding what happens, use the same logic as Woo Rolls. Whatever is the most obvious thing to happen happens.[1]

[1 off to the side in the final formatting] Beware, use of this ability can have catastrophic consequences in places where people’s lives rely on the proper functioning of sensitive equipment or strict safety regulations, such as hospitals or construction sites.

Curses

So long as they are not debilitated by a weakness, by speaking the intended target’s full true name,[1][2] a fairy can place a terrible curse on an unsuspecting victim from anywhere in the world.

[1 off to the side in the final formatting] This must be done with intent to curse, it doesn’t just happen every time the fairy says someone’s name.

[2. Off to the side in the final formatting] What exactly is meant by a person’s “full true name” is a matter of discussion between player and Narrator.

Casting a curse requires a supernatural ability Composure roll.

Casting a curse takes one Movement. The curse takes effect immediately, and will last for 14 days by default before wearing off completely. As the curse is cast, roll 1D12+1+[Relevant Skill]. Which Skill is used will vary depending on the curse. The result is the number of days by which the fairy may extend or reduce the curse's duration. If the result is a negative number, reduce the fairy’s Composure by the same amount. A fairy may use the Focus Eureka! Point ability to add an additional 1D12 to this roll and drop the lowest die.

If a curse is reduced to a duration of “0 days,” it will only take effect for the duration of a single Scene.

Fairies may place curses upon themselves if they so desire.

A second curse placed upon the same target will extend its duration, but only the effect of one type of curse can apply at once.

Effects of Fairy Curses

Each curse has a different Skill associated with it.

Curse of Transformation

This curse uses the Nature Skill. The target will be spontaneously transformed into an animal of the fairy’s preference.[1]

[1 off to the side in the final formatting] Their clothes don’t transform with them.

The fairy must make a Full Success on a Nature roll to choose an animal that is not on the following list.

Cat

Frog

Mouse

Newt

Pig

Rat

Toad

Wolf[1]

[1 off to the side in the final formatting] For the stats of a wolf, see p.xx “Werewolf”. The rest of these do not have official stats, but we expect you to be able to figure out what they would be good and bad at.

The target will maintain a functional degree of human intelligence while in this form, at least for some time. Once their human mind is lost, the curse cannot be removed, and will never revert after any amount of time. The curse will also never revert if the target dies while transformed.

For an NPC, the Narrator rolls a hidden 1D6+3. This is how many days the target will retain their humanity.

For an investigator, the Narrator rolls a hidden 1D6. After this number of days, if the transformed investigator ever reaches 0 Composure, their humanity will be lost.

Curse of Reduction

This curse uses the Visual Calculus Skill. The target will be spontaneously reduced to between 5% and 10% of their original size.[1][2]

[1 off to the side in the final formatting] Their clothes and items may or may not shrink with them, at the caster’s preference.

[2. Off to the side in the final formatting] For a 72” person, that would be between 3.6” and 7.2”.

If the target dies while shrunken, the curse will never revert.

Curse of Petrification

This curse uses the Chemistry Skill. The target, including their clothes, will be spontaneously turned to stone. At the preference of the caster, they may or may not retain awareness of their surroundings. If kept aware, they will lose 2 Composure per day, and if unaware, 1 Composure per day, until they are effectively dead, at which point the curse cannot be reverted.[1] If the curse is reverted, either by it wearing off before the point of no return, or being broken, any damage the target sustained as a statue will immediately take effect. For example, chips in their stone body become lacerations in their living body. If an arm was broken off of the statue, their arm is now severed. If the statue suffers fatal damage, the curse will not be able to be reverted. If unaware, then reverting the curse will feel like waking up from a long and restless sleep. The target does not need to eat or sleep so long as they are petrified.

[1 off to the ads in the final formatting] For NPCs, consider them to have 1D6+1 Composure to lose before it starts to eat into their Superficial HP.

Curse of Slumber

This curse uses the Medicine Skill. The next time they fall asleep, the victim will fall into a coma-like state for the duration of the curse. The target will lose 1 Composure per day until the curse either reverts or they die.[1] Unlike with petrification, the body must breathe and be fed during this time.

[1. Off to the side in the final formatting] For NPCs, consider them to have 1D6+1 Composure to lose before it starts to eat into their Superficial HP.

Curse of Death

This curse uses the Blacked Out Skill. The target begins to take 2 Superficial Damage each day for the duration of the curse or until they die, and will be unable to regain HP or Composure through sleep. In addition, apply a -3 modifier to all their rolls.

Breaking a Curse

There are a number of ways for a fairy to break a curse. If the ailment is not immediately identifiable as a curse, a Full Success on any Knowledge Skill check by a fairy will positively identify whether it is or not.

The death of the curse’s caster will not remove the curse, and fairies cannot simply lift their own curses at will.

To lift any curse, the fairy must know the full true name of the victim, and must make a Full Success on a Nature, Paperwork, Blacked Out, or Senses roll with a -2 modifier. Each Skill can only be used to attempt this once per fairy per curse, and each attempt costs the fairy 1 point of Composure.

True Love’s Kiss

A kiss can sometimes be all it takes to lift a curse, and it doesn’t even have to be a kiss from a fairy. The Narrator rolls a hidden D6 once the victim has been kissed. On a 7, the curse will be broken by the kiss. If it fails, another kiss from the same person will not work either.[1]

[1. Off to the side in the final formatting.] Morgie’s kisses always lift curses.

Add +1 to the roll if the kisser truly loves the victim.

Add +1 to the roll if the kisser is female.

Add +1 to the roll if the kisser is of noble or royal lineage, or is a fairy.

Mage Power

Every fairy has one Mage Power by default. A fairy may have any number of additional Mage Powers, but for each additional Mage Power, increase the number of Investigation Points required for the fairy to gain a Eureka! Point by one.

Fairies can only make use of these powers when not debilitated by a weakness.

Misc. Fairy Features

Every fairy character must have one or more of the following features.[1][2]

[1. Off to the side in the final formatting] The expectations placed upon a fairy has affected them, whether directly or through rebellion.

[2. Off to the side in the final formatting] In many cases “what happens to fairies who aren’t cut out for the thing they’re prescribed at birth” and “why is this fairy hanging out with a bunch of humans” have the same answer. Other times, fairies just might want to unwind in a world where the stakes are lower and their riches higher.

[2.1. Off to the side in the final formatting] It’s only humans.

Pointed Ears

It is said that fairies with pointed ears are always eavesdropping on others’ conversations and internalizing their secrets, but who isn’t? This is the most common feature among all fairies.+2 Contextual bonus to Senses rolls involving hearing.[1]

[1. Off to the side in the final formatting] These ears are articulate, and their position will often betray a fairy’s mood.

Antlers/Horns

It is said that fairies with antlers or horns are stubborn to a fault and should never be trusted with nuanced decision making, but are very fit for positions of authority.

The fairy is considered to be wearing a helmet when struck with bludgeoning weapons.

Irregularly Shaped Pupils

Some say that fairies with eyes like these eyes can gain very brief glimpses into the immediate future. That’s not how it works, but there is something going on. The fairy has a +1 Contextual bonus to Reflexes and Visual Calculus.

Tapetum Lucidum

The fairy’s eyes will reflect light and appear to shine in darkness. They are not affected by low-light conditions, unless the environment is completely lightless.

Unusual Number of Teeth

Fairies with unusual rows of teeth are thought to be liars.

Glowing Skin

At all times, the fairy’s skin emits a very faint glow and may even sparkle.[1] Apply a -2 penalty to Stealth in any darkened area. At will, the fairy may intensify this glow enough to dimly light a dark room.[2]

[1. Off to the side in the final formatting] This may be colored or white light.

[2. Off to the side in the final formatting] It’s said that these fairies always want to be the center of attention, but what fairy doesn’t?

Furry Legs and Hooves

The fairy’s legs are more like those of a goat or deer than a human’s. Any sort of kick from these hooves can deal Penetrative Damage. Fairies born with these qualities are thought to grow up to be sexual deviants.

Wings

The fairy has large insect-like wings on their back, such as resembling a butterfly or dragonfly. So long as these wings are uncovered, the fairy may fly and hover freely, in such a way that does not seem to actually be directly related to the intensity by of the wing beats, as long as they are able to spread out and flap.[1] When flying, the fairy has +5 Acceleration.

[1. Off to the side in the final formatting] Fairies with wings such as these are thought to be flaky and noncommittal.

Marked Skin

The fairy has elaborate markings across at least a third of the surface area of their entire body, which could be passed off as regular tattoos to the untrained eye. Add +1 to all Composure rolls made by the fairy for non-skill supernatural ability usage.

Short Temper, Long Grudges (Fairy True Nature)

Fairies are able to regain Composure Points from restful sleep, and will take Flat Composure Damage if they do not sleep. Fairies will take Flat Composure Damage as normal for skipping meals, but do not regain Composure Points for eating three meals a day.

Fairies are known for their short tempers, long grudges, and difficulty letting things slide. Fairies must have “Disrespect” at some rank on their Tiers of Fear.[2] This Composure roll is made when the fairy is slighted, insulted, intruded upon, ignored, or otherwise disrespected by others, whether disrespect was the intent or not.[1] If the one disrespecting the fairy is a changeling, always consider this an exacerbating factor.

[1. Off to the side in the final formatting] A fairy might even consider accidental disrespect to be worse. To think that they weren’t even thinking about how rude that would come off…

[2. Off to the side in the final formatting] Lying to a fairy, expecting them to lie, or accusing them of lying, is considered disrespectful. In this case, make it a Lying Composure Roll (see below), but all the same rules regarding Composure loss and restoration apply.

Keep track of how much Composure was lost as a result of a Disrespect Composure roll. If at any point the fairy enacts disproportionate revenge upon the person who slighted them, then this revenge will restore the amount of Composure that was lost +1. If the act of revenge results in permanent or otherwise life-altering consequences for the victim, then the revenge will restore double the amount of Composure that was lost.

Trickster

Pranking, humiliating, or otherwise “whimsically” exerting power over mortals will also restore a fairy’s Composure.[1] If the effects are temporary, this restores 1 Composure. If the effects are permanent or otherwise life-altering, this restores 2 Composure. Double these values if the target is a changeling.

[1. Off to the side in the final formatting] How well can a fairy establish a relationship with someone they have been raised to look down on so pointedly?

Exchange

Where fairies come from, nothing is given freely, and if no one else is going to name the price, they will. Fairies must have “Debt Discrepancy” somewhere on their Tiers of Fear.

If a fairy accepts aid, or accepts something given, they must provide something in exchange, or else they must make this Composure roll. If the other party does not name a price, then anything will do, even a smile.

If the fairy’s aid or possessions are accepted or taken by another person, and the other party does not name a price, the fairy must decide upon something that they are owed, and do everything in their power to ensure that this price is paid, or else they must make this Composure roll. The fairy also has a +1 Contextual bonus to any Skill check which will directly result in collecting on this debt. The price they name may be anywhere from something as inconsequential as a single penny, to eternal servitude.

Honest to a Fault (Fairy Weakness)

Segue?

Lived Under a Rock, or Maybe a Mushroom

Whether the “fairy world” is actually real or not, fairies certainly seem to come from a different world. Fairies have a -1 penalty to all Investigative Rolls using Knowledge Skills.

Cannot Lie

Fairies must have “Lying” somewhere on their Tiers of Fear. If a fairy tells a lie, they must make this Composure roll, but lies of omission or statements that are technically true but phrased in a misleading way do not count. Additionally, if a fairy learns that they have been lied to, or otherwise does not believe what they are told, they make this Composure roll.

Fairies have a -2 penalty to Social Cues.

Iron

Iron, and alloys of iron, will irritate a fairy’s skin on contact, often causing an itchy rash.

Iron, but not steel or other alloys, will also render a fairy powerless so long as it is in physical contact with their body, giving them a -2 to all rolls, and debilitating them. This will not undo any curses or spiriting aways that have already been enacted.

Their Own Name

A fairy’s full true name is perhaps their greatest weakness. If a fairy’s full true name is spoken to them with intent, the fairy will be debilitated for the remainder of the Scene. This must be the fairy’s own name, not one they have taken from someone else. This will break any ongoing curses by the fairy that have not already become permanent, but will not return any spirited away people.

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