#there are many many more examples but i hope this one suffices

[pattern-recognition]

re:the brutalism post, what do you mean when you say "the landscape" of the US? My interpretation is that you're talking in terms of literal landmass and how populations are dispersed, so I'm confused about why that'd present a more significant barrier to successful socialist organizing in the US than it did in other, larger countries like China or Russia that have seen successful large-scale socialist/communist movements. I don't mean this as a gotcha - I really don't feel that I'm educated enough to know why it might be notably different in the US.

Where i was going with that post before it evolved into a discourse about brutalism, which i never really intended, was towards the atomization of American social life. More so than any aesthetics of architecture form and what they mean, I was motioning towards the ways in which the built landscape in the US is specifically designed to isolate people, dehumanize them, and make living as hard as possible for people without the privileges of wealth. The most obvious example is the homelessness crisis and car based infrastructure. it’s true that there are more empty homes in the US than there are homeless people, but even then those homes are of the most deleterious type, even compared to other capitalist nations like Francs, Britain, etc. American zoning laws, in most cities, eschew affordable high-rise apartment buildings for single family, two story at most, housing that forces people into having a vested interest, wether they like it or not, in capitalist real-estate speculation through mortgages and whatnot. The phenomenon of suburbia in the United Stated was specifically an anti-communist one and heavily parallels the Wehrbauer system in Nazi Germany. The latter, should it have come to fruition fallowing Gerneralplan Ost (the mass genocide of all eastern european peoples and subsequent resettlement of eastern europe by Germanic colonizers) would have been structured around a system of semi self reliant small business owners and peasants (and I use this word in the Marxian sense, as in small land owners in control of their own means of production) who would act as a bulwark against both physical reprisals by freedom fighters (the Wehrbauers were intended to be heavily armed) as well as an ideological one because communities where everyone is a petit bourgeois would be resistant to Marxist agitation. The parallels to contemporary American suburbs, as well as the settlement and colonization of the west through manifest destiny, should be obvious.

[velvetvexations]

my personal take on "antigonism" is that it's entirely what you make of it. which is to say, i agreed with your post explaining why you felt such a term was necessary, and i do think this mentality of "most of us are normal about each other" and simply assuming we understand each other's experiences by virtue of being trans is reinventing artificial gender solidarity between cis people ("bros before hoes", "girl's girl") but superimposed onto trans people. which can be particularly contentious, given that we're an extremely traumatized bunch with a lot of baggage and massively diverging perspectives on all kinds of things. relating to each other outside of conventional gender relations means we have to put in that much more work to bridge the gaps between us, because we can no longer rely on the common assumptions made about men and women to carry our interactions, if that makes sense.

i do think a whole word for transfem-to-transmasc solidarity does toe a line between being unnecessarily inflammatory and conditionally useful. i'm genuinely glad for the people who felt seen and appreciated by the fact that a transfem made so explicit her stance on intracommunity issues. i'm also sympathetic to the people who feel put-off by such a word. when does allyship become chauvinistic? there is no word for a non-misogynistic man to signal to women that he is explicitly anti-antifeminist, for example. do we need one? i think a vast majority would say no, on account of simply stating he believes in feminist principles to suffice. so i'm wondering what specifically the push was for you to coin a word around tfem4tmasc solidarity, because while i do think trans people as a whole need to take significantly more initiative about rooting out transmisogyny and transandrophobia both, i'm not quite clear on what could signal more clearly a transfem's stance on intracommunity dialogue than just saying "i believe in transandrophobia and condemn all radfems". all feminism, transfeminism included, has had their malicious actors-- the existence of transradfems isn't really anything noteworthy as far as the broader feminist conversations go.

i hope this doesnt come across as confrontational because i think the people who found comfort in the fact that you are willing to go that far for them is truly heartwarming. i just don't want to see us splinter further into microfactions over something like one person coining one maybe-overenthusiastic word on the internet

Sincerely, there is a word for men who are anti-anti-feminist, though, they're feminists. Granted, self-identified "feminist" men have somewhat of a negative stereotype associated to them, but still, feminist men are feminists.

One of the biggest reasons I think a term would be useful is because so many people feel unsafe in the trans community because of trans radical feminism right now that it can help them relax a lot when they see a trans woman identifies as such. Just reminding people with assurances that most trans women are Normal doesn't really help that when they keep running into ones who aren't over and over.

TRFs are aggressive about this stuff. Seriously, every single day, post after post, their primary form of activism is crying about TMEs stealing kinks and liking a children's toy too much. I feel strongly that should be countered. Even if they aren't the majority, they sure as hell act like it and repeat how great it is that every single trans woman except velvetvexations alone agrees with them.

To be absolutely clear, I do not think I'm the only non-weird trans woman! That is just literally what they say about me! They may be the minority now but that frog is boiling.

IRL transmascs are forced out of spaces and talked over when they're let in because mascuwinity is scawy, No doubt transfems have similar problems because some spaces are TERF-y, but that problem is exacerbated when social media is filled with TRF rhetoric because it gets drilled into people's heads they need to be worried about that, and I don't think "touch grass" is a good response to that.

Hell, what if someone touches grass and then they do happen to end up having people be transandrophobic/exorsexist/intersexist/etc. to them? "Oh, well, that didn't count, try again somewhere else, I prommy that's not Normal."

It's all about volume. I feel very, very strongly that volume is necessary here, to combat the feeling that that radical feminism is around every corner and help people feel at ease and know trans women are with them.

[twentyfivemiceinatrenchcoat]

Hi!! This is hopefully a fun question to ask! 💚 What are some of your favourite versions of suguru &/or satoru by your moots/non-moots that you’ve read in their fics ? For example your winter satosugu drabble has my favourite satoru 💅💅💅

🥺🥺🥺 ANONNNN first of all i’m so happy you like that satoru…… i’m really fond of him too!!! he’s very Husband + the implied mommy issues are tasty imo…

but wahhh… this is absolutely a fun question!!!! i doooo wanna preface this by saying that i legitimately love . all my moots’ versions of stsg. they’re all a little different so i go to different moots/other writers depending on what i’m looking for :3 i love love love the fact that fanfic births so many different takes and aus…. it’s one of my favorite parts of reading it!!!

i doooo have some versions of stsg that i’m partial to though!!!! gonna throw them under the cut, i decided to only go with my moots because i’m…… really scatterbrained. there are SO many other sugus and torus that i adore my brain just can’t pull them out at command </3 but i hope this’ll suffice!!

first of all…. my favorite gojos :333

niku’s gojo in general is one of my favorites ever ever ever but i’m specifically adding a link to bten because . bten lives in my brain <3 and i adore both bten!reader & bten!gojo more than anything….. ANYWAY . niku’s gojo is my favorite for many reasons but above all else he just…. feels so real to me . sometimes i have to remind myself that i’m reading a fic and not canon content bc her gojo just FEELS like gojo . it’s a little scary. i read bten and heard kaiji tang’s voice in my ear 😭 i think it’s sooo difficult to capture the balance that canon!gojo has, but niku does it so effortlessly!!! he’s so charming and guarded and annoying and kind beneath it all and i’m just….. in love with him . that’s all. i do want to strangle him just a tiny bit but mostly i want to kiss him.

sel’s col!gojo…. my baby my husband the loml. i adoreeeee sel’s take on gojo and the way he views/approaches love ….. and just like niku her gojo feels so real and so grounded!!!! sel has a way of rounding out her characters and making them feel so human, which i. adore. and it works so well with gojo. col!gojo is canon to me idc. he’s so relatable to me and following his story with col!reader was just so touching 🥹🥹 i . cried . every time he blushed or got flustered i fell to my knees . flustered gojo is really hard to get right i think??? bc it’s just….. such a rare mood from him. but it feels so perfect in her fics. col!gojo reminds me of a plant in the softest, most loving way and i just want him to grow and embrace the sun !!!!!!!! i want him to be happy….

another general pick; alexis’s gojo!!!!!! (link goes straight to my personal fav which is a very bold statement to make but i think abt this fic constantly)…. this is another gojo that just feels. so canon to me somehow???? every time i read her gojo fics i’m just like yeah…. that’s gojo satoru. that’s the gojo satoru that i love and adore. it always reminds me of WHY i love him sm and it’s just….. such a wonderful feeling yk??? alexis rlly captures what i perceive as the core of his character!!!!! i can’t tell you what it is exactly but i feel that so strongly!!!!! he’s my baby and i love him so so bad. he makes me so happy and he feels so human:((((( i just love him…. him and his self-destructive little habits….. also special shoutout to idol!gojo bc he’s just soo. yeah.

then we have io’s flower shop!satoru <333 the fic isn’t out as of rn, but i added a link to a snippet that i’m still swooning over….. i ADORE this concept and it’s so perfect for io’s gorgeous and flowery writing!!!! he was made for her fr…… i just really love the idea of a soft, gentle, smitten satoru 🥺 and him being a flower boy rlly scratches an itch in my brain because of his canon ties to flowers!!! the fact that he kind of views other people as flowers. or at least compared them to flowers in ch. 236….. i just feel like this concept is . genius. nature loves satoru and he loves it back . he’s a nurturing soul at his core imo and that’s not something i see people explore super often, but this au captures it perfectly <33

NOW. SUGU TIME.

moss’s knight!suguru…. my beloved. not a day goes by where i don’t think about him. there isn’t a single language on this earth that could properly convey the physical reaction i had when i read this drabble . this is . The most attractive suguru in the world. to me. he’s so sexy i’m sorry i need him so bad. we all know how i feel about knights and suguru individually so when you mash em together….. 😵‍💫😵‍💫😵‍💫 yeah. my life was changed. the armour the blood the contrast between his polite exterior and gritty fighting … i’ll be so honest just the idea of knight!suguru fighting using his fists instead of his sword is enough to have me falling to the floor in agony like i NEED him. you don’t understand. you will never understand. it physically pains me to know that he will never beat ts out of me. BUT YEAH HE’S JUST SOOO???? he’s so hot and cool and Doomed and i desire him carnally

then we have mickey’s suguru :3 he’s just….. soooo fucking charming? it’s sickening . i can’t stand him. he’s perfect and i need him. mickey always writes him in a very wolfy way while also making him feel so soft and sweet and i just…. adore it. he’s a loverboy first and foremost and he makes me sooooooo happy it’s insane…… i’m linking my personal fav sugu fic of his but i truly adore them all!!!!!!!!! his suguru is just . theee most charming man alive and that’s all i can really say to properly convey my feelings. this particular fic genuinely wrecked me i got soooooo flustered just reading it 💔💔💔 save me sweaty!sugu…….. save me……….. he’s a wolf he’s a romantic he’s a cooer and most importantly he’s my Wife :33

kairo’s suguru is soooo lovely and so hot but i’m especially in love with black is the colour!suguru….. he’s just. so hot i’m sorry. not really though. tattoo artist sugu 😵‍💫😵‍💫😵‍💫 with his piercings …. his honeyed voice…… his boundless devotion…… heavy breathing . he’s so mommy in this. but also so Father. that’s the best way i can explain it aaaaaaand i’m terribly weak to it……. he’s just so perfect there are SO many scenes in this fic that made my knees buckle 😔😔 he’s so sweet and doting and complex and just hhhhhhhhhhhHHH kairo if you see this you’ve ruined me for life…… specifically thinking about the scene where he worries he acts more like a dad than a boyfriend sometimes + where he calls reader his dove…… i need him in my life i need him to fix me

lily’s poseidon!suguru stole my heart very recently and i have ….. not stopped thinking of him since. i love any take on suguru as a god and lily’s version is just so genius . suguru being a god of the sea????? it’s perfect….. and the fact that he’s so gentle and coaxing and sweet 😵‍💫😵‍💫😵‍💫 just the way he speaks in this drabble had me captivated he is truly the god of all time….. and his DESIGN . the concept in itself. i know for a fact that he’s the most stunning man you’ll ever see. he’s so almighty and powerful and he speaks so softly and gently but you hear every word crystal clear because he just has this Presence…… i rlly can’t stop thinking about him.

then we have rem’s suguru!!!! who is the acts of service king of All Time. and i’m obsessed with him. i love chatting with rem because i love her but also because we always agree on suguru and her thoughts always make me feel insane….. he NEEDS you to need him. he needs to take care of you. or he’ll literally explode. he’s such a caretaker and i can’t get enough of him….. that’s really the Core of suguru’s character imo!!!! his desperation to take care of others. he wants to take care of you more than he ever takes care of himself because doing that makes Him happy. and rem just captures that so, so perfectly, yknow?????? oughhhh her sugu is just so Mommy i need him to coddle me :(((((

aaaaand finally!!!!! last but not least!!!!!!!! rheya’s vamp!sashisu :33 i know you asked for stsg specifically but i’m throwing in shoko as a bonus bc they’re All characterized so well in this. they live rent free in my silly little brain . there’s not a single person on this planet that i trust to write poly sashisu more than rheya bc she just Gets them!!!!! and….. vamp!sashisu..,… lord save me…….. they could drain me like a capri sun idec. I LOVE THEM!!!!!! their preferred biting spots just feel soooo in character and the fact that they’re all so gentle makes me emotional 🥺🥺 generally speaking i’m not super into vamps but rheya entered my life and i was changed forever . i need them so bad

i wasn’t gonna tag anyone originally, but i want you guys to know how much i love you and think abt your silly little guys actually... thank u for letting me read abt them 🥹

@stellamancer @seiwas @kissxcore @neptuneblue

@mossmotif @dollsuguru @teddybeartoji

@storiesoflilies @hayakawalove @satoruxx

[hellhoundmaggie]

wait whats the big SH headcanon you aren't into? I love SH but haven't interacted with the fandom a ton

Thank you for asking!

The theory I can’t agree with is that Wayne is a sentient fungus colony occupying Sam’s body. I do agree that there’s something inhuman puppeteering Sam Wayne’s body, but there isn’t any clear textual evidence suggesting the something is fungal.

There’s a couple of supporting arguments people tend to make for Fungus Theory, but I find them weak and tenuous:

Wayne’s body is rotting at a fast pace. Fungus is a cause of decomposition. Therefore the body must be colonized by a fungus.

Fungus may be a cause of decomp, but it’s not the only cause. Many kinds of organisms contribute to decomposition — insects, scavenger animals, microbes, etc. — and fungus is not necessary to the process. I’m not completely ruling out the possibility that the rapid rot is caused by fungus, but in the absence of concrete evidence, there’s no reason to assume this has to be the case.

Sybil is helping Wayne in some unspecified way. Sybil specializes in folk medicine, which has potent magical effects in her hands. Sybil specifically uses chaga, a fungus, to make a mind-control tea. According to the homeopathic principle of “like cures like,” Sybil must be using chaga or a similar fungal ingredient to support the fungus in Wayne.

This argument might be more convincing if Sybil used fungal cures exclusively, but she doesn’t. In fact, chaga is the only fungal cure she is shown to cultivate or use. The castor beans she gives Doc come from a plant. She grows poison flowers in her tea nook. Even the unspecified blend she gives to Tabitha is herbal, not fungal. Also, one of the effects of the chaga is to make the drinker trust Sybil, even to the point of not registering information that makes her look bad. If Wayne is drinking the chaga, then shouldn’t he trust her? Why does he assume she would hurt an aged MC? It doesn’t make sense to assume Sybil’s giving him chaga.

Wayne zaps Reese with what appears to be a set of yellow tendrils slithering out of his wrist; there are yellow fractal networks in a couple of Reese’s paintings. Some fungi are fractal networks, some fungi conduct electricity. The thing in Wayne’s arm must be part of a fungal network!

I can think of something else that zaps people with electricity: lightning. I plan to elaborate on this more in a series of theory-posts, but suffice it to say that I find my theory about lightning to have more textual support than the fungus theory while requiring fewer assumptions. Occam’s Razor, baby!

Abby Howard tends to take inspiration for her monster designs from her study of evolutionary biology. Reese’s monster design is an excellent example of how biology influences Abby’s art: he is a chimera of several real animals, both living and extinct. It would only make sense for her to have based Wayne on something biological too — like fungi!

This makes sense to me as a meta-textual argument. But again, there’s no textual evidence that Wayne is fungal, so there’s no reason to accept that Abby took inspiration from fungi when designing Wayne.

Again, I plan to write up my own pet theory — which not only explains what Wayne is, but also helps explain Reese’s origins, the nature of the Seals, the influence the Scarlets had over the town’s past, and the parts MC and Tabitha have to play in the town’s future — someday soon. But I hope this post helped convince you that, despite Wayne’s sense of humor, he is not a Fun Guy. Have a good one!

[vanpalmerenthusiast]

okaaay, i was battling between asking you about van palmer and her connection to the religion/lottie, or jackieshauna and their mutual codependency (more from shauna’s side, anyway).

so, could you write about whatever feels closer to your heart, please? like, i want to piss off some people who don’t like jackie for whatever reason (valid, but if it’s not without any justified arguments—those words of hate are useless <3)

please, please, please! the kids are all sat around the bonfire and listening to you patiently

HI HI HI!! i love you very much im sorry i hadn’t gotten around to this til now, been studying so much for exams and haven’t found a lot of time to write!! amazing ask btw, as always

since i’ve been posting about van a lot, i figured i would give jackieshauna a turn because they’re my doomed babies and i love them

goddddd…. CODEPENDENCY!! jackieshauna is such a perfect example of it because it is really 100% true on both sides of the situation. since we want to focus on shauna, per your request, im going to start off by saying shauna’s codependency with jackie is obsessive. everything in her life in some capacity has something to do with jackie. shes with her 24/7, she makes all her decisions with her in mind, she’s fucking jackie’s boyfriend, for christ’s sake. i am one of those people who truly believes that not only was shauna pretending she was similar to jackie when she was cheating with jeff, she was pretending jeff was jackie. jeff is the closest she could sexually get to jackie, and so she betrays her best friend to be closer to her. 

now when i say this, i’m not saying shauna didn’t look up to jackie and wasn’t jealous of her. she very much was, in some way or capacity. but speaking from experience, in queer relationships, especially homoerotic codependent best friendship, there’s so much gray area between wanting to be that person or be with them. i’ve struggled with it, you’ve struggled with it, it’s a curse every queer person has to bear at some point. this hits shauna HEAVY. she tells jeff to say that he loves her- and this can have many meanings. since it’s up for interpretation, i can think of a few reasons why she says it. 

number one, validation. she wants it, and she wants it from jackie. everything she does has to be approved by jackie, even if sometimes she doesn’t think so (for example, the red dress scene, where she says she doesn’t want to wear it but ends up showing up in it anyway because she wants jackie’s approval). number two, like what i said before, she’s pretending jeff is jackie. she wants to hear that jackie loves her. she wants to feel jackie inside her (foreshadowing) and wanting her, all of her, not just the parts that don’t need fixing. and number three, she wants to be like jackie. she wants jeff to want her too, because she is just as good and beautiful and perfect as jackie. she craves an equality between them, that although we knew it was there, she never did. 

shauna continues to stay codependent on jackie her entire life. jackie follows her like a shadow, creeping into every corner and every moment in her world. shauna still hallucinates her, in all her highschool senior soccer captain glory, in her forties- 25 years after jackie’s death. she relies on seeing her, in some strange way. in the taylor’s house, for example, when she sees the memories of the two of them in real time and smiles like it’s the only comfort she’s had in months. jackie is shauna’s solace, no matter how much it hurts that she is.

wrote this a tad bit intoxicated so i’m kind of rambling here, but i hope this suffices xoxoxo im sorry for making you wait!! this isn’t even mentioning the whole cannibalism storyline, which is a huge part of jackieshauna and it deserves its very own post, so stay tuned for that?! til next time on yellowjackets bonfire stories with sophie 💋

[cosmicanemoia]

Lovey-dovey

Amelia Shepherd x Reader

Love Me Till You Leave Me part 8

Y/N and Amelia have been together for six months now, and their relationship is strong and stable.

You move in with Amelia after a week of seeing and dating each other.

Ever since you and Amelia got together, anyone in the hospital can tell that Dr. Shepherd is getting better. Good moods are now frequent, and she speaks more kindly. Amelia is at the top of her game.

Every morning, y/n would cook breakfast after they have sex with each other. Yes. Right after they wake up, they would have sex before they have actual food for breakfast. You love morning sex and Amelia is just as happy to comply with your needs.

If y/n wake up first, she would wait for Amelia to wake up. Y/n loves watching Amelia while she's sleeping. If Amelia wakes up first, she would wake y/n by massaging her breasts, slipping her fingers to her folds, sometimes giving her cunnilingus.

Amelia loves eating the breakfast y/n have prepared, but sometimes she would get page to the hospital, which she didn't like. Y/n doesn't just cook breakfast. She can also make lunch and dinner. Though, they would just order in sometimes because y/n's knowledge in cooking is still limited.

One evening, you look at Amelia. She was drying the dishes with a piece of cloth while she looked out the window. You walk over to her and give her a back hug, and you planted a kiss on her head full of hair. "What was that about?" Amelia inquired."I just think I'm so lucky to have you, " you answered.

You and Amelia would cuddle for hours sometimes. Y/n making Amelia watch her favourite movies and shows, which Amelia has grown to love. You singing to Amelia, love and romantic songs even though you're not a very good singer, Amelia still loves it when you do. You would sometimes make poems from the top of your head and recite it to Amelia.

For example:

• I wish we were pictures in a frame

So we would be frozen in time

I wish we were pictures in a frame

So we would be forever

Cause if you leave me or I you

A part of us have tasted eternity

We've been frozen in time

And a little of our hearts

Became a picture in a frame

And yet, I hope

We don't end up to be

Just another picture on a frame

That you'll hide in a cabinet

Cause it might help you forget

And when it did not

Our picture on the frame

Became just another picture to burn

• I'm not the greatest poet

I'm not even great

But you make me

And I am made

And that's enough for me

• Whatever you want me to be, I'll be

You be the master pulling the strings

I can be your puppet, order me around

Wherever you guide me, I'll follow

One night after, you both finished many times. You pulled Amelia closer to you to whisper something in her ear. "I am so grateful to be the person you went home to. The person you call home." *you kissed her forehead and held her closer.*

The day started with sunshines, and no one would think that it was going to rain. But, it was Seattle, and rain is unstoppable.

You love the rain and your girlfriend is about too as well. A few hours later, and here comes the rain.

You were standing in front of the glass windows, and you called Amelia to stand next to you so you could both appreciate the rain. You look over to her, and an idea planted itself onto your brain.

You took her hand and dragged her outside.

A: What are we doing?

Y/N: I'm taking you dancing and rain should suffice as our music. we are going to shower and dance in the rain.

A: You're crazy! *she chuckles*

Y/N: Thanks for the compliment, babe. *winks at her*

You played in the rain like children, you giggled, chuckled, and laughed at each other. You thought Amelia's laughter in the rain was such a sweet melody, a beautiful sound paired with the pattering of the rain. That sound became your favourite music, one of the reasons you'd drag Amelia in the rain, just so you could hear that sound again.

Both of your bodies are now drenched in the rain. You pulled her closer to you, and you kissed her all over her face, which made her giggle. You moved your mouth to her ear and bit it, you took a deep breath and exhaled, she felt your warm breath in her ear. "Every time you look at me, I melt. Anytime you talk to me, I'm frozen, only for your touch to burn me to the core. Your smile shatters my heart, only to be put together by your laugh." You said, even in the cold rain, Amelia felt warm because of those words, "You're so cheesy" Amelia blushing and giggling "And you love it" you replied and you grinned from ear to ear. She moves her head closer to your face, lips centimetre away from each other. "I do." She admitted after proceeding to kiss you.

Y/N and Amelia danced and kissed, almost like the ones they see in the movies, but it was much more wonderful and much more meaningful because this time, it was the two of them.

Playing, laughing, dancing, and kissing in the rain became their thing.

One time, Y/N got sick. You rarely got sick. Amelia was there to take care of you but also tease you.

A: I told you, one of these days, one of us is gonna catch a cold.

Y/N: I know *sneezes*

A: I never thought you would be the first one to get sick.

Y/N: *sneezes* I know *you watch as amelia laughs at you. Not in a bad way kind of laugh, more like amused kind of laugh*

A: *smirking* I guess we won't be going out in the rain as much after, huh

Y/N: *sneezes* Hah! You wish! *sneezes*

A: And to think you would have learned your lesson by now

Y/N: Which is what? If anything this has taught me, it just makes me want to get out in the rain more and get sick more often. Just so you could take care of me and spend more time with me.

A: You just always know what to say, huh. Do you think you're so clever? *she took a step away from you and started to take off her shirt, and her pants*

Y/N was wide-eyed and a little thirsty. "Like what you see?" Amelia asked, and you responded with a nod, and you gulped at the sight of her now moving seductively. "You're not getting any until you get better." She stated, and you groaned with frustration. You moved your head from side to side and smiled. "So, that is the lesson I was supposed to learn. I get it now. Please. Put some clothes on." Amelia smirked and replied."Nope, no, can't do. I'm feeling a little hot, so..." You rolled your eyes and bit your lip."What if someone comes knocking at our door?" You said trying to convince her one last time, but Amelia rebutted. "I'm not expecting anyone. Were you expecting someone?" She moved closer to you, checking your temperature. You let out a sigh and said "well played. Well played." She chuckled and smiled. Amelia was proud of herself.

You end up cuddled together and fall asleep in each other's embrace. In the morning you will get your surprise because you finally got better.

[hyakinthou-naos]

can you share more information on the differences between mythic Zeus and cultic Zeus? i am interested in learning more but have no idea where to start or what sources are trustworthy.

- 🐝

Khaire 🐝,

Thank you for your question, and apologies for the delayed answer!

While I have no doubt that essays and academic papers exist that explore the difference between Zeus as depicted in myth and Zeus as revered in worship and cult, I will be choosing to answer this question based on my own understanding and contextual research.

In the myths and mythic retellings that we currently have, there is an abundance of evidence portraying Zeus as a disloyal spouse, an unjust ruler, and a self-serving god.

As one example:

"In the Orphic myths, the maiden goddess Persephone was seduced by Zeus in the guise of a serpent. She bore him a son, the godling Zagreus, who, when Zeus placed him upon the throne of heaven, was attacked and dismembered by the Titanes." - Source

In this myth, Zeus is unfaithful to his wife, Hera, and seduces Persephone—herself a married goddess—under false pretenses. He impregnates her with a child, Zagreus, whom he then allows to be attacked and dismembered.

(I could provide many more examples from myths and sources that do not reflect Zeus in a positive light, but I think the above suffices to demonstrate my point.)

This portrayal, however, stands in stark contrast to Zeus’ domains and the way he was revered by his worshippers:

"Zeus was the King of the Gods and the god of the sky, weather, law and order, destiny and fate, and kingship. He was depicted as a regal, mature man with a sturdy figure and dark beard. His usual attributes were a lightning bolt, a royal scepter and an eagle." - Theoi.com

"He [Zeus] was widely worshipped in ancient Greece and possessed numerous shrines and sanctuaries. Many of these were located on hill-tops or mountain peaks--sites where offerings were traditionally made to the rain-bringing god. He was also worshipped privately at small household shrines." - Theoi.com

When comparing Zeus’ portrayal in myth (Mythic Zeus) with how he was worshipped and honored (Cultic Zeus), it’s clear that conflating the two would cast ancient Greek worship in an unjustly negative light.

If Mythic Zeus and Cultic Zeus were identical, it would suggest that the Greeks believed a god who was unfaithful to his wife and abusive to his family was also morally right and just. However, this is not how ancient (or modern) Hellenic Polytheists view Zeus.

And that is because myths are not literal truths. Zeus did not literally impregnate Persephone while disguised as a snake (how would that even work?). Myths are fables, fictitious stories written by humans.

These myths, therefore, were tools—stories created to teach, entertain, or explain. Sometimes they existed to explain aspects of nature and humanity, and sometimes they existed to explain the gods’ nature in ways that are symbolic rather than factual. They are not "sacred scripture" in the same way the Bible is for Christians, nor were they treated as such by the ancient Greeks.

Zeus’ role as the god of justice, order, and kingship reflects how the ancients viewed him in their worship. He was the protector of oaths, the enforcer of xenia (hospitality), and the upholder of cosmic balance. These qualities were central to Zeus’ cultic worship, which focused on his benevolence, authority, and ability to bring stability to a chaotic world.

TLDR: The Zeus of myth is not a perfect figure, and he was never meant to be. The Zeus of cult/worship is a god of justice and order, worthy of veneration and respect. Hellenic Polytheists did not / do not view myths as factual narratives or holy truth - they viewed / view them for what they are - stories.

I hope this helped to answer your question.

As always if 🐝 or anyone else has additional or follow up questions, our ask box is always open. Replies will be a bit delayed as our steward, Aön, is still settling in to his new home follow his move - but we will respond as soon as we are able!

Eirene - peace and farewell,

- The Temple of Hyacinthus

[danganronpasurvivoraskblog]

Dangancember 2024 - Danganronpa Top 24 Class Trials - Number 13: Danganronpa V3 Case 2

//V3-2 is, personally speaking, the absolute centerpoint of this ranking.

//If, instead of a tier list or a ranking, we were to put these trials in an alignment list, this one would be True Neutral, all the way. I have about as many pros as I do cons.

//But overall, the reason it's here is because as far as not just DR cases, but mystery cases in general go, this is overall extremely solid.

//It's a simple crime with basic science and pacing behind it, while also successfully applying itself to the absurdity and leaps in logic that this franchise is known for.

//First and foremost, Chapter 2 of Danganronpa V3 is important, because it's the first full chapter we get where we play as Shuichi.

//Which suffice to say, compared to Kaede, is the definition of a different, fresher perspective. For me, it's highly important that this chapter, and the chapters going forward, really showcase Shuichi's potential for development, and the greats of his character, because at first, there doesn't seem to be much setting him apart from Hajime and Makoto.

//But right from the start, you can see how the events of Chapter 1, and especially Kaede’s heartbreaking exit, are already sparking a transformation in him. Shuichi goes from a quiet wallflower with a fancy hat to someone starting to find his voice and purpose, which is no small feat given the trauma he’s carrying.

//While I adore Kaede with every fiber of my being, the writing behind the protagonist switch; how Chapter 1’s gut-punch of an ending flows seamlessly into Chapter 2’s cautious optimism and simmering tension; is nothing short of genius. Love it or hate it, V3 deserves credit for its masterful approach to character development and dynamics. Shuichi’s growth alone rivals that of Fuyuhiko, and that’s saying something, considering Fuyuhiko's arc is practically the gold standard for glow-ups in the series.

//And let’s not forget, this chapter marks the rise of Kaito Momota, Luminary of the Stars and, let’s be real, one of the series’ most loveable dorks. Kaito doesn’t just barge into Shuichi’s life; he rocket-launches himself into the central spotlight. It’s the beginning of a bromance for the ages and the start of a journey that cements Kaito as one of my all-time favorite characters.

//The events of Chapter 2 may not be as high-stakes as some later chapters, but they hit differently. There’s this somber yet determined vibe as the group struggles to adjust to life without Kaede, their beacon of hope and perseverance.

//Shuichi, however, takes it upon himself to pick up her torch, vowing to carry her dreams forward. Of course, just as everyone starts to find their footing, someone decides to kick the bucket.

//Monokuma's motive of this case is very similar to the first motive in the series; the videos that show the most important people

//At first, this sounds like a rehash, but...it's not. Because what's actually DONE with that motive is clever and EXTREMELY different in terms of the stakes.

//For one thing, the motive videos were distributed out to the students, but due to Monotaro's mishap, almost everybody got motive videos that belonged to another person. For example, Shuichi got Kaito's motive video that showed Kaito's supposed grandparents, and never actually sees his own.

//But despite this being revealed to be a product of Monotaro's sheer incompetance, it still ultimately leads to a murder. In a way that's as indirect as it is creative.

//The investigation in this chapter is a standout, especially because it highlights a significant shift in how investigations are handled now that Shuichi is leading the charge.

//With Shuichi in control, the investigations in Danganronpa V3 feel noticeably different, and dare I say, a touch more sophisticated, than those in the previous two games. It’s not just about finding clues anymore; it’s about seeing the layers of deduction and theorizing unfold in real-time.

//Now, don’t get me wrong, Makoto and Hajime are both observant and intelligent in their own right (All of you give Hajime way too much smack for the Octagon thing). They’re both clever in their own ways, and their underdog energy is part of what makes them so endearing.

//That said, they do suffer from a shared drawback that despite their knack for solving mysteries, they’re pretty average kids with no real experience in investigative work. Their process tends to involve gathering evidence during the investigation phase and then saving the big ideas for the class trial, where everyone can hash it out together.

//And let’s face it, when the going gets tough, Makoto and Hajime have a habit of leaning heavily on their more experienced companions. Particularly their deutragonists, and even their antagonists.

//Think about it. Whenever Makoto is stuck, Kyoko swoops in with her icy logic to steer him back on track. Hajime, on the other hand, has both Chiaki's sweet but razor-sharp guidance and Nagito's…uh…chaotic brilliance to fill in the blanks. They’re like the tag team of backup brains, always there to nudge the protagonist toward the right answer when things get a little too complicated.

//But Shuichi is different. For the most part, he doesn’t rely on others to carry him through the investigation or trial phases. His detective instincts and sharp observation skills give him an edge that Makoto and Hajime didn’t have.

//Sure, Shuichi isn’t entirely self-sufficient. He gets occasional encouragement (or sometimes a much-needed push) from Kaito, Maki, or even Kaede in the first case. However, when Shuichi picks up on a clue, he doesn’t just file it away for later debate. He actively thinks through multiple possibilities for how it might fit into the bigger picture.

//This isn’t just a random quirk of his character; it’s a deliberate design choice by the developers, and it’s subtly brilliant. Shuichi’s talent as a detective means he doesn’t just find clues; he uses them, often in ways that make you, the player, stop and think. His thought process unfolds with a complexity that feels fresh and engaging compared to the more straightforward methods of his predecessors.

//You might not immediately figure out where a clue is leading, but that’s part of the fun. It’s detective work with a little extra oomph, and this carries on over into the trial.

//What makes Case 2 in Danganronpa V3 such a standout is that it’s a challenging yet totally fair puzzle.

//It’s the kind of case that makes you scratch your head in frustration, but in the best possible way. The type where you almost feel like you have it all figured out, but then you’re thrown a curveball that forces you to backtrack and reevaluate everything.

//Classic Danganronpa shenanigans that...aren't so classic because a lot of the cases don't do it as well as this.

//At the start, you’re practically led by the hand to focus on Himiko, who seems like the obvious suspect. She’s connected to the magic trick, her answers are super dodgy, and she’s acting way too evasive for comfort. It’s a pretty classic setup, where the real culprit, Kirumi in this case, is hiding in plain sight, all calm and composed, being the ever-dutiful and supportive character.

//She’s like the perfect little undercover villain, making it a lot harder to guess who the murderer is without giving you a nice, satisfying moment when the truth finally comes to light.

//And then there are the red herrings. SO many red herrings!

//The whole situation with the piranha tank reveal, for example, keeps you on your toes and second-guessing everything. Just when you think you’ve got it all figured out, you’re slapped with another plot twist that throws you for a loop.

//V3 really has a knack for making you feel like you’re solving the mystery, only to realize you’re solving a puzzle that’s been hidden inside another puzzle inside yet another puzzle. It’s like the mystery equivalent of a Russian nesting doll. You think you’re done, but nope, there’s more.

//The use of the setting is also top-notch. Case 2 pulls from multiple locations; the pool, gym, dorms, etc. and it’s not just for variety’s sake. It’s actually pretty complex how all these places tie together, especially when you factor in the ropeway system with the inner tube and Ryoma’s hidden body.

//The whole thing forces you to think critically about the relationships between these locations, which is a welcome change from the usual "everything-happens-in-one-room" setups.

//The fact that the body ends up in a piranha-filled tank during a magic show adds a level of theatricality that makes this case feel especially Danganronpa: Dark, twisted, and just a little bit fabulous.

//While the setup clearly tries to make Himiko look guilty, the clever dual-purpose stage setup, designed for both her magic act and the killer’s plot, shows just how intricately the crime was planned.

//But despite the very apparent complexity, for the more attentive players, the evidence is all there to piece together without being too obvious a la 1-3.

//The pool rules banning swimming at nighttime aren’t just there to annoy you, they’re actually a subtle hint about how the crime was staged. And those floating items in the pool are subtle enough clues pointing you in the right direction without spelling everything out.

//It’s clever, really, and makes for a satisfying moment when you start connecting the dots. Sure, some people (NicoB and Game Grumps) figured it out almost immediately, but for most of us, it’s a slow burn. The way the piranha tank was rigged to reveal the body at just the right moment is the kind of detail that makes you feel like a genius when you finally figure it out.

//And then there’s the whole time-of-death drama. Narrowing that down, then narrowing down the suspects and discovering who has an alibi, is a real rollercoaster.

//Just when you think you’re getting somewhere, there’s a twist: Maki met up with the victim after the time of death, throwing everything we’ve been discussing into chaos. Suddenly, everything we just learned seems irrelevant, and it’s back to square one.

//But that’s what makes it so satisfying, and actually, not as much of a drag as you think. The crime feels complicated, well-thought-out, and rewarding to untangle, which is the hallmark of a great mystery case. It never feels like it drags because the evidence and situation is slowly but surely walked through.

//Oh, and let’s not forget the body discovery scene, which, in my opinion, is the most disturbing in the entire Danganronpa series. Yes, even more disturbing than Nagito’s in my opinion.

//It’s not just shocking; it’s uncomfortable, the kind of moment that makes you freeze in place because of how sudden it is. That level of unease is what makes this case stick with you long after the trial is over.

//In the grand scheme of things, Case 2 is pretty solid. Some might think I’m spending too much time talking about a topic that seems relatively minor, but to me, this trial actually features one of the more realistic conversations in the series.

//Just because the characters were wrong about their theories doesn’t ruin the immersion. If anything, it makes it better because it’s such a rare occurrence for everyone to be so off the mark. It’s a refreshing change from the usual trials where the pieces just seem to fit together too neatly. When everyone’s thrown off like this, it just feels more real, and that’s why I like it so much.

//Why then, does it not make the top 10?

//First of all, Case 2 is great as a standalone case, but in the grand scheme of the story, it's kind of there just to self-assure Shuichi more of his mission post Kaede's death. Beyond that, it doesn't really carry much weight in the overall story.

//The only significant revelation that contributes to the story at large is POST-trial, when Kokichi reveals that Maki's motive video proved that she was hiding her identity, and is the Ultimate Assassin, not the Ultimate Child Caregiver.

//V3-2 is like the middle child of the game’s trials. Solid, important in its own right, but not exactly stealing the spotlight.

//In most Danganronpa cases, the murder, the twist, and the trial’s outcome feel like they’re shaking up the whole story, leaving lasting ripples that affect the development of the characters and the trajectory of the plot. But in Case 2, while the death of Ryoma and the shocking reveal of Kirumi’s true nature are significant moments, they don’t exactly send shockwaves through the game. It’s more of a “here’s a murder, let’s solve it, okay now let’s move on” kind of deal.

//In case I haven't made it clear yet, it is still a well-crafted mystery with plenty of twists and turns, but it doesn’t come with the same weight as some of the other cases in the series.

//Even Case 3 of this game still gave the arc of Angie's student council that highlighted the desperation of the students, and the character arc of Himiko once it was over. It takes huge risks that completely alter the dynamics of the story and characters, and while they don't pay off in any meaningful way, it still leaves us with consequences that echo throughout the rest of the game.

//In contrast, Case 2 feels a little more like a necessary filler, checking all the boxes for a Danganronpa trial without feeling like it dramatically shifts the overall plot, or more importantly, without really going the extra mile.

//It deserves credit for being an early case that is already about as complex as the later cases of Danganronpa 2, but that generally sets the bar too high, and comes with more consequences than benefits.

//It’s the kind of case where you solve the murder, learn a few secrets, and then move on. Sure, Kirumi’s true nature is revealed, which adds depth to her character, but it doesn’t exactly shake the foundation of the game like some of the later cases do. It’s almost as if Case 2 is setting the stage for bigger events to come, but it doesn’t fully step into the spotlight.

//So, while it’s a satisfying mystery in its own right, it doesn’t carry the same level of intrigue about its broader effects on the narrative.

//The bigger issue, however, and I know that this is a hot take, is this:

//Ryoma and Kirumi are the LEAST INTERESTING victim and killer in the ENTIRE SERIES.

//Yes. I went there. Now let me explain myself.

//When I first played Danganronpa V3, Ryoma’s death genuinely caught me off guard, but, in hindsight, it made sense. At that point in the game, Ryoma was going through a very small, underdeveloped arc where he’d basically resigned himself to not caring about his life anymore. He even joked that he wouldn't mind if someone killed him, just so they could escape the killing game.

//And, as the game tends to do, that’s exactly what happened. Ryoma got his wish. But in one of those rare moments of self-awareness, he confides in Shuichi earlier that maybe, just maybe, he might take those words back.

//It was a small, almost fleeting glimpse into his character’s potential for growth, which made me think, "Hey, maybe Ryoma would find a reason to keep going after all." But no. He was killed off way too early.

//I loved Ryoma, so it was still sad to see him go, but I can’t fault the game too much for his death. It was actually the most logical thing to happen given his character arc up to that point.

//But then I started reading fanfics, like Three-Point Shot and I’ll Trade My Life For Yours, and that’s when it hit me that...man, the writers REALLY dropped the ball with this character.

//Ryoma's death came too soon, and in hindsight, it feels like it robbed him of a chance to properly develop. His internal struggle, his motivations (or lack thereof), and his personal arc were left unresolved by the end of Chapter 2.

//And to make matters worse, as I already said, Case 2 barely has any effect on the overall narrative, and as such, Ryoma’s death hardly even affected the rest of the characters.

//In previous Danganronpa games, Chapter 2 always seemed to be a turning point for at least one of the remaining students.

//In Trigger Happy Havoc, Taka fell into Despair after Mondo's death.

//In Goodbye Despair, Fuyuhiko’s character was completely revamped following Peko’s death.

//But in Killing Harmony? Ryoma dies, and then…crickets.

//The cast barely even acknowledges his passing, and it feels like the emotional weight of his death was completely ignored. It annoys me way more than it probably should.

//It especially bothers me because of the way it portrays Ryoma struggling with deep depression and suicidal thoughts after his arrest and the loss of everything that mattered to him. He frequently talked about wanting to die because he saw no point in living. I thought (naively, apparently) that after Kaede’s execution in Chapter 1, Ryoma would have a change of heart. I thought he might finally realize that he couldn’t just give up and that he would start fighting to escape with the others. Maybe he would’ve even grown into a character we could root for.

//But instead of that, he gets offed by Kirumi, who’s really just here to serve the murder plot. It’s like the game didn’t even give him a chance to become someone we could care about.

//And then I thought if instead of Ryoma, we killed off someone who didn't have a solid character arc to begin with? Take Himiko or Angie, for example. Both were already set up as characters who were primarily interested in escaping, but they didn’t really have the kind of deep personal struggle that could’ve been explored in later chapters.

//Again, I must emphasize that I loved Himiko's character arc, but if it's a choice between the character arc that Himiko got versus the character arc Ryoma COULD have had, I'd have to pick the latter.

//It would have made way more sense to kill one of them off. At least then there wouldn’t have been the feeling that we lost a character who was right on the verge of becoming something more.

//And then...there's Kirumi...Who in my opinion is the absolute worst part of this entire affair.

//I know some people like her, and she’s got some decent qualities here and there. And I'd be lying if I said my opinion of of Kirumi hadn't DRASTICALLY improved over the years. By the time Summer Camp came out, I'd stopped being such a hater and seen her for her good points.

//But honestly, for the most part, she’s pretty boring and one-dimensional, even today. As a killer? Meh. She’s not exactly the most thrilling or inventive, and her motive…oh boy, her motive...

//It’s like the writers decided to throw a dart at a board of random ideas and landed on "let’s make her do this ridiculous thing."

//To this day, people try to explain her reasoning to me, and I’m just here NOT GETTING IT. I mean, sure, it's better than the motive that follows it, but that’s not saying much. This motive just doesn’t hit emotionally the way a second case in a Danganronpa game should.

//Just as a reminder for those who might have forgotten, the motive of this chapter is the videos that show the most precious people to that character, but due to Monotaro's mixup, most of the cast go without seeing their own motive videos.

//Kirumi just so happened to be one of the sole exceptions where she actually got her own video. And do you know who Kirumi's most important person in the world is?

//It's...LITERALLY EVERYBODY IN JAPAN.

//Watching her motive video, Kirumi was reminded of the responsibility the Prime Minister of Japan had entrusted to her. Tasking her with the care of every single citizen in the country and giving her full legal authority to achieve this.

//Effectively meaning that Kirumi herself, this teenage "perfect" maid, is the Prime Minister of the goddamn country.

//This realization hit her hard, and she became determined to escape the school at any cost, even if it meant betraying everyone around her.

//In her mind, Ryoma became the perfect target. She viewed him as the weakest person in the school, believing that since he had no will to live, he posed no threat. With this in mind, she began plotting his murder in the days that followed.

//*siiiiiiiiiiiiiiiigh...*

//Okay, so where do I start on how hopelessly STUPID this is?

//Now, what really frustrated me; and I'm talking SEETHING levels of frustration here; was Kirumi’s attempt to play the "sad, misunderstood" character, with her crocodile tears. If you’ve ever seen someone fake emotional distress so badly that even a rock would be able to tell, that’s what Kirumi was doing.

//Kokichi, of all people, is the one who immediately sees through her act. She comes out with this tear-filled tale of self-sacrifice, begging everyone to understand her motive, and it’s all just a manipulative ploy to try to get one of them to take the fall for her.

//For me, it just felt like way too much of a personality switch that turned Kirumi into someone gentle and unreliable into someone irredeemably scummy. One minute she’s the helpful, hardworking Kirumi, and the next, she’s full-on villain mode. Out of nowhere!

//It's like she swapped her "mama bear" persona for the "I’ll sacrifice you to save my own skin" one in an instant, and honestly? That was just so irritating.

//And before anyone makes any attempt to defend Kirumi’s actions, let me just say that I am fully aware that Kirumi is not this manipulative or conniving, and the only reason she acted this way is because she was trying literally every trick in the book to ensure her survival, and it’s interesting how she’s the only killer who genuinely does everything she can to defy her fate to no avail.

//I do understand that Kirumi did genuinely care about the other students, but ultimately weighed the costs of a handful of people that she’d only known for a few days, against the entire country full of innocent people that she had promised to protect, and decided the latter was more important. And she’s not exactly wrong in this decision.

//So I don’t think Kirumi is a bad person for this. It’s entirely reasonable, and I do get the whole point of her actions was to show her desperation, as all the tact she was established to have gets abandoned in a fit of desperation and desire. It’s an incredibly well-handled character moment, and I appreciate the game for that, especially since we don’t tend to see this with other culprits.

//But I still have my problems, because it doesn’t make me care about Kirumi any more than I should. I didn’t feel bad when she went down like I did with Mondo and Peko. They had depth, emotional weight.

//I didn’t get any of that from Kirumi.

//In fact, let's go through the motives of the Case 2 killers in this series just very quickly, and see how they stack up.

//Mondo killed Chihiro due to a trauma attack that Chihiro unknowingly induced upon him. Chihiro himself could not have known about Mondo's trauma, and even after the case is resolved, Mondo's actions show that he meant Chihiro no harm, and genuinely wished that he could take his actions back. Mondo's death afterwards also traumatized Taka, and completely reduced him to a husk of his former self.

//Peko killed Mahiru out of a desire to protect Fuyuhiko, and her final moments are a debate of whether or not she was a tool to Fuyuhiko, or someone with her own agency. When she dies, and is nearly permanently split from Fuyuhiko, her tears are enough to reinforce that she's very much a human, although one who's lived most of her life groomed as a weapon for him to wield, even though that wasn't the case. It's what makes her final moments more heartbreaking when Fuyuhiko finally gets his true feelings through to her.

//Ayame killed Kizuna because she understood the stakes at hand, and that Akane would turn out to be the Blackened if Kizuna died. So she makes a self-sacrifice and takes the fall for her.

//And Emma, while yes, she's a member of VOID that was told to kill the other characters anyway, the only reason why she buckled down and killed Kokoro is because Kokoro unknowingly awakened some past trauma that really pushed Emma over the edge before she could stop herself. Had Kokoro not done that, Emma might have had some second thoughts.

//As you can see, the basic pattern of the Case 2 culprits is that all of them are among the more sympathetic killers in the series; even Emma. Their motives are either one of two things:

They break in response to a deep-rooted trauma that they lack control over.

They sacrifice themselves for the sake of another person.

//Kirumi also fits into this trend, since she falls into the latter, making sacrifices and bending over backwards for the sake of her country.

//However, they key difference between her and the other C2 killers is her motive is significantly more...unrealistic.

//We've all been in situations where we've had to face things we've said or done in the past, and sometimes we don't know how to handle it.

//We've all been in situations where we've made some degree of sacrifice for our friends, family, or the people we care about, regardless of how major or minor.

//Only a select few people have had to care about the responsibility of carrying an ENTIRE COUNTRY on their shoulders, and I GUARANTEE you that the one's that do haven't played Danganronpa.

//It's not that it makes Kirumi an irredeemable character, or a person that you can't feel sorry for. It just makes it very hard to sympathize with her, because...you couldn't understand how that responsibility feels if you tried.

//The sheer scale of consequences here compared to every other motive in the series makes it so hard to take seriously. It's one of the few times where a motive goes way TOO far. Especially since V3 Monokuma hasn't displayed that he's incapable of taking out an entire country of people at this point. He got killed by his OWN ROBOT ACCIDENTALLY in Chapter 1!

//And ultimately, it just alienates her from you instead of making you understand her plight.

//When Kirumi is revealed as Ryoma’s killer, my opinion of this trial started to plummet. The whole situation just left a sour taste in my mouth, especially her weak attempt at an emotional outburst and the whole manipulation angle.

//However, there are some things worth noting that make it a bit more interesting.

//While the second cases of the previous two Danganronpa games had these super heavy, gut-wrenching conclusions, this one didn’t really hit me that way. I mean, yeah, Kirumi’s motive was weak, but what really struck me was Ryoma’s motive video.

//Ryoma got his video from Maki, and it's revealed that he had literally no one left to fight for, because everybody close to him was already dead and gone.

//It was like his entire life had lost all meaning, and he was ready to give up, and that’s where things took a real dive into the depressing zone for me, as well as where the parallels to him and Kirumi started to make the most sense.

//Kirumi was fighting for the sake of EVERYONE.

//Ryoma had NO ONE.

//Ryoma had given up on everything, and in a way, it felt like he was just offering up his life for Kirumi, hoping she would escape. You can’t help but feel for him at that point, especially when you realize that Kirumi, with all her power and responsibility as pseudo-president of a country. was trying to escape to save her nation, while Ryoma had no one left to save. not even himself. It’s a pretty tragic setup when you look at it from that perspective.

//Now, Kirumi’s desperation was kind of compelling. She’s literally running from her execution, like literally trying to escape in the most dramatic, desperate way possible.

//Which, honestly, was kind of hilarious when you think about it. You’re caught red-handed, the jig is up, and now you’re sprinting like it’s an Olympic event.

//Side note: this is another moment for me where the English Dub of the game hits like a fucking truck. Kira Buckland sounds like she broke her lungs with Kirumi's desperation.

//And yeah, if you've played any game or watched any show that she's in, you know that Buckland is one of the absolute best VA's in the market. Her most famous role is Yorha 2B from Nier:Automata, and it's not hard to see why. She also voiced Hiyoko in the previous game, and the parallel between them is like night and day.

//Speaking of which, while I know I said that I wouldn't normally talk about them as part of my opinion of the trial unless it was important to the narrative, we need to talk about Kirumi's execution.

//Strand of Agony, stands out as one of the most impactful executions in the entire Danganronpa franchise, showcasing a blend of symbolism, brutality, and psychological tension. It's a masterfully crafted sequence that rivals the visceral intensity of Leon's and Peko's executions, with just as much emotional weight as the latter.

//The scene begins with Kirumi being relentlessly pursued through a hallway by protesters holding "Notice to Quit" signs in multiple languages, reflecting her role as an Ultimate Maid who is no longer wanted. Cornered and desperate, she spots a thorn-covered vine dropping from the ceiling, and with no other option, she grabs the vine, enduring the pain as the sharp thorns pierce her hands, and begins to climb, her determination to escape driving her forward despite the agony.

//As she ascends, she encounters a new obstacle; circular saws embedded in the walls, spinning to block her path. Despite her hesitation, Kirumi's resolve doesn't waver. She continues to climb, suffering deep cuts and lacerations as she forces her way past the blades.

//Her screams of pain and her increasingly ragged appearance underline her sheer will to survive. When she finally emerges from the saws, bloodied and exhausted, she looks up to see what appears to be salvation: sunlight streaming through a gap in the ceiling, promising freedom.

//However, her relief is short-lived. As she reaches for the light, her hand touches not the open sky but a painted illusion. A childlike drawing of the sun and sky meant to mock her desperation. The cruel twist is a poignant moment, driving home the futility of her struggle, and it's made worse when in her state of despair, the thorned vine snaps, and Kirumi plummets to the ground, meeting a grisly end as she crashes to the floor.

//The execution's thematic resonance is chilling. It dehumanizes Kirumi, treating her as a spider trapped in a web of her own making, climbing a dead-end path only to fall to her doom. The gruesome imagery and tragic irony make it one of the franchise's most memorable scenes.

//And...that's really all I have to say on this one. Again, overall, my opinion of it is that it's really solid, and that's about it.

//We can only go up from here.

[evelynpr]

Arlecchino Demo Music Analysis

DISCLAIMER: I am no musical expert in any way, just a massive fan of the Genshin soundtrack and learned music theory as a hobby.

One of my favorite things about Genshin is its music. It is not just that it sounds amazing, but each element, style, and motif has meaning and purpose- while being orchestrated and mixed to create a truly magnificent and unique musical experience. It is no exaggeration that this soundtrack is one of a kind.

Arlecchino's Character Demo has just been released, so I want to make a musical breakdown of it because I think it is a stellar example of how Genshin uses music to signify its themes and present its story. Before we get into that, there are ideas that I must detail for you to get the full picture, so I hope you enjoy!

Genshin uses musical elements to signify certain ideas (places, characters, elements, etc.). For example, Chinese and Japanese instrumentation signify Liyue and Fontaine respectively, but it goes beyond this.

"Travelers' Reverie" — Behind the Scenes of the Music of Sumeru | Genshin Impact

You may have noticed that a majority of Genshin's environmental music consists of real world instruments. There are even videos showcasing the orchestras and instruments of each nation (Mondstadt, Liyue, Inazuma, Sumeru, Fontaine), and using orchestral/live instruments even applies to other regions such as Enkanomiya, The Chasm, Golden Apple Archipelago, and etc. This gives each region a distinct musical identity, but all together it establishes them as places that are grounded and real.

During the final act of Fontaine's archon quest, we have been introduced to a new musical identity. This is Genshin's dubstep, and it has been used to signify otherworldly power. This genre not made by a real orchestra or real instruments, but through sampling (using existing sounds/music) and technology.

This is the identity in its most blatant form: (Shadow phase of the All Devouring Narwal boss fight)

This entire track symbolizes this. No other track within Genshin's world sounds remotely like it, symbolizing its otherworldly nature. It does not belong here- not with the live orchestras and melodic symphonies of Genshin's world.

Simply put, hardcore dubstep = otherworldly

Note: I am aware that many character demos and other tracks also use dubstep/EDM, but for the purposes of this post I think it should be left separate. Only if someone openly disputes this conclusion then I would happily oblige in presenting more evidence to this thru a reply or rb. Essentially, dubstep IS used in other tracks, but only in Silhouette of Catastrophe and Arlecchino's demo is the dubstep used as a"main idea", while also accompanied by heavy bass and "smaller intricate" sounds. This specific form of dubstep is what signifies being otherworldly.

Another musical element is children's singing!

In terms of the in-game ost, children's singing is used most prominently in Dragonspine's soundtrack in Genshin's world- and I will admit that I am not sure why that is. Perhaps Dragonspine has themes relating to innocence? Childhood? Tranquility? Whatever it is, I am not sure of. (If you have an idea, I would love to know!)

Instead, we can look at a certain character demo:

Nahida's! The beatdrop of her demo begins with children's singing. I believe this represents her innocent nature, status as a young archon, and the children of the forest that surround her- the Aranara.

Not only that, but the only other people in her demo are all children. Suffice to say, Genshin pays very close attention to using their music to reflect the themes and attributes of their characters in their demos (I could make more posts about this- breaking down more demo music...I think that'd be fun)

It's fairly straightforward, but essentially children's singing = children, innocence, and childhood

Now let's (finally) look at Arlecchino's demo

Let's first review each of the main musical elements and what they represent:

Dubstep and distortion: Otherworldly power. For Arlecchino: her curse, power, and dominance. "A spark cannot shatter all shadows until it sets all ablaze"

Children's voices and music box: Children. For Arlecchino: a lullaby; possibly protectiveness/care or tainted innocence (depending on how you interpret how she sees her children)

The music begins with a solo piano- lonely, melancholic, and mysterious. This is how she is after the death of Clervie and the rest of the children of the HotH.

Afterwards, the piano gets distorted- then replaced with harsh artificial beats and musical turmoil. This may be reflected on how she defeated her "mother" using her otherworldly power- her curse.

Following this is the anticipated beatdrop. Fascinatingly, it is not actually lead by dubstep, but by a distorted music box with a creeping melody. Not only that, but it is accompanied by a children's choir and a drum beat together.

The dubstep then ramps up- completely overtaking the track. But one it has reached its height, it is interrupted by the music box and singing children.

One can interpret this as her children holding her back from unleashing her true power. When she is most ruthless and violent, she is reminded of their playfulness and innocence.

The choir ends abruptly- but afterwards, the children's voices and music box lead the melody, while the dubstep and distortions accompany it harmoniously to create one whole piece.

This is who Arlecchino is. A Father and Harbringer defined by "caring" for her children and her otherworldly power. A love that nurtures and neglects- a power that frees and destroys. A wolf in sheep's clothing, or a sheep in wolf's clothing?

However the demo doesn't end there- the solo piano returns once again.

"Its flame is no longer needed, for you have the strength to defend yourselves"

This is going into speculative territory, but perhaps after she passes on her title as "king", she is once again lonely, left without a family. After all, she may no longer be needed or wanted at all- not after all that she has done, not after all that she has failed to do.

Conclusion

I love Genshin's music from the bottom of my heart. One reason why is the attention, detail, and beauty put into each track. Each piece is not only an experience, but also a story, an idea, a character, a place, whatever the artists wish to portray.

Arlecchino's Character Demo is one but many pieces that showcase this. In this track, we are able to discern Arlecchino's two core ideas, her relationship with her children and otherworldly power, through an incredible combination of singing, a music box, and dubstep. One can even theorize the course of her story through its visuals and music, in the end creating a beautiful and encompassing display of "Arlecchino".

[marshallpupfan]

What do you like the most out of Paw Patrol? What are your favorite moments from the TV series?

Well, I dare say everyone know what I like the most about PAW Patrol! But if I were to point out other things...

Right off the bat, it's certainly the fact it's about a bunch of pups. I've got a big love for dogs, so a cartoon like this is right up my alley. I guess this is why I often don't mind it when they add more canines to the cast, since in some ways, the more pups, the merrier!

In fact, despite my issues with the modern seasons, they gave us two more pups that quickly became very memorable, imo. It's my hope we see them both again, and outside of their respective subseries, too.

I grew up watching a lot of Looney Tunes, so I'm really big on physical humor and such. Marshall's obviously a good example of this, which is one of the many reasons why he's my favorite. Say what you will, but I love his clumsy antics, and I always look forward to his "Ryder needs us" wipeouts that happen in each episode (sure, the newer ones aren't as good as they were in the older seasons, but honestly, I still enjoy them nonetheless).

"I'm good!"

And I'm often glad when the other pups get involved in this stuff, such as this part with Rocky, which is still one of my favorite moments of his to this day. That look on his face is perfect. lol

And given that Chase is my second favorite, it's especially great when he finds himself caught up in moments like this, especially given he often tries to (or used to) be the most serious of the group.

"Now I know how Marshall feels!" "It's kind of fun, isn't it!"

Beyond all that, the cartoon just has so many cute/fun moments that I just really enjoy. In fact, many of these become favorite moments of mine. Seeing Marshall dress up as a sheep to help solve a mystery at Al's farm is one that comes to mind right away. And given my love of wolves, seeing him become pack leader is another that really stands out. Ah, I could no doubt list so many of my other favorite moments involving him, but I don't want to make this post too long.

And while I could list some for the other pups, I'd like to take a moment to point out some favorites of mine from other characters. Take this moment in season 5, involving the Kitten Catastrophe Crew. This is the kind of humor I wish we could see more often, and it's something I saw early on that convinced me to keep watching.

Even Mayor Humdinger, himself has given me a good laugh from time-to-time, which is why he's still my favorite of the human villains. Kidnapping those royal kittens and dressing them up to look like Everest and Tracker so his crew would match the PAW Patrol's numbers (at the time) instantly made me a fan of him.

I'll wrap this up before this post gets any longer. Suffice to say, there's a whole lot to the cartoon that appeals to me. Again, despite my grievances with the modern seasons, I still consider myself a fan, and there's still a whole lot I enjoy about PAW Patrol, which is why I stick with it. And as you can imagine, I'm still just as crazy about Marshall as ever, so there's that, too. :)

[sweetshrew]

Not cishet, but why do you put cishet men dni in your posts?

thank you for asking! i’ve been meaning to talk about this in a post/my pinned post.

for about a month, i put "cishet men dni" in my posts, but i stopped about a week ago. i'll explain my reasoning for both.

when i first joined this side of tumblr, i saw a lot of wlw blogs using it, and i didn’t think much of it. many mentioned their posts being taken out of context and applied to relationships they didn’t want to be associated with, so i felt like i had to include it too. plus, sometimes, i’m uncomfortable with seeing a man’s body in a sexual way, so it made sense at the time even though deep down i still felt weird about including it.

but a few things made me question it past just an uncomfortable feeling. i came across a man—possibly trans—who had in his bio that he didn’t want to interact with accounts that used any "men dni" statement because he wanted to be respected as a man. then, i saw a genderfluid person say they wanted to interact with “men dni” accounts but didn’t want to make them uncomfortable. to me, it just feels like it still comes off as transphobic as it doesn’t consider transmen as just men, and the same thing with women too. and even outside of the trans community, it feels exclusionary to folks like those who are nonbinary or genderfluid but appear to be a certain gender for example.

even thinking more about my own gender and sexuality made me reconsider too. i identify more with feminine terms, but i’m still questioning if i consider myself nonbinary since i’m okay with he/him pronouns and sometimes enjoy other masculine terms. sexuality-wise, i mostly think about women, but i might open to anyone if i like them enough, so i don’t feel comfortable labeling myself yet. so honestly, while this account will be centered around women, i think i’m okay with men and het women interacting as long as it’s respectful and not misrepresentative. if the way they interact doesn't fit that, the block button or a simple dm would suffice for me. i don't think i need to punish an entire group of people for the way some interact with my posts.

i mean, hell, as embarassing to admit this as it is, i’ve been guilty of doing that exact thing myself. early on in this blog, i reblogged a trans guy’s t4t gay post and applied it to lesbian relationships. i didn’t realize at the time, and when he pointed it out, i hesitated to delete it—i wasn’t sure if he wanted me to—but i should’ve removed it right away to avoid misrepresenting his post instead of waiting like i did. i’ve since learned my lesson and try to remember to check hashtags and bios before interacting, but i wouldn't want women to be shut out from his posts based on my mistake.

all this to say: gender and sexuality are complex, and while boundaries are valid, this specific statement started to feel too rigid and not that progressive in a community that aims to support fluidity and validation. maybe others have their personal reasons for including it, but i won’t be including it in my own posts or bio anymore. unfortunately, with the way tumblr is structured, i can't change the appearance of the posts i've plastered this statement on, but i might include a statement like “this post is about lesbian relationships—don’t make it about straight ones.” or something cause it still sets a boundary with behavior while still validating the identity of those who come across it.

didn't mean for this to be an essay (yeouch), but i hope this answers your question 🤎

[persicipen-archive]

Just a simple character study question but do you how do you think someone like jiaoqiu after 2.5 (probably well after he’s at least somewhat physically recovered anyway) would be with someone who essentially dedicated their life to curing his eyes? Perhaps they are a renown alchemist, biologist, doctor, whatever - and they’re ensuring he is cared for, made sure that he knew he was and still is very valued, and dispelled any of his self loathing thoughts - almost like they could read his mind (they can’t but he finds it both amusing and scary how intuitive they are). And just idk, someone who is selfless and falling for the foxian, who maybe has been in a similar spot themselves with self loathing and broken heart, doing all they can to help bring back some semblance of his sight so that he can return to some form of cooking and healing again; something he mentioned (after many many months of knowing them) that it was something he enjoyed greatly. The subtle cracks in his voice when speaking of his passion truly breaks their heart.

Not out of pity, nah, or coddling him (goodness no), but out of pure genuine care. :’)

dear nonnie, i want you to know that you made me cry <3 lightheartedly, of course, because i adore this subject and rotated it in my head for hours, days, weeks. i even have plans to write fics around this topic, more or less with coherent drafts in my notes, but can’t promise i will get to post them anytime soon given the promised schedule. now, back on the track—

i feel like jiaoqiu can’t change much at this stage of his life. it’s been hinted many times that he’s not young anymore and lived through traumatic experiences such as war, losing comrades and his previous general, dealing with helplessness and low self-esteem. what i want to say is that person who decides to dedicate their time and effort to love him, must accept that he will remain like this — brushing off his personal troubles to not worry those around him and hiding pain behind a smile.

there is a good side to this, though bittersweet. i doubt that his injuries and losing vision affect him the same way as they would, for example, someone young. he’s been through things, he’s tired and melancholic, another unfortunate ailment won’t mean much to him as long as those dear to him remain alive and safe. it might not suffice, but perhaps staying in the kitchen with someone doing the cooking for him can at least partially fill the void — maybe even doing simple recipes that do not require knives or spicy ingredients, hehe.

having someone to take care of him the same way he takes care of others would be the best, really. he deserves attention and gentleness, and keeping that hope that he will get better shining brightly. like you said, not out of pity, but genuinely because jiaoqiu deserves to rest and enjoy his life after dedicating almost entirety of it to those in need. loving someone deeply hurt at heart is a tough job, but no less rewarding. he’s aware how much it means to appreciate every little gesture. if you were to work hard to return him to full health, he would probably exert himself to repay you a hundred times in ways he’s still able to do so. he still has his exceptional knowledge to share and aid you, still can smile at you sincerely, still can take some houseworks on himself when you’re busy looking for a cure.

we’ve seen how special of a bond he has with feixiao. their relationship is simple at first sight — the general and her healer, her guardian. but in reality it’s quite the other way around, the fact that he’s needed helps him deal with his own struggles and in this meaning she’s the one healing his broken heart. a similar bond would exist between him and you, regardless of your profession. you’re the one taking care of him, making sure he can vent and cry in your arms, lifting the weight off his shoulders, promising him that he will get to see you and his loved ones again.

aaand i’m sorry for answering with a wall of text, but, as you can see, this topic is really precious to me. to sum this all up, i think jiaoqiu would be a little confused at why do you love him despite all that, not used to be on the receiving end. he might need time to open up, but will be forever grateful to you — not only because you want to heal him but also because you spend with him every day before that.

[devsgames]

The Art of Feedback

(This post cross-posted from my Patreon. Please consider supporting for access to my unreleased game prototypes, devlogs and blog posts just like this one. It helps me pay rent and supports the work I do!)

The biggest, most important ability anyone working (or hoping to work) collaboratively in gamedev should have is giving targeted feedback.

I'm not saying "you should be able to honestly tell people that their work sucks", but rather you should be able to elegantly and politely express in what specific ways their work could use improvement and, most importantly, why you believe the feedback to be valid.

In my opinion this is a lifeline skill anyone working in games needs to have.

Not being able to give polite and targeted feedback is something that sets apart an amazing dev from a competent one, and generally will make your critiques feel less like an opinion and more like a fair and specific analysis of a feature. It's what separates A Random Gamer Online complaining about a video game apart from an actual dev identifying pain points on a piece of work.

So how do you do it?

Consent

By far, the biggest thing to remember about feedback in my opinion is that feedback is all about consent.

When giving feedback you need to be positive that all parties are aware and on the same page about the feedback and its role in the conversation, and that the party receiving the feedback even wants it in the first place.

There's been countless times I've had conversations in the industry where it was obvious someone was receiving feedback that was not wanted and didn't consent to it - whether it was way too premature, focusing on the wrong part of the feature, not wanted in the first place or coming from someone who may not have been desirable to hear feedback from.

How do you navigate this? Simply ask for consent first.

A simple "Are you interested in feedback on [x] feature?", or "Is there anything you want me to focus my feedback on?" should usually suffice. If yes, give feedback. If no, don't bother!

Not only does this establish a clear line of consent, it also ensures your feedback is useful and you're not giving feedback that will fall on ears that don't want to hear it.

Empathy

Receiving feedback for many people can be intimately personal. Everyone has things about their work that aren't satisfactory, and entering into territory where you're pointing out these flaws can be devastating if not done correctly. There's an assumption that "honest" feedback is the way to go, but "honesty" can be a double edged sword and there's a lot of devs who deal real damage to others under the guide of "just being honest about feedback". Good feedback should be presented in a way that the recipient can take it to heart without feeling hurt. These are not mutually exclusive ideas.

To avoid this situation, the "compliment sandwich" is a time-tested method. Soften the blow of critical feedback by pairing it with compliments before and after, which allows you to deliver the feedback without it feeling like a direct attack. It's rather soulless to say "you should always talk like this", so of course this is not the end-all-be-all, but it's a good starting point for understanding how to deliver feedback in a way that doesn't harm.

In fact, I've found the structure of compliments doesn't matter as long as you're keeping the mindset of being constructive and in a 'building up" mindset about your feedback, and not a tearing down one. Usually I aim to incorporate one point of critical feedback with one compliment is often enough to soften the blow in many cases.

As an example, saying "I think your placement of the car needs work" feels colder and tonally more harmful than "I love how your use of trees to direct the player through the space, but I think the placement of the car needs work". See how those could read differently?

Additionally, you can change up your method depending on the person you're speaking to and your relationship to them.

For example, first impressions based around feedback are important. If you're giving feedback to say, a peer or student you've never talked to before, leading with complements is key. If you've been in a feedback session for a while the conversation might naturally veer into being more or less critical at certain stages, and you may find striking a constant balance of compliments may not be necessary. If someone seems defensive or upset, it might be wise to pile on some more compliments to make them feel more at ease. If you're giving feedback to someone you've know for a long time and given feedback to before it's possible you may be comfortable enough together that you may not even need to compliment at all!

TARGET

I really want to emphasize this point because this is how you make giving feedback an efficient task. If you don't know what specifically the person receiving feedback wants to receive feedback on there's a good chance you'll end up giving feedback on absolutely everything about the game, and ignore the elements that need feedback the most by doing so.

I've been in this situation plenty of times: a feature in your game is only half-implemented compared to the rest of the game, and instead of focusing on giving feedback about [x] new feature your playtester instead spends 15 minutes talking about the feature that is lacking despite the fact you already know it's missing. The feedback isn't about the thing that you as a developer need feedback on the most, and instead covers territory you're already well aware of.

As someone giving feedback, consent comes back into this. Ask "Do you need feedback on [x]?", or "What do you need feedback on the most?". This puts the ball in their court to identify what you should look out for, as opposed to you playing through and simply pointing out flaws in everything regardless of context. It also means the feedback session is going to be more effective at targeting what they need help with the most, and will be most beneficial to them in the end. In context like meetings and student feedback sessions where time is limited, this is vital to ensuring you're not wasting anyone's time.

Another way to improve the targeting of your feedback is to ensure you understand your subject's goals, and tie your feedback into that. Without this your feedback can be wildly off-base.

For example, if your subject is making a project to learn new implementation techniques, it's not going to be useful to provide feedback about their game's polish that would be more applicable to someone, say, trying to ship a game. Asking what your feedback subject's goal is with their project - or even just ensuring you address that and have a surface-level understanding about what those goals may be - is going to put you in a position of understanding what kind of feedback to give.

With this knowledge in your pocket you can now give feedback through a narrower filter that will more effectively improve their work.

"Why?"

"Why?" is the single most important question you need to attempt to answer when giving feedback. Answering "why" is how important changes get made.

Anyone can say "I think [x] feature needs to change", but not anyone can identify why it needs to change, or in what capacity. There's nothing worse than receiving feedback where a director says "I didn't like this feature" and they fail to address why they think that way. Especially as a designer, "why" is a fundamental idea needed to back up any approach you might have to changing or implementing designs - and it's why designers are often in a better position to identify changes than the average player.

Before you give a piece of feedback, ask yourself "Why do I think this?", and be prepared to include that with your feedback.

"I don't like the way the movement feels because it makes it hard to keep the enemies in my sights" is vastly more useful than "I don't like the way the movement feels". It gives what you at least believe is an actionable, and the person receiving the feedback now has a problem they may need to consider going forward.

There's truly nothing more aggravating than hearing - "I don't like this thing" without a reason why. That why needs to exist because if it didn't people would simply be making changes for no reason except "the vibes are off", and a vibes-based approach isn't exactly a sustainable one from a development angle.

Conclusion

The best feedback is when it addresses specific targeted points that are relevant to the recipient's context in a way that isn't going to be harmful to them! It's not a matter of simply saying anything that comes to mind however you want, but addressing relevant pain points that will best help them improve their work. ✌️

[ask-the-four-lords]

This is a question for each of the four lords. It’s not one I’ve ever seen asked before. Though I feel it can tell you a lot about a person.

What is the earliest memory you have? For example, I remember visiting a waterfall with my family. It can be super vague, as those memories usually are.

Thank you!

- 🦇

Blog auth here; I know this is a lot I just really liked this question. I know it's mostly HC but I hope it suffices. I also ended up only doing their earliest clear-as-day, perfectly intact memories because I felt like they'd be more interesting than the vague ones even if the vague ones were earlier, so presume there are earlier memories but these are the first really clear, solidified, intact ones.

Salvatore Moreau: M-my first mem-glugkg-memory *acid in mouth, swallowed after about 30 sec* was the day I went out on the wadder for the firrrsst time. The smell ah' the lake... there-there was nothing like it... 'st-still isn't. I n-never spent more than three deys without going oud' on the water after that, even if I' *gags* I'll never smel it straight again, I'll never forget the exac' smell of that afternoon. *he cries softly at the memory of his long since departed father and his dulled sense of smell since implantation*

Donna Beneviento: *she pauses, building the courage, sniffling at the thoughts* My earliest memory was the day my dad gave me Angie... I felt ever so safe with her. I couldn't sleep that night. I took Angie with me, snuck out of the manor and went to watch the waterfall... it was ever so beautiful... they... they, it was only *breaks down crying* a week later, they, they did... no, please. *manages to push the thoughts down* But it was like Angie spoke to me, like a friend, the other kids all thought I was a freak, they said I was sick, broken. Then, then my eye, after the Cadou it was so much worse! *quietly* I hate me. Evil, repulsive, freak! Monster! *cries, hits self although lightly* But out by the waterfall Angie seemed to come alive and she seemed to care. I'm so grateful I got make her come alive for real, and it's been a little better since, my only friend, they thought she was sooo weird but she was and is... a friend. I don't ever want her to leave me, I-I don't know what I'd do. *holds onto Angie, with desperation*

Alcina Dimitrescu: I was only ten, maybe eleven, I can't remember exactly, poor girl that I was. I had never really gotten to leave home due to that *with vitriol* miserable illness that ruined my old life, all of it. They had sat me in bed, it had been so long... it blended together, many months at a time usually. But mother brought me so many books, always enough, I never ran out. I loved them. They were all I had. All the distractions in bed never made it any better in truth, but I remember losing myself in the stories. More than anything, most importantly, I remember *in spellbound awe* hearing the jazz, Louis Armstrong, his crooked croon, gave things a color that they hadn't had before. Mother brought the albums in, all the masters, the greats, I always knew I'd end taking my place among them, and I did. Mother, she had been something of a socialite in those days, after jazz made it to Europe, she was hooked, and thus, so was I.

Karl Heisenberg: Old uncle Heisenberg... that fuck raised me, after my parents kicked the ol' bucket. He was a mechanist, 'damn good one too. He taught me the tricks of tha trade, how to wield a wrench, how to hit something in the right places 'till it *sarcastically aggressive* fucking worked, how to weld, the tools, the method, all of it. The dirty bastard wanted me to be a mechanic, mechanist, whatever, when I grew up, 'guess I was in the end. He was a scurvy old motherfucker, but 'e loved me in 'is own way, he was a drunk too. *scoffs a little, amused* But anyways, *back to point* my earliest memory, clear-as-day memory that is, I still got a lotta vague shit alongside it, was me and Uncle Heisenberg, I smelled like motor oil, I'd smell like motor oil there on out. He said I was old enough, passed a smoke and a whiskey. 'Whole day we'd been workin' on one of 'is projects, one of the less stupid ones, it was right when we said we'd go to sleep and then didn't, he ran into me when we both went to hit the workshop. He believed in me, at least more than the others ever would. That night, the smoke wafted from the cigar, he passed it. I took a drag. It felt right, and more or less felt alright. He said I was a "man now" who knows whatever the fuck that means but it meant somethin' to me, always will. *Laughs* If he knew I mainly called him a scurvy old bastard, he'd be proud, he was a asshole, drunk, and all-around sonofabitch, but he was a damn good man, 'loved 'im.

[m1ckeyb3rry]

hi!!! i love love LOVE your glass princess series :D how many parts are you expecting it to reach?

hiii i’m so glad you love it!! i wish i could give you an estimate but honestly my stories tend to get away from me 😭 for example i thought that the ursa arc + ba sing se arc would get us to maybe ten chapters max?? and they ended up being 16 chapters and about 95k words. so i don’t want to make any guesses and let anyone down.

i do think i have a rough idea of how many arcs are left though!! we’ve gotten through two so far (ursa and ba sing se), so counting the one we just started w chapter seventeen i’m estimating about two to three more?? not sure how long each will be and as always that’s subject to change but as of right now that sounds right to me.

i’m sorry this is such an unclear answer 😭 but suffice to say there’s plenty more left!! we still have to get through almost everything that happens in season 3 plus post finale stuff which i’m excited to write. i’m hoping it doesn’t take too long for me to finish though!! may is a pretty busy month for me but then things clear up again so fingers crossed i can get the story finished by julyish (again no promises i feel like my will to write is so spotty that i really can’t say anything for sure)

[mahorobaasterisk]

SHIFTING WITH THE YOGA SUTRAS OF PATANJALI (1-5)

(using translation and commentary by Sri Swami Satchidananda)

Of all the activities I have used to further my shifting journey, yoga has by far been the most powerful. This applies to philosophy too, and it is especially compelling when considered that the two have the same religious roots in both Hinduism and Buddhism. Since practicing yoga, I have seen both my meditation and visualization skills skyrocket far beyond the improvement I experienced when I was practicing near daily, even though now I rarely do so more than once a week.

While engaging with the spiritual side of my practice specifically, I got quite invested in the Yoga Sutras. There are nearly 200 of these in total, and as such I will be splitting my analysis of these into many parts, which will be collected under the "asteriskanalysis" tag. I have included analyses of each of these in relation to both the multiverse and consciousness theories when needed, so I hope that whatever you believe in you will benefit from this.

"Sutra" actually means "thread," and in this instance refers to the threads that make up the mind. We all know how important the mind is in shifting, and it is my hope that understanding the intricacies and how to utilize it to its fullest potential will aid those willing to listen along their shifting journey.

1. Now the exposition of Yoga is being made.

Starting off with a very vague one, this sutra simply means that the following passages are not simply philosophy, but instructions.

Perhaps more relevant (as we are not currently practicing yoga) is the idea that, in the words of Satchidananda, "We cannot reach the goal by mere words alone. Without practice, nothing can be achieved."

This, in my opinion, relates quite simply to shifting. While shifting intentionally can be done easily and without practice, that is simply not the case for most people. It is only through multiple, sometimes even hundreds, of tries that we fully learn ourselves well enough to reach our desired realities.

2. The restraint of the modifications of the mind-stuff is Yoga.

While it sounds complicated at first, this sutra is actually quite straightforward, it is the goal of yoga, however what I find more interesting is the example Satchidananda gives in regards to the "modifications" mentioned. I will not detail the full passage due to its length, however I will summarize.

Imagine you are sitting and suddenly you smell something from the kitchen. There are 3 processes that then occur in your brain: the manas detecting the smell, the buddhi deciding what the smell is (in this case, swiss cheese), and the ahaṁkära, which decides you would like some.

More notably is the disturbance these processes cause. Now that you have exited the state you were in before, you cannot return to it until you satisfy your urge to eat some cheese. Despite this, there is effort and willpower needed to go to the kitchen and grab a piece of cheese, and while for many this effort may seem negligible in the example provided, it is extremely prevalent in the pursuit of shifting.

Reality shifting is not an easy task for the majority of people. We have been raised in an environment that firmly asserts (or at least once asserted) that alternate realities are a work of fiction. Due to this, there is lots of effort that goes into every step of the process, but most notably believing. I myself have witnesses people who have shifted many times before struggle in this regard, however the peaceful (in this case certain) state of mind once possessed cannot be achieved again without significant effort.

3. Then the Seer (Self) abides in its own nature.

This is a complex one, and it is one of the many sutras I would like to do a lengthy analysis of later, however a summary of my thoughts will have to suffice for now.

It is only when the mind is calm can you see the true Self.

This makes the most sense with a water analogy. If a pond is dirtied and the water is moving frantically you cannot see anything residing in it, however, when the water appears pure and calmed you will see the life it houses.

Simply put, you must clear your mind to witness reality. For you, this should be your desired one.

While this may seem straightforward, of course you're meant to have an empty mind while meditating, I have seen many forget this vital step. Any method of shifting works, however lots would greatly benefit from clearing their mind before jumping into affirmations and visualization.

4. At other times [the Self appears to] assume the forms of the mental modifications.

I will absolutely be posting an in-depth analysis of this sutra. The commentary by Satchidananda is beautiful and reframed my perspective on shifting entirely. I cannot do it justice, so please read the full passage here on page 48.

This sutra would take me days to properly analyze on its own, and I will do so, however now is not the time for it, as this post is already quite long. I apologize for any inconvenience, however I feel it would be a great injustice to attempt to explain it now in my current state.

5. There are five kinds of mental modifications which are either painful or painless.

This sutra details the difference between selfless and selfish thoughts, however I want to focus on the premise of developing only positive thoughts. I would suggest people to read the text itself (as linked various times throughout this post) as the idea of thinking selflessly is an inherent positive, but the only part I would like to discuss is the ending.

The method to living this philosophy is the concept of self-analysis, better known as self-study. It is stated that we must carefully watch our own thoughts and consider the implications of them, something integral to the concept of "reprogramming your mind."

For the final time, here is the link to the text I am referencing. I heavily suggest reading it, and I hope it helps you as much as it did me.