#they both have made choices . how are we not seeing this people ..

[somewhereincairparavel]

my favourite character exchange of all time between the hoo gang will always be this particular line from jason to nico in house of hades.

“Nico, you do choose how to live your life. You want to trust somebody? Maybe take a risk that I'm really your friend and I'll accept you. It's better than hiding”

jason doesn't say something like 'i'll make sure to prove myself to you' or 'i'll do everything I can to make sure I earn your trust' because they are empty words. especially considering that this was before jason knew about nico's past, he can't exactly do anything to make nico trust him, apart from offering support, because in the end, it was nico's choice whether to trust him or not.

yeah, some people might think jason was being 'cold' and 'shallow' for saying this, but jason genuinely MEANT well. he told nico that he's WILLING to be his friend even before he knew nico's past. this was before jason knew an OUNCE of nico's backstory. he gave some slightly harsh but brotherly advice to him.

jason didn't deliver any false promise to nico that everyone will love him no matter what and that everyone will always be kind to him in camp half blood (this strangely parallels w percy deliberately choosing to NOT promise nico that he'll keep bianca safe because percy knew that death is a possibility and didn't want to make any fake promises just because nico is a kid, percy tried his hardest to be honest with nico, that certainly caused problems of course, but we can see the pattern between how percy and jason both hated fake promises.)

also, in boo, will says “Oh, please. Nobody at Camp Half-Blood ever pushed you away. You have friends or at least, people who would like to be your friend. You pushed yourself away. If you'd get your head out of that brooding cloud of yours for once”

i know I've seen alot of people use this excerpt as consensus of saying that will is super 'tone deaf' and 'insensitive'. but can you guys see the pattern here? will came off a lot more agressive bc of his romantic feelings, but we can see how will, jason and percy were sort of 'reality checks' that nico NEEDED. he had an inferiority and victim complex (which is very justifiable and valid considering how much trauma he faced, on the contrary i thought nico was being considerably calm with everything he's been through and deserved to yell way more. I quite related to nico a lot when it comes to the personality sometimes so jason's words definitely struck a nerve for me) but nico was always drawn to honesty.

nico had some of his earlier memories washed away by the river lethe to 'protect' him from more trauma, and nico was so attached to bianca that the thought of her leaving for the hunters of artemis felt like a personal betrayal. he was made to beleive that he and his sister were safe in camp half blood, and combining that w the whole lethe thing and hades generally trying to protect the di angelo family from the gods, you can see how much nico needed honesty and not coddling. because coddling and sheltering ruined his life and took away his light.

jason saying that nico needed to take risks as it comes with the package of love and friendship, and overall giving him authenticity, telling him that heartbreak and family can coexist, causes nico to be drawn to him and genuinely have him an eye opener.

jason knew what it was like to be held with fake promises his whole life, and even mentions it as a reason as to why he made sure he kept the promises he made. because he would never turn out to be like his two faces mother beryl.

I'll always believe that jason played a huge part in nico's overall character, and his death even more so.

[harrysfluff]

Choices

A/n: Hello! Lol I am currently writing my applications for PhD programs and need a break. This was a draft I had and wanted to polish up for you guys. Btw i haven't written anything with angst or really a plot in a hot minute so I'm sorry for the plot.

Tw: smut (p in v, unprotected sex), angst (couple fighting)

Harry's forearms came on either side of your head as your bare bodies touched one another. Your hands snaked their way down his ass, grabbing at him in tight clenches. The bedsheets were crumpled together towards the foot of the bed leaving both of you exposed to the cold room. "I think we would make cute babies," Harry smiled down at you, pushing his hips deeper into you.

Harry had recently become obsessed with babies. He had brought it up to you a few months ago and hadn't stopped since. Harry never was doing things in order since some people would have at least waited for a ring. "I just know you my person and this is exactly what I want with you in this moment," he said each time. It slowly wore down on you, and as you started to come around to the idea. Suddenly, you were also imagining a small bundle that was a mix of both of you.

You could feel his hard self push against your clit, giving a light sensation from the bud. You let out a heavy exhale from the feeling, while your hands move upward to his back. "I think so, too. They would have your eyes." Harry buried his face into the crook of your neck, sucking against the skin gently. You threw your head back into your pillow, giving him more access. "And hopefully my sense of humor," you tease.

"Oi," Harry lifted his head back up, "What did I do? I'm just trying to make love to the woman I love." He defended.

You laughed, wrapping your arms around his neck. "I just love to tease you. You get all worked up!" You brought his face down to yours to share a kiss. “It’s cute,” you shared before your lips collided. You opened your mouth slightly to allow his tongue to slip through. The kiss deepened as you engulfed each other. You brought your legs up providing the perfect angle for Harry. Usually, the two participated in more foreplay. However, the feeling of him against your clit had built up a hunger for him inside of you. Taking the cue, Harry slipped himself in.

The feeling of him inside of you always made you realize just how empty you felt when he wasn't. You pulled your lips away from each other as Harry slowly rolled his hips into you. The gentle waves of him caused a growing intensity in you.

Harry's brow furrowed, "I wanna savor this." He lowered his face down again for another passionate kiss. "God, I wanna be inside you forever. Do you want me to be inside of you forever?"

"Yes," you exhaled. "Please never leave me."

It came out as a whine which always sent Harry into overdrive. He pulled away from you. The emptiness makes you shiver. Harry's hands grabbed onto your knees, spreading them. You were completely exposed to him, glistening in the light as some of you leaked onto the sheets. Harry pushed himself in again, this time with more speed and power. "Fuck. I'm going to fill you up with my cum. Wanna have my baby, don't you?" He brought the pad of his thumb to your clit, rubbing firm circles. The movement sent pulses through your body as your breaths became more shallow.

"Yes, please fill my tummy with you," you begged. The feeling radiated from your pussy reaching higher intensity with each thrust from him. "I wanna have your baby so bad, H."

Every time Harry hears those words from you, a primal feeling erupts. "I'm about to fill you up," he grunted. His movements are becoming increasingly faster. "Fuck," he gasped, slamming his hips into yours. "Oh Harry," you screamed out as you released over him. Harry collapsed on top of you, still staying inside of you.

He stayed there for a moment, before lifting his upper body from you. His skin was sweaty and you could see the beads of sweat on his forehead. "You said you never wanted me to leave," he smirked, slowly rolling his hips into you. “I just wanna make you sure you’re extra pregnant,” he laughed.

You giggled too, still in your post orgasm bliss. “I think I’m plenty pregnant. We haven’t left this bed all weekend and I’m full of your cum,” you said pushing him off you. Harry settled on his side, his hand being placed on your stomach. He began to trace his finger gently, his eyes stayed concentrated on it. “You know it doesn’t happen immediately, right?” You say.

“I know but this is just so perfect you know? Like this moment. I don’t know I like imagining our baby. I would take them down the street to that coffee shop. And I could get a bike!” His eyes came up to yours, beaming with excitement. “You know I’ve been thinking of getting one since I’m always renting one. I don’t know I could get one and then get one of those baby attachments so we could ride around together.” His mind rambled on, imagining himself riding around with a little one. He settled onto his back and you nestled yourself into his side. Harry’s arm instinctively wrapped around you, pulling you close. “Either way it will be perfect. I’m winding down so I’ll have time and you’ll take off work -“

“Wait what?” You sat up, staring confused at him. You clutched the sheets around your chest, covering them from him.

“Yeah, I was thinking you could you know take some time off.”

“I didn’t know that. When were you gonna tell me you wanted me to quit?” You asked, starting to feel the heat in your face.

“Y/n I’m not asking you to quit I just think you should step back.” He defended. “I think it’s for the best if we can be there together in the beginning. And besides, it’s not like we need to worry about money.”

“But it’s not about money. It was never about that.” Your blood started to boil as you found your thoughts. “I’ve worked so hard for this between all my school and years at this company. I’m not gonna throw it all away because I have a family. I had this job before you and I’ll have it after you.” You hastily scooted off the bed and wrapped the sheets around you to hide your body from him.

“Y/n you’re not listening to me. I’m not asking you to quit. That’s not at all what I’m saying: I’m just saying we should both take a step back from work.” He pleaded in a gentle tone.

You walked right into your closet to grab some sweats. The last thing you wanted was for Harry to see your body. “Harry not everyone can just take time off,” you reply loudly before mumbling, “Not everyone is a fucking pop star.” You walk out to the bedroom to face him. “Besides why can’t you raise the kid? You have the time.”

Harry rubbed his face harshly. This is not how he envisioned the night ending. “You know what? Don’t take the time off. It’s fine I’ll raise the kid, it’s fine. I’m sorry I said you should back off. I didn’t think.” His tone was flat across each word as he spoke. He swung his legs to the edge of the bed, grabbing his underwear off the floor. His hands fiddled with the shorts, pulling them up his legs while his eyes stayed concentrated on the floor.

“Harry it’s not about that, I'm angry that you just assumed I would take time off,” you paused, trying to read his face. His brows were furrowed together and you could see he had clenched his jaw. "Like do you think that low of my job? Like are you just another out-of-touch celebrity? God the shit I put up with because of you. Listening to you complain about clothes and albums-"

His head snapped towards you, face hardened. "What the fuck? That was fucking mean Y/N and you know it." He stood up from the bed, grabbing his pillow and tucking it under his arm. "I'm gonna sleep in the guest room tonight. I need space right now."

You sighed, the guilt beginning to wash over you. Your face fell into your hands and you contemplated your next move. Following him downstairs would probably not solve anything, but going to bed angry at each other ate away at you. Your mind flashed Harry's face as he was storming out. He was angry and didn't want to even be near you. So much had changed in less than 15 minutes. Not wanting to antagonize him further, you crawled into bed almost engulfing yourself in the thick duvet.

The alarm on your phone went off as it did each morning. Having been use to Harry reaching over to you, you felt a pain in your chest when you were reminded of last night. Normally, he would have tried to pull your closer as you struggled out his grip to start your day. However, there was no struggle as you got out of bed.

You tried to slow your morning get ready as you were scared to go downstairs but yet it seemed to go over quickly. You planned to keep your head down heading out of the kitchen on the off chance he was there, and pick something up on the way to work. It was a solid plan till you got downstairs and saw no trace of him. You were grateful till you saw his car was gone in the garage. It was odd since Harry rarely drove in London and either walked or biked. You shrugged it off, not sure you could understand him right now.

Harry didn't message you all day. Each time your phone flashed a notification, you anxiously checked it wanting to see his name. You sent him a few messages admitting fault and wanting to reconcile yet there was no response. Now you were confused since Harry usually replied.

Turning your key into the door, you imagined him sitting on the couch. Perhaps he was waiting to see you in person to try and repair things. Yet, when you entered the home was undisturbed. There was no trace of him still. You wandered into the guest room and saw the bed messily disturbed. The pillow he had taken was still there. You walked over to it to hold it close to you. Inhaling, you smelled the comforting smell.

Just as you were setting down the pillow, you heard the door open and the sound of footsteps. Coming out of the room, you saw him pushing his shoes off. "Hey," you squeaked out. "I uh just wanted to say I was sorry last night. I should not have said that and I'm sorry." You gulped hard, your hands finding ways to fidget with each other. Harry's eyes came off the ground, peering back from you. They were still cold, and his lips were still in that hard-pressed line. "Harry please say something. I don't like it when you do the silent treatment to me." "I didn't want to say something I would regret," he said.

"Okay, that's fair but I'm sorry. I want to move past this, please." You came closer to him in an effort to reach out to him. However, as you came closer, he backed away from you.

"I'm not sure I'm quite as ready. You hurt me Y/n. Sometimes you're rude to me when we argue and last night crossed a line. I provide for us, for our family, and this is what I get? I understand you have a career but I do too and just because mine is different does not give you the right to belittle it." There was a pause as he pinched the bridge of his nose. "Frankly, I don't know if I want to be with you right now. " Harry finally exhaled, regaining his composure. "Look I'm just here to grab some things. I need more than just a night in the guest bedroom." He pushed past you, walking up the stairs.

You stood there shocked and almost paralyzed. It wasn't until you heard him coming back down that you wiped the tears from your face. "Yeah, erm okay. I understand." You softly whimpered, wiping another tear. "I love you, okay? And I'm really sorry." You were struggling to find the words, burying your face in your hands.

Harry looked at you, his eyes softening at the sight. He would have wrapped his arms around you but felt his arms glued to the sides. There was a part of him that was reluctant to do so. "I'm sorry, too. I hope this isn't the end. I just need some time. That's all."

You nodded, wiping the tears more as you tried to compose yourself. "Yeah, I get it." You gave him a weak smile, watching him leave.

[neostellarjpg]

inner mono-dialogue

the more time i spend being davepeta with you the more i realize almost every single problem in my life was caused by my obsession with being this unfeeling cool dude

but youre cool already

like in the way that actually matters

youre chill and friendly and just nice and thats all there is to it

youre shamelessly yourself even if everybody around you is a jackass and gives you shit for it

youre similar to jade and john in that way

i really envied that about them

but its different actually being at the control panel and feeling where that earnesty comes from

it makes me wanna match your energy and keep that pawsitivity ball rolling even if it ends up being weird or cringe or whatever

fuck man do you know how exhausting it is building yourself social hoops to leap through all the time and when you trip up even once its suddenly the end of the world

what kinda dumbass does that its like dealing with life in hard mode for no reward

fuck that noise

i like your way better

Nepeta's heart burns and shines inside you.

:33 < thank you :))

:33 < but you know

:33 < i dont think doing things your way is unrewarding

:33 < its like

:33 < a shield!

Dave scrunches up with discomfort.

X33 < i dont mean that in an insulting way!

:33 < the fact is that shields are just purractical sometimes

:33 < it doesnt make you cowardly to hide behind one

:33 < in the same way that it isnt cowardly for a predator to hide in the bushes when stalking prey

:33 < its just a way to make sure you dont get hurt!

:33 < purrsonally i found shields too cumbersome

X33 < im a hunter after all!

:33 < and i guess maybe the same goes for my personality

:33 < its not really that im purrticularly brave for being myself

:33 < i just didnt have a say in the matter in the furst place!

:33 < honestly if i had a choice i would have loved to be more like you dave

:33 < you can befriend people almost effortlessly

:33 < and its beclaws youre also just a nice person

Dave recoils in surprise, but Nepeta passionately pushes forward.

:33 < fur real! i feel it inside you! theres a really strong sense of empathy there

:33 < its just like mine! just smarter, and a bit more analytical

:33 < whenever we encounter someone mew, its like i f33l you lock onto them, and you gather so many insights into their purrsonality without even trying

:33 < and you can use that to bond with others without giving every part of you away

:33 < which unfortunately

:(( < i never really knew how to do

Nepeta sours with unpleasant feelings. Your brows scrunch together with both pain and sympathy.

Nepeta has a big and complex heart. She always tried her best to keep it from spilling over, but it always did in the end. And it was embarrassing. It was embarrassing when your friends dismissed your hobbies or focused in on your strange quirks. It was embarrassing when they revealed they knew about your crush on Karkat that you'd worked so hard to hide. And it hurt whenever he would say mean things about you. He and anyone else.

But you always puffed out your chest and sucked it up. You stuck to your guns no matter what. Because it was fun! The things you liked, the people you liked, were fun, and they made you feel good. Why couldn't anyone else see that? And why did it seem like they never gave a single thought to who you were?

You curl in on yourself. Your chest hurts. You suddenly really miss Equius.

And you miss Rose. You miss Jade. You miss John and Karkat and Aradia and Tavros and Terezi and all the others. You miss all the people you can go outside and see whenever you wish, and you miss all the people that you have no hope of ever seeing again. You feel the choral echo of all the times you've ever felt this need for comfort, this thrumming pain searing hot inside you, like hunger wracking your stomach.

You clench your teeth. You remember being on your bed, curled in blankets, not having eaten a proper meal in days. You remember holding your stomach and sneaking to the kitchen, turning your shoulder at every step to look fearfully behind you, only for your fingers to falter hopelessly on the handle of the refrigerator, knowing there was nothing for you inside.

You shake with anger. You know that feeling. The feeling of being chased by something much bigger than you, a hulking silhouette of menacing strength following your scent through the thicket. You'd clutched a beast carcass to your chest, barely breathing as you stalked clumsily through the trees, performance wavering from exhaustion and hunger.

You'd almost died. You'd almost died often. And then after escaping death so many times, it one day claimed you. Casually. Unflinchingly. And the world beat on without you, leaving you stunned by your own insignificance. You'd looked out onto every preceding moment of your life, wondering if there was anything to truly be proud of in the face of your friends accomplishing all these fantastical things. You'd felt lonely before, but after that, you were truly walled off from every single person you knew.

And now, despite everything, you're alive again. Twofold, together with someone.

A warmth coats the ache inside your body. The two parts of you swirl together, feeling and tasting each other, trying to understand themselves.

It feels like a hug.

[pityroadart]

Here's my piece for the @mcspirkevents Big Bang! I was paired with the excellent @twinkboimler and their fic Jim Kirk's Guide to Delivering the Goods, which you can find here (E, AOS McSpirk, 60k)

Summer just started, and Jim is bored out of his mind. The courses he needs to take aren’t being offered until the second half of the summer, so he has an entire month to bother his roommate Bones. At Bones’ suggestion to get a job, Jim fixes up a motorbike and starts making deliveries to people in town, including a cute Vulcan professor named Spock. But when Jim is beaten up while making a delivery, it’s Spock who delivers Jim back to the apartment he shares with Bones. After the meet-cute from hell, Spock and Bones start dating… and so do Jim and Spock. With neither roommate aware they’re both dating the same man, there’s only so long that things can go well for them before the other shoe finally drops.

Also as part of my Big Bang offerings, I made a fic playlist (below) — partly a love letter to McSpirk, partly a love letter to myself and Fletcher's overlapping music taste.

Thank you again to Fletcher @twinkboimler for working on this project with me, it's been an absolute joy!

Until the Birds Return on Spotify

Tracks and choice lyrics below the cut (contains vague spoilers):

Astronaut | Future Crib

I wanna be an astronaut Fly into space I wanna see Mars from Venus I wanna go to that place And if you come with me They'll be room in my ship I'll take you up there with me It can be just you and me

Afraid of Heights | boygenius

I never rode a motorcycle I never smoked a cigarette I wanna live a vibrant life But I wanna die a boring death

Day by Day | Old Sea Brigade

Time and time again, I think I'm falling through space And I wake up in my bed just sweating in sheets

... Then I think of you growing old and it breaks my heart

Factories | Autoheart

When you found my body by the lake You wasn't sure if I was still alive

You and Your Friend | Snake River Conspiracy

Must we go run through our lives with our eyes closed To the loving happiness that we can share I think I'm in love with you and your friend

My Gal, My Guy | Darlingside

My (guy) he's the bluest ocean, (he) Waits under the bluest sky for me I belong to (him) When I'm in the water

Santa Fe | Autoheart

Heaven sent You were like a present I should not have kept A sticker on your forehead saying 'breakable And I broke you bad

Coat on a Hook | The National

Two days, we're still not talking You're the opposite of an open book Come back for me

Top to Toe | Fenne Lily

So I'm changing all my days To make your nights It's just not right

Pigeon Song | Patrick Wolf

Now the pigeons gather 'round my feeding hand And we talk 'til the evening fades I have learnt how it goes What you wait for never shows And what you least wanted, holds you down like a stone

Hornets | The National

But I don't wanna leave And I don't wanna hide I just don't wanna run Into you tonight

Tea, Milk & Honey | Oh Pep!

If you stick with me, I'll make sure your time is all right If you don't understand where I am now, it's better if we leave it

The Spiritual | Jukebox the Ghost

We might have kissed a bit too soon I could feel what was coming and I didn't mean to hurry you I just knew that time would find our fingers linked, through and through Forgive me, I'm human too

Bike Dream | Rostam

Two boys, one to kiss your neck And one to bring you breakfast Get you out of bed

Don't Go | Yazoo

Can't stop now Don't you know I ain't never gonna let you go

Jenny | The Mountain Goats

I hopped on back of the bike, wrapped my arms around you I sank my face into your hair And then I inhaled as deeply as I possibly could You were sweet and delicious as the warm desert air And you pointed your headlamp toward the horizon We were the one thing in the galaxy God didn't have his eyes on 900 cc's of raw whining power, no outstanding warrants for my arrest

Old Old Fashioned | Josh Ritter (Frightened Rabbit cover)

Oh let's get old fashioned Back to how things used to be If I get old, old fashioned Would you get old, old fashioned with me?

[readingiskeepingmegoing]

I have thoughts on the relationship of Acacius and Lucilla. 

I have thoughts on the relationship of Acacius and Lucilla. 

!!Spoiler Warning!!

If you haven't seen the movie yet, maybe swerve this one until you have.

I am in no way a writer, and this is essentially just a word jumble that fell out of my brain. Please be gentle with me.  

Massive thanks to @schnarfer and @jessthebaker for listening to me yell and sharing your thoughts with me. Your insights were invaluable.    We see Acacius and Lucilla deeply in love in the movie. But I think they came to this over time.     

In the flashback scene of Lucilla taking Lucius from the arena after Maximus and Commodus have died, it appears to be Acacius who is helping him onto the horse. So from this we can infer that the pair have known each other for a long time, and that Acacius is loyal to Lucilla, just as he was loyal to Maximus. It makes me wonder if Maximus had maybe sent word to him to protect Lucilla and Lucius. A role that Acacius take seriously and sees through to the end. 

  Lucilla is held in high regard by the Roman people and even called Queen, and that gives her power, but it also makes her dangerous to the incumbent Emperor/s, and keeps her in constant personal danger.    Acacius was trained by Maximus. He clearly remains loyal to him even after his death. The Emperor after Commodus would no doubt have been suspicious of him and anyone who had served closely with Maximus. If one General could defeat an Emperor, then why not another?     I see the Emperor initially using Acacius as Lucilla's jailer. "Keep her in line or we will know you are not loyal" sort of thing. While also making sure that Lucilla knew that she was being watched. Not even safe to confide in her maids.    There will no doubt have been a bit of resentment there, especially from Lucilla, who doesn't know what lengths Acacius is going to, to keep them both alive and as free as possible.    Acacius falls in love with Lucilla before she falls in love with him. He may have known about Lucilla and Maxmus's relationship. And it is easy to see why he would have been attracted to her. The Emperor/s probably would have noticed a change in how he is with her, how he looked at her and so the manipulation would have changed. "Do what we say or we will send your wife to you on the battlefield, wouldn't it be terrible if something happened to her on the journey to you?" 

During time away from war, Acacius and Lucilla may have found their relationship to be strained in the beginning. He will have been so much lower in rank that her, the only thing they would have really have had in common at the start would have been their love of Maximus. Over time cordiality will have grown between them, deepening to a mutual respect.    Acacius comes home from battle grievously wounded, and that is when Lucilla realises that she loves him. The Emperor/s send nurses to care for him, and she sends them all away and tends him herself, pouring all of her newly discovered love into healing him, calling on her childhood nurse who is skilled in the arts of wise women. And during this time they get to truly know each other and their passionate love grows in earnest.    

I also feel as though Lucilla will not have wanted more children. She will not have wanted to hand the Emperor/s more leverage over her, nor have wanted to see her children chewed up and spit out by what Rome becomes. So Acacius respects her choice and encourages her to get whatever contraceptive remedies are most effective from her nurse, so that he can be her husband in every way. 

  They clearly have no secrets, he knew that Maximus was Lucius's father. He did not hesitate to try to free Lucius at Lucilla's request. This, to me, makes his sacrifice in the arena more heartbreaking. He is trying to protect his beloved wife from losing her son again, and upholding his loyalty to the man who trained him.  

If you made it all the way to the end, thank you for bearing with the rantings and ramblings of a madwoman.

Tagging because you asked so sweetly: @ghotifishreads @jennaispunk @missredherring

@noisynightmarepoetry @schnarfer @jessthebaker

[rassicas]

Another excerpt from that Splatoon dev interview from a rare 2017 issue of Nintendo Dream. This is about the Squid Sisters in Splatoon 2 and the Squid Sisters stories. Translation under the cut:

Q: What's with the continued involvement of the Squid Sisters in Hero Mode?

Nogami: We didn't expect the Squid Sisters to get as popular as they did in the previous game, and we felt that they were growing as stars beyond what content we had prepared. So we desired to connect that growth to the next part of their story.

Inoue: Rather than having them continue in the same roles, we decided to reflect the choices made in the last Splatfest, "Callie vs Marie," to give the players a sense that they were actually involved. We didn't plan this from the beginning, but decided on it after seeing the personalities of both Callie and Marie emerge through live performances, and the popularity of the two of them.

-- Depending on the results of the Splatfest, would Callie and Marie's appearances in this game been reversed?

Inoue: Yes. So we were thinking about the both of them throughout development.

Nogami: We were thinking of saying directly that the content of the next game would change depending on the final Splatfest, but at that time we were not ready to announce S2 yet. So, in order to connect the last Splatfest of S1 and S2, we decided to start the "Squid Sister's stories" on our official Twitter. We wanted to let people know that the world of Splatoon is changing little by little, and there is a passage of time between the world two years ago and the present. -- So that's what it was all about.

Nogami: In the Squid Sister's Stories, each story is written in such a way that lets the reader imagine different possibilities. We wanted to create something that the audience could imagine and enjoy.

---Did you write the rest of the stories based on how people reacted to them?

Nogami: We basically wrote the whole story all at once, but there were times when we adjusted the descriptions in the middle of the story.

Inoue: We tried to make the Squid Sister's Stories feel like newspaper novels. I think the novel format is a good fit, with the depictions of subtle changes in emotions.

Nogami: If I were to adapt it into a movie, almost nothing would happen. Marie and Crusty Sean would have tea, and then Callie would come and go (laughs). By the way, we didn't write that from Callie or Marie's point of view, but from the point of view of the SRL researcher in charge of the Squid Sisters who watched them in secret, and wrote the story with a bit of imagination.

Q: What's with Marie's Japanese-style clothing?

Inoue: each of the Squid Sisters have become more popular as their solo careers have grown, but they started off singing folk songs, and that kind of work is on the rise for Marie. Because of this, she often wears a kimono.

[atangledfate]

Lanolin watched Sonic, Belle and Kit enter, with Sonic leaning against a wall, and Kit finding a place to sit. She rubbed the back of her neck looking to Blaze with unsure eyes. It stood to reason that GUN had its network of spies. Two people knew all about Belle outside of the people who worked here. It was easy to assume Rouge and Shadow had given all kinds of reports to GUN though she liked to believe Rouge wouldn't have given those kinds of details.

" It could have been anyone, Both shadow and rouge work for GUN and had full access to this information. But even if we say they wouldn't do that--- plenty of volunteers come and go through the workshop. Any one of them could have overheard her, or us talk about it. Or they could have gained information from the eggnet itself... how isn't important right now. The fact is they know and she's on there radar... honestly this was bound to happen eventually. I think we all knew that... "

Sonic looked at Belle flexing his hands with that anger flashing across his face again. He wasn't gonna let anyone get to Belle, and he'd die before he let them take her. But Belle was right running from GUN was probably the last thing she wanted. This was a mess and worse, it wasn't the kind of mess he could punch away. Eggman was easy to deal with but GUN? Politics sucked! But his eyes went to Kitsunami and he couldn't help but worry how he'd react to Surge's plans, damn how was he gonna do this? His eyes shifted to Rowan as he came back and he smiled!

" Hah! well ring tail! you are doing better then most! you wouldn't believe how many can't hold it down! so kudos to you! "

His thoughts broke as Miles finally made his way up stairs, and Sonic and he shared a fist Bump. At least his mood seemed 10 shades brighter as if the fox mellowed him out. His eyes turned to Lanolin as she got everyones attention now that Miles was there.

" Alright... guess that is everyone but Surge--- Here is the situation! The United Federation of Nations president has personally spoke with me. He's made his stance clear... he sees Restoration as a rogue element... it was fine at first they even commended our work. But taking in Surge, Kitsunami, and Belle seemed to set of red flags. Clutch's deception only cemented there stance... "

" The President ants to shut us down until a full investigation can be performed. It's likely he intends to arrest Surge, and Kitsunami... i can't say what his intent with Belle is yet. The point is... if we fight back we become enemies of the the free world... enemies of gun and we prove them right! I don't trust them either... i doubt Amy would... I think we have to play there game... I don't see another way out of this that doesn't get people killed and our donations cut for good... "

She sighed and rubbed her own cheek looking at Belle and Kit specifically.

" Belle, Kitsunami and Surge i get it if you want to cut and run... i won't stop you. But this ... this is the only choice we have to keep our work going... no matter what i feel about you both, and i've come to see you as friends. I have to look out for the well being of the organization... our work is to important... i hope you understand..."

Sonic let out a deep breath through his nose, he somehow ventured this was the outcome. He hated every word Lanolin said! She was just gonna give up like that? and what let them come in and shut it all down! or worse take control? this was bullshit!

" Oh come on Lanolin you can't be serious! Those guys will make up what ever story they want! just let surge and i kick there butts! and send them packing! "

" No Sonic, she's right... Restoration relies heavily on donations and volunteers. If the United Federation of Nations declares us an enemy of the state or terrorists. We'd lose all funding, and worse people would be to afraid to help out. If we fight we lose, if they come in we still lose but at least there is a chance to fight it in court, or argue our side of things... logically speaking its a risky move but... if we fight we defiantly lose..."

Miles looked over at Belle with a sad look

" It might also be a chance for Belle to finally argue her case to the people and be accepted as a citizen... but, they could also dismantle her or lump her in with eggman. This is a big risk for all parties... especially surge, Kitsunami and belle... they have a tough choice to make..."

" Well, we chaotix have always remained free lance--- but ifin' they do come in and investigate. We can do our own investigation... least have our own evidence to use against them... but as someone who grew up in the hood--- If they gots the right judge you ain't ever gonna win that case... you all sure you wanna go down that road? "

" I know this is bad but ... unless anyone has better plan... i'm out of options... and the clock is ticking. I don't want anyone hurt... we all came together to fight eggman, not the goverment. I just--- i'm open to ideas... its why i called you here... "

"Though from what I know you concealed Belle's creator besides a select few, and I believe given how different her design is only someone used to fighting Badniks could put together who she was made by. In that sense, the mole either has to be one of the volunteer soldiers that's been here a while, or someone in the inner circle." Blaze was more concerned why go after Belle. She's never been seen with Eggman, or his forces. As far as they're concerned she's just an advanced robot living her life.

"I have doubts they'd take it that far, if only because did warn Lupus that attack me is like declaring war against the Sol Empire." It was a scare tactic, though an effective one as she was sure he mentioned it to the president. "If we have too I can simply move Belle, Surge, and Kitsunami to the Sol Dimension and bring them back some place else."

"I don't think Surge or Kitsunami would like that idea very much. I'm not opposed to it, even if I don't want to runway and stand my ground I'm sure that'd be a good idea. Though perhaps convincing them to leave me alone would be better in the long run." Belle was only offering her ideas as she entered the room right after Sonic. The tinkerer didn't want GUN breathing down her neck for the rest of her life.

Rowan would walk back in, looking a bit annoyed. "You know, you could've just asked me to leave for a second to talk to her. I've never moved at high speeds and nearly threw up my lunch." The lemur guessed he was being pushy, though was also trying not to come off too strong. Guess he needs to work on that a bit more, though there are certainly a lot of people her now.

A moment later Kitsunami would walk in, not saying a word to anyone before finding a chair and sitting down. The fennec never expected Surge to be here, sure she was out by the check point as a warning for GUN not to try anything. The tenrec wants him to keep the inside of the base safe so that's what he's going to do. Only intending to assist her if she calls him.

[limeade-l3sbian]

Im sure you have noticed many radfems talk of how men will use their spouse/partner as basically a second mother, having her do all the chores, the emotional labour, the organisation, etc. And I agree with this take.

But can we talk about how a lot of women, especially trad adjacent ones, also see their male partner as almost a parental figure. The amount of times i’ve seen women use different versions of “I just want a man that can think for me” is too many to count at this point. And it’s common. It’s seen in so much romance media, where the man takes control of everything, all the big decisions. It’s become a whole trope in heterosexual romance books and stories, of a rich man with control issues who sweeps some woman off her feet and makes it so she basically just disappears in his embrace.

This is gonna sound super harsh, but please know it isn’t meant as a critique of them as much as something i’ve noticed. I really do believe a lot of women who crave old school gender roles are very lazy, “useless”(to themselves) people who don’t want to amount to anything in life. The idea of struggle and hardship, heck, even just working TOWARDS something, it scares them so much they would rather be shapeless blobs controlled by someone else. That’s why they fetishize that traditional life style for women. Obviously WE know the women of that time and current time too in those types of homes aren’t just sitting around all day doing nothing, but I really do think a lot of women use it as an escapism fantasy from life.

The way a lot of them describe their sexual fantasies is similar, it’s always what is done to them, like they aren’t actually active participants, like they don’t actually have to make any choices.

I think the reason a lot of men crave a parental figure partner vs the reason a lot of women crave one is very different but they seem to be extremely common nonetheless. And with women I also know it’s a very complex issue of both society telling us our worth, the fact that women nowadays even as the more educated demographic STILL do more housework and emotional labour in relationships, capitalism being horrifyingly exhausting to live under, I could go on. But the point is, I think certain women crave a life of no consequences so that whole “i’m just a girl” and “he thinks for me, he makes the choices” mentality thats unfortunately had a huge uptick in popularity in recent years, I do think it’s women craving a parental figure as a partner. Not to say it’s anything linked to incest, i’m not trying to make freudian connections here, but I think the role of a parent is to take responsibility for the child and they crave that floating consequence free existence of a child.

I dunno, is what I’m saying completely deranged? Let me know.

Anon, I'm gonna try to be respectful and hold your hand when I say this... YOU'RE RIGHT! Thought I was gonna get condescending on your ass, huh? 😎🤪

Firstly, don't undercut your words with "I dunno." You made a completely logical point and casually explained yourself so eloquently I wouldn't be surprised if English wasn't your first language.

Secondly! I have seen this too! This weird, "take care of me" emphasis from both sides of the camp. Is it laziness? I wouldn't cast that aside for a second. But I think it's also this strange reaction to the present world. At least in the U.S., the economy is shit and people kind of already know that shit is just going to be hard, no matter what. And as humans, we have a weird tendency to swing the pendulum completely to the left or the right. So our reaction to very real, economic hardship that requires frequent "grinding" is to desire a complete release of the wheel, and to have someone else handle the hard stuff.

For some reason, according to social media, you either need to be grindset girl boss or a trad trophy wife which is...yeah. But I don't doubt your point being more of a reason for this. It's bizarre, and you're not crazy.

[lunchtimebedamned1997]

Arcane S2 thoughts

(spoilers, obviously)

Most of this was sent to my friend Penn @pennedinblood in discord first, but I wanted to share it + some more on here too.

Okay, I now that its been a couple days and I've had time to think properly, have some thoughts about Arcane. This isn't going to be as specific and nuanced as I'd like, but I'll need more time for something like that.

Here's the thing... What we did get was good and I liked it a lot - for the most part anyway - but like - it wasn't a very good finale imo...

Like -

In season one they had this just fucking masterful foundation for such a nuanced discussion of class and oppression, of the cycle of violence, of how desperate acts may seem evil to some but are not always as simple as they seem and that one person's actions may influence the narrative but that it is the systems in place - and the willingness to follow systems that harm a disproportionate amount of the population for personal gain - that are the real issue. There were no real villains in s1 imo. It was just people making good, bad, or neutral choices, and they all interconnected and effected not only the plot, but the audiences' understanding of the corrupt system in place.

It forced you (if you're paying attention) to understand with visceral understanding both those of the oppressed and the oppressors; and in the midst of all of that we had magic and science interplaying beautifully against the good and greed of mankind.

AND just vast, resonant, deep interpersonal connections and development that you could feel in your bones.

and then in season two... we just kind of went - 'fuck that here's jesus and a witch ~~~ Magic war tiiime' Like?????

It touched on a few themes for sure, and what Jayce had to say to Viktor about disability and the purpose of people, or the value in imperfection and the point of life - as someone who's struggled with their health and other personal things I don't want to get into on the internet, that hit so hard. I hated Jayce in S1, and he won me over in act one of this season and just - didn't let me down. His arc was beautiful and I really really appreciate it. His connection with Viktor means so much to me. screeches into the void

But lets be so fucking real - they kind of (majorly) chickened out of their mass commentary on the opposing classes and working towards a better system that doesn't harm its people. and instead like - Vi's arc got completely fucked?

Like - oh okay so you ditched everything you were going to say and just made her a strong war pawn who can hit good and is gay coolcoolcool (sobs). Like, act one was so promising it really felt like it was following up on everything they had been working towards, and i loved seeing Vi having to make hard choices; watching her become an enforcer as the only way she could think of to deal with two disparate parts of herself - one that needed to put an end to the monster she feels like she created (Jinx, obvi), and one that desperately needed to hold onto the only person she had left (Caitlyn).

And Cait's devolvement into fascism was so intriguing and dark and I hated it in a good way, yk? Like I was like "oh fuck they made Cupcake unrecognizable in a fucking believable way wtf that's rad bro"

And then in act two they were just like 'HAHA lets not show you anything but the highlights of Vi's inner tumoil, then - wow look Jinx is here to tell her about Vander! - let's just never actually take a hard look into Vi's issues or personal arc ever again teehee - oh! And Cait's on our side again yay!' Like EXCUSE ME???

Vi had stood as one of the most important characters in the entire show. She is the linchpin between Piltover and Zaun - one of only two hinges that connects the two cites (the other being Viktor to a far lesser degree bc his roots are never explored, Singed is the only undercity person we see him go back to interact with, etc etc leaving Vi to be the only 'real one') And they completely sidestepped that - especially how she's also so connected to Ekko and the Firelights - which was just - never touched again - Ekko didn't even get to fix his tree! I get it, bigger fish but ffs - it's not a blaming character thing, it's a writing issue. I understand why Ekko had to focus on smth besides his tree lmao - it's that the writers just dropped this thing that stood so strongly for Ekko's fucking roots man (pun intended). Like - He's representing what Vander wanted to do. What Zuan could be. He is literally making a part of Zaun beautiful and supportive, and standing resolute against the system and saying "both of you are wrong, back tf up and lets talk" and they just got rid of that. I think it says a lot that that in particular was punted into the void.

I'm just not over that we never got to see him and Vi interact again dude wth - and I feel like that really speaks to how much they removed Vi from her point and purpose in S1. It would make sense if she needed more time to reconnect -esp after how Cait betrayed her - but to never actually talk again? Just glimpsing each other in the finale?

Don't get me wrong, I loved some of the time-suckers this season. Mel for one (who I also wasn't a huge fan of in S1 (I didn't trust her lol)). Everything with Mel, Vik, and Jayce was sooo interesting, and Ambessa was a great villain. She was imposing and horrible and yet there were very small parts of her that you could understand - but there wasn't enough time. Not with everything else we were also touching. Not without loosing so much of what we had been working towards. And even with the large focus, The Black Rose was this jumbled mess of ideas that didn't really amount to much besides giving Mel a powerup and probably leading us into the spinoff :(

I've been having trouble processing all of this because I'm shocked and upset because narratively, I didn't like it.

And I HATE that I didn't like it. I liked the individual scenes. I liked the concepts at play. But none of it was fleshed out!

That impeccable no-crumbs-left writing was suddenly nothing but crumbs. A whole feast of them. Nothing was really held together and it left each arc feeling like a separate vaguely-connected vignette rather than a whole story - let alone a satisfying conclusion to the previous season.

I'm genuinely angry because I wanted so badly to love this season but I just don't; not as a whole, not as an ending. Again, the individual moments were largely great, but good moments don't make a good story.

I just feel like they were trying too hard to serve LoL lore. Originally Arcane wasn't cannon-compliant with the messy lore of the game, and then a few months ago they came out and said that it was now considered canon - and I was excited bc I thought that meant that whatever they did would influence League - but I was wrong. I think it's very clear that Canonizing Arcane had the opposite effect. I think it's why they chickened out of their societal commentary - I think it's why the Champion deaths were so 'no body, no proof'. I think that it undercut all the stakes for the writers and made them forced to bend to the will of a lot more oversight from the higher-ups at Riot.

I don't know guys, how are you feeling? I'm really glad we got CaitVi cannonized (but I have things I wanna say about that too, esp. how their sex scene played into the sidestepping of Vi's arc (not that it happened, but the way it did - I can talk more about this another time lmao)) and I loved getting a timebomb kiss (again more Vi arc things I wanna say *sobbing and gnawing on my cage bars*) but yeah - anyway I gotta stop typing before I get too into-the-weeds of my thoughts. I'll probably make a big post about the specifics of how I feel they fucked up Vi's story in another post bc I clearly can't let it go XD

But fr tell me ur thoughts too pls I want to know what you thing even if - maybe even especially if - you disagree with me :3

Idk I've got to rewatch it.

It wasn't bad TV, it's still better than most things coming out right now... I hate that I can't just love it entirely rn raaaaaaahhh auhfalwoiha (help D':)

[writing-for-life]

@embervoices , I had to put this in a reblog because it got too long for the comments (brevity is not my forte 🤣):

Yes yes yes! I’ve got several metas that riff on exactly the points you mention, also Desire not being the straightforward villain so many think they are; you’ll find them all in my meta-library:

(please don’t feel you need to read them though)

Or rather: If we look at the Endless conceptually instead of seeing them solely as, well, “not human but still people”, we get to a deeper meaning that will otherwise stay inaccessible. It starts with *when* Desire and Despair first enter the scene in the main run (right after The Sound of her Wings, when Dream… well, hears the sound of her wings 😩). The “big sister sets his head straight” is a valid surface reading of #8, but it’s also just that—a surface reading.

You can’t love and be close to Death if you don’t feel drawn to death.

Death can’t advise you without also being her function. She *is* death. The literal thing. And I’ll never tire of saying it, because every time he listens to her in the whole run, he gets closer to her in the real sense.

And another unpopular opinion: When NG coined the pithy phrase that one must change or die, and that Morpheus made his choice, he didn’t mean he just chose death (even if a felt 80% of people seem to read it like that, but that might just be what I see on my feed—other people’s mileage might vary). They were never to be read as mutually exclusive—it was always both. Because metaphorically, something needs to die to change—a viewpoint, a habit, a set of beliefs. And yet, it doesn’t entirely disappear. That’s exactly what happens—omnia mutantur, nihil interit. And Dream is the Prince of Stories—of course he relates to everything via a narrative *he* spins (he can deny it all he wants).

And yes, you can absolutely desire death—it’s so poignant that we meet Desire and Despair for the first time in #10, and also that they show as the twins on this occasion.

And then there is Brief Lives, when Desire (which is *also* a life force, and that’s important contextually in several arcs) actively pulls out of the scheming in more than one way: Dream even says, verbatim, he has no desire to “do this”, when he usually avoids even the word like the plague (and if he hadn’t done it, the ending might have been different, but that would have also been totally past the point). But the influence of his other siblings, or rather how he relates to them, is far more devastating in that moment. And while they all try as siblings, they are also their function. And in their function, they are NOT helping—again, it’s so obvious if we just look at when and how they show up for him:

Delirium made him go on the trip to find Destruction, Death told him off and made him change his mind when he had already abandoned the plan, Destiny advised him but also didn’t because he is what *must* happen either way, and Despair only showed up for him after Orpheus’ death.

Funnily enough, Desire, despite all their scheming, was always the only one who saved his ass (maybe not always for the most unselfish reasons, but they did it anyway). Not just once. Several times over. Overture is all I’ll say (during the actual events of Overture, but also in the flashback to Alianora’s story).

It’s all incredibly clever and heartbreaking at once…

”But He Loved, He Should Have Been Forgiven”

About Free Will, Responsibility and Agency: Lucifer and Dream as Foils

Did I finally jump on the Lucidream/Dreamingstar bandwagon? No, don’t panic (or be eternally disappointed 🤣), because that quote is actually from “Murder Mysteries”, a short story that also exists in comic form (drawn by P. Craig Russell). And while it isn’t officially part of the Sandman Universe (or even DC), I always saw it as somewhat of a blueprint of how NG (re)imagined Lucifer’s Fall. There is enough in Lucifer’s characterisation in the Sandman that makes it quite plausible as a sort of backstory, especially since it was written when the Sandman was still in full swing. But more about that later…

I’ve long wanted to write a meta about Lucifer and Dream as narrative foils, and since I’ve finally started clearing out my drafts, this was a good one to do right now because we are currently discussing “A Hope in Hell” in our community (join us!). Although I have to admit that this one is rather about what transpires when Lucifer decides to abandon their realm in Season of Mists...

When Lucifer learns of Dream's impending return to Hell to finally release Nada, it solidifies their own resolve to leave (I use they/them pronouns because of the show although comics!Lucifer is male presenting apart from the plumbing and also referred to as he/him). By the time Dream arrives, Hell is nearly deserted, with Lucifer basically expelling its last inhabitants. Lucifer tells Dream they rebelled long ago, and that they are not willing to “pay for that one action” anymore. And the most profound truth they share with Dream is the nature of ultimate freedom—the freedom to leave. This is also brought up many issues later, when Lucifer says to Delirium, "I told him, you know. I told him years ago… I told him that I owed him much for having given me the impetus to go. I told him there was always freedom, even the ultimate freedom. The freedom to leave. You don't have to stay anywhere forever.”

And that’s just… ouch. Not just because it so clearly shows that Morpheus also could have left had he just chosen to (then again, he wouldn’t be Morpheus if he had, and even more “then again”: he did in certain ways), but also because we generally see Lucifer as an antagonistic force. But here, they express something akin to gratefulness. And maybe even a hint of regret that Morpheus didn’t also choose the same way. They feel almost sorry for him (my guess is they actually do, and I can never forget their face at The Wake). But what do you do if even freedom feels like a cage?

All of this ties in neatly with the crucial truth about Hell Lucifer reveals: People are there because they choose to be (and that Hell doesn’t need to be a physical place: We can make our own—any place, even in our own minds).

...this is where you wanted to be.

Lucifer explains to Dream:

"Why do they blame me for all their little failings? They use my name as if I spend my entire day sitting on their shoulders, forcing them to commit acts they would otherwise find repulsive. 'The Devil made me do it.' I have never made one of them do anything. Never. They live their own tiny lives. I do not live their lives for them.”

He continues, “and then they die, and they come here (having transgressed against what they believed to be right), and expect us to fulfil their desire for pain and retribution. I don't make them come here. They talk of me going around and buying souls, like a fishwife come market day, never stopping to ask themselves why. I need no souls. And how can anyone own a soul? No.

They belong to themselves… they just hate to face up to it.”

Which brings me to one of the most important messages (one of many) of the Sandman: People must take responsibility (and in this particular case not only for their lives but also for their afterlives, which is also a recurring theme). Each person's soul is their own, and no one can take that away. Paradoxically (or maybe not), as Lucifer abandons their own responsibilities, they urge people to take responsibility for themselves: You can drop said responsibilities, with all that entails, as long as you also take responsibility for the fallout.

So what about the wider question of free will then?

Let’s look at Lucifer's rebellion and fall for that, because both raise a lot of questions. Dream tells Lucifer that he remembers them as passionate, and Lucifer responds, “I cared about so many things. I suppose that was why everything began to go wrong. You know… I still wonder how much of it He planned. How much of it He knew in advance. I thought I was rebelling. I thought I was defying His rule. No… I was merely fulfilling another tiny segment of His great and powerful plan.”

And this brings me right to NG’s short story “Murder Mysteries”, which isn’t really officially part of the Sandman Universe, but also… it totally is 🤣. In it, pre-fall Lucifer witnesses the destruction of an angel who killed another angel they loved. Raguel (the angel formerly tasked with said destruction who now walks on earth, coincidentally mentioned in the panel above as one who might also have rebelled) narrates, “‘That was not right. That was not just.’ Perhaps Saraquael was the first to love, but Lucifer was the first to shed tears."

Later, it is revealed that God orchestrated this situation to push Lucifer towards rebellion. God needed an adversary to run Hell and says, “Lucifer must brood on the unfairness of Saraquael's destruction. And that—amongst other things—will precipitate him into certain actions. Poor sweet Lucifer. His way will be the hardest of all my children; for there is a part he must play in the drama that is to come, and it is a grand role.”

Lucifer was basically set up by God, and this somewhat revisionist interpretation of their rebellion and fall opens up larger questions about free will, agency and destiny.

Because although Lucifer's actions were influenced by God, they still carried them out and are therefore fully responsible for them. And by choosing to abandon Hell, Lucifer was taking responsibility for their own life. They faced a choice: remain in Hell as a shadow of their former self, or move on and make peace.

This fragile peace is illustrated at the end of "A Season of Mists," when Lucifer and an old man are conversing on a beach. The old man, despite having lost everyone he loved, remarks that any God who can create such beautiful sunsets couldn't be all bad. After the man leaves, Lucifer admits (basically to God), “He's got a point. The sunsets are bloody marvelous, you old bastard. Satisfied?”

And in a way, even Lucifer comes to terms with their past once they take responsibility for it.

In a way, this mirrors Dream’s arc to a tee. One could certainly argue that he was set on his path by forces outwith his control: Whatever had to happen in cosmic terms was always bigger than Dream. The Fates also held a grudge against him and Orpheus, for more than one reason. Orpheus did make the Furies cry, and they never forgave him for that. Crucially though, he was also responsible for his own actions and carried them out. Only that Dream’s choice was ultimately a different one—or was it truly? Because what is the exact definition of “walking away”? He certainly did not abandon his realm like Lucifer because he ensured it was taken care of. There is no devil-may-care (no pun intended) attitude, because even when choosing death, Morpheus does care about his realm and the dreamers. Deeply.

It is the sole reason why the ending we get is the ending we get, and why we have Daniel as Dream in the end. And while Lucifer takes responsibility for their own life, Morpheus takes responsibility for his own death. But both Lucifer and Morpheus faced a choice: remain on their paths as shadows of their former selves, or move on and make peace. And both chose the latter.

And one takeaway for us, as the readers, might be that if we find ourselves in an intolerable situation, we can always walk away, even if the price may be high. This brings us back to the theme of freedom:

The price of freedom is taking responsibility for our lives, even if we haven't been fully in control of them. The freedom to walk away might not be the ultimate freedom, as Lucifer suggests, but it is significant.

Free will in the Sandman is a topic of debate, and I tangentially wrote about it before:

Destiny carries a book that contains everything that will happen to us, all there was, is and will be. Most of all though, it contains what must happen. One could say that in this universe, there is a strong element of predestination involved. However, complaining about a lack of free will and just pointing towards Destiny’s book also misses the point:

In the end, our lives are always our own (which is mentioned several times, directly or in a roundabout way: in Façade, in Song of Orpheus, in Brief Lives, in The Kindly Ones, in The Wake).

Your life and your death are your own

Some of us might have more to overcome than others, but the sooner we accept our unique challenges (which is not the same as being passive), the more we will focus on what we can change—or what we can meet with forgiveness and (self-)compassion.

Destiny and freedom as opposite sides of the coin matter far less than what we do with them…

[melmedarda]

I’m sorry to jump in your inbox with that long af rant, but I’ve been lurking and loving every Meljay post of yours since day one and I need to scream in the void.

I’m inconsolable over how bad the writing of acts 2 and 3 was, it literally feels like it was written by a completely different team. What even was that conversation, it sounded like they asked ChatGPT to write a scene based on top 50 tweets about Mel and Jayce after 1x05 aired back in the days.

I’ve never in 15 years seen a ship so cruelly ruined, because how are people supposed to continue at all tolerating Jayce with that idiotically out of character dialogue in 2x08 between him and Mel? What a fucking bad way to treat fans, having them invested all the way until literally the last moment, it already was bad with how the majority of people (fandom, reactors, obviously the artists too) were “interpreting” Mel (if you can even call it that, cause interpretation requires media literacy), but now they have left us so burnt that I'm betting there aren’t even going to be fix-it fics because they. Just. Ruined. Jayce, so bad. And I still love the well written (still flawed tho!) Jayce from 3x01 (setting up a way more natural conflict-to-be-resolved path when he made those weapons five minutes after Mel vowed to protect his dream), but damn, I love Mel so much more, I really don’t know how to cope with all that. Only people who’ve had the luck to not have been treated as that husk of an AU Jayckass treated our girl can’t see the amount of PTSD that scene can trigger in a woman. I am so frustrated with how the creators treated her trauma and slashed the wounds wide open with both that and “You are the wolf”, I genuinely don’t know how to cope.

And the worst part is all of this could have been resolved with a single touch and him being open to her – like he always have been – just tell her he’s doomed instead of showing us a highly specific and unrelated two frames of the voidy-looking infection on his forearm spreading every time he is on screen. Even if that is one of their “yes we meant that all along we just wanted to show not tell it” like with the whole idiotic Sky/Viktor backstory that Overton “spilled” the other day. Jayce has been able to see through Mel’s shields the moment he saw her painting and was always shown to admire her intellectual prowess, he’d never leave her hanging like that.

If they wanted to write a Shakespearean tragedy so bad they made this intro scream “look at us, we gave you Greek last time, now it’s all about good ol’ Billy” why not have Jayce make the same impossible choice (as they brilliantly and am starting to think accidentally?) made Silco do in 1x09, having him choose between his love for Zaun and his love for Jinx, drawing one final parallel between the two men and closing that loop with Jayce/Silco carrying Viktor’s/Jinx’s body and infusing them with the deus ex machina. It was right there staring them at their faces, have Jayce choose between his love for Mel and his love for his brother.

What a spectacular failure of writing, what an even more monumental failure of the artists to come out with those comments, so now I don’t even want to praise their talent, because they should have kept their mouths fucking shut and stuck to drawing.

Sorry to dump this in your ask, can you tell I’m still reeling.

Please, please, do you have any headcanons, I need crumbs, I need to heal my soul and Mel’s.

Lovely anon you've but into words what all Meljay fans are feeling, I think. I cannot lie, I've been trying to let go of the ship. Withdraw sort of, especially since that was the ending we got. But I've had them for three years, and they've sunk their claws too deeply to me. I'm still thinking of them even now. I'm going to make the most of their divorce era, and I'm going to make them return to each other in ever single AU ever. Because Arcane S2 act #3 is not my Meljay. Also, AU Jayckass had me bursting out in laughter!

On the topic of headcanons. I have one in which when Vik tells Jayce to go back, Jayce does. He returns to Piltover but too much time has past, Mel has already burned his name and departed across the waters to Rokrund. Jayce knows he's done her wrong, realizes he's been blinded, and he does his best to atone in Piltover and Zaun, writing letters to Mel. Letters that go unanswered. And then eventually, he goes to Rokrund, and finds a different woman, one stronger and colder than he had known. He loves her anyways, and spends his years winning her back. And when he has groveled sufficiently, Mel takes him back. He sort of grounds her, so that she does not remain the wolf all the time. So that she does not become her mother.

[idciminlove]

Take a Slice

Part Five - Casual

f!reader x Tashi Duncan x Art Donaldson x Patrick Zweig

Cinnamonacid on AO3

Warnings- arguments, angst, jealous Tashi, situationship struggles, homoerotic friendship struggles, etc.

You have to deal with making some difficult choices.

Song inspo: Casual- Chappel Roan

“You shouldn’t have done that.” Art paced around the living room, anxious and angry. Tashi stood and watched him, her arms folded, while Patrick sat on the couch. “Wanting to train her professionally? I thought we agreed to put our family first after Patrick retired. I thought you were happy with training the girls at the foundation.”

Tashi sighed. “I am.”

“Clearly, you’re not. It’s never enough for you, is it? What if she said yes, huh? Would you go on tour with her? Lily’s too old for that. She needs stability.”

“What, you think I would just run off with her? She’s not even ready to go on tour yet. She would just be a side project. I’d start off training her twice a week, when I wasn’t working at the foundation, and once she started showing improvement, things would get more serious. I know what I’m doing, Art. You know I love you, and Lily, and Patrick. I take care of our family and the both of you just fine. You need to trust me.” She remarked.

“This isn’t just about tennis, Tashi. I know that. I know you want her, and it’s not a good idea. She’s young, a lot younger than us, and she might not know how to handle this.” He gestured to the three of them.

“What did she say when you offered to train her?” Patrick interjected.

Tashi gripped her arm sleeve tightly in annoyance. “She said that she’d think about it, and that she has people she doesn’t want to leave.”

“‘People?’” Patrick cocked an eyebrow, a little smirk crossing his face.

“Her doubles partner, I’m assuming. She’s pussy whipped even worse than you, if that’s possible. Came in with all these hickeys on her neck, which she tried to cover up with concealer.” Jealousy was clear in her voice, along with her irritation. Patrick snickered quietly.

“I’m giving her an opportunity, a real chance, and she’s willing to give up everything for her. Everything she’s ever done, everything she’s ever worked for. It’s fucking stupid.”

Art’s expression softened, and he found himself locking eyes with Patrick. Maybe he knew you better than he thought. Maybe you could fit into this. Maybe he should give you a chance.

He sighed, running a hand over his face, feeling the cool metal of his wedding ring burning against his cheek, taunting him. “She’s going to need some time. Let her figure everything out. She’ll come back to you.”

“How do you know?” Tashi asked.

“I saw how she was looking at you at the end of the match. She wanted you to see. She wanted you to be impressed. She wanted you…who wouldn’t?” He took her hand, pressing a kiss to the back of it. Tashi smiled at him.

Patrick got to his feet, gazing at the two. “Wait, so you’re in?”

“I guess so, are you?” Art replied.

“..Yeah.”

–

“So, how did it go?” Anneliese questioned as she sat across the table from you in the dining hall. Honestly, you didn’t know how to answer that. There was so much that happened, so many feelings, so many conflicts. Thinking back on it made you dizzy. It was like a puzzle you were trying to piece together in your head.

“I think I blew it.” You admitted.

She furrowed her eyebrows. “What? What do you mean?”

“It went fine, I guess, but she said she wanted to train me to play professionally, and I told her that I need to think about it, and she wasn’t very happy with that.”

“Why?”

You messed with the food on your tray, unable to meet her stare. “I don’t know, it was a lot, and I- I couldn’t give her an answer right away-”

“This is your dream. You worked so hard, and you told her you need to think about it?”

“I know, but doing this means leaving school and leaving everyone behind. It means leaving you behind. It means no more practices or matches together, no more bus rides, no more shared hotel rooms. It means no more us.”

“So you want to give it all up for me? That’s fucking stupid. There is no ‘us.’ We’re not even together. This is just..casual. You know that, and I won’t let you throw everything you worked so hard for away.”

Her words stung. Moving from state to state with your mother made it hard for you to make new friends, and even harder to keep them. She had been your first best friend, the first person that actually stuck around in your life. You loved her so much and you knew she loved you too, but she’s right.

You bit your lip, fighting back tears. She reached across the table, resting her hand on yours and giving it a comforting squeeze. “It’s not like you’re going to be moving across the country, you’ll only be an hour or so away. You can visit me and I can visit you. I’ll go see your matches and you can see mine. We’ll make it work, I promise. But I’m begging you, please don’t give up your dreams for me.”

You wanted to believe her, you really did, but you’ve heard those words too often before. Empty promises that they’ll keep in touch, that they won’t forget you, that they’ll make it work. It never does.

Your heart felt heavy in your chest. You took a deep breath, forcing yourself to look her in the eyes. “Okay, I’ll send her a text and let her know that I’m ready. I’m going to do this.”

She smiled, but it didn’t reach her eyes. “Good.”

–

You: I thought about it and I’m ready

You: I want to do this. I want to play professionally and I’d be honored to have you train me.

Tashi had been waiting impatiently for that text, checking her phone constantly. She wanted Art to be right, she really did, but she had her doubts. Now, as she stared down at her phone, those doubts dissipated, replaced with feelings of satisfaction and excitement instead.

Tashi: I think you made the right decision

Tashi: Lmk your schedule and I’ll set something up

[jesncin]

Spirit World, Ride the Cyclone and Death. A weird comparative analysis

Gonna combine my musical nerd and cape comics fixation together for a rambling meta thought. I've been reflecting on how taboo the topic of death is in media after getting into Ride The Cyclone (highly recommend watching the slime tutorial and Waiting in the Wings' documentary on it) but also contrasting that musical with how Spirit World handled similar topics.

Both stories cover characters whose lives were cut short from a tragic circumstance, but while Cyclone directly talks frankly about how each character uniquely grieves over their lost life (and eventually accepts death)- Spirit World uses death as largely an aesthetic to a generic fantasy superhero adventure.

[spoilers for Ride the Cyclone and Spirit World]

Spirit World is about non-binary, half dead half living Envoy Xanthe Zhou, as they go into the Spirit World with John Constantine to rescue Cassandra Cain Batgirl. They eventually go toe to toe with the spirit of a bitter dead poet.

Ride the Cyclone is about 6 choir teenagers who die in a roller coaster accident in their small town. In the afterlife, they are given the chance to vote which one of them they believe should be resurrected.

For Spirit World, do we even know how Xanthe feels about being "half dead"? What does that even mean? They died as (what looks like) a 3 year old, and have clearly aged 15 more years since then. So they can age? Do they need to eat or drink (they're seen with a drink in a Pride comic)? Xanthe keeps mentioning they're half dead and half living, but the comic doesn't seem to want to discuss what that means. How would Xanthe feel that they were essentially given a job as an Envoy the minute they died as a very young child? Was this even a choice?

We've already covered the numerous plot holes in Xanthe Zhou's poorly thought out backstory so I won't go over that again. But honestly apart from the thematically loose "the dead shouldn't be forgotten" moral, a lot of how death is presented in Spirit World feels so superficial. When Xanthe is formally introduced as this cool character with a giant sword hanging around a gravesite, fighting all these hopping vampire creatures... this scene would play out the same if you swapped the setting with a forest and zombies as bad guys.

The Spirit World is less an afterlife for the spirits to move onto and more an MMORPG setting for our superheroes to travel across and fight generic evil beings and encounter eviler, bigger, boss battles at the end. Then there's the poet clout villain whose problems are just easily solved by Xanthe promising to remember her. I've already covered what a lost opportunity thematically this character was in my last Xanthe essay, but this time I want to contrast her with Ride the Cyclone's Jane Doe. I also want to compare Xanthe with Noel Gruber afterwards.

Ride the Cyclone's musical numbers follow each character performing a song reflecting their wishes, and musings on life (this sounds depressing but the musical handles all this with comedy and wit), hoping to prove themselves as worthy of a second chance at life. Of the characters, Jane Doe is the mysterious odd one out. The accident decapitated her, leaving her to enter the after life with no memories and the people of the living unable to identify her.

You might see where I'm going with this. So in Spirit World, Wan Yujing was this famous poet mourned by an entire empire. She only goes monster mode when a handwave-y "time erodes all" happens in the Spirit World and she is eventually forgotten- so she becomes desperate to demand to be reincarnated by the Jade Court. Because her clout ran out. Again, I already made the critique in my previous essay that this villain would better link to our protagonist if she was a queer poet whose poetry was being purposefully straight washed as an act of queer historical erasure. But I want to bring up how truly unsympathetic this villain is. She gets Shakespeare levels of clout but still demands more because she isn't getting reincarnated fast enough. Xanthe promises that as an immortal "half dead half living" person that they will remember Wan Yujing, so she too can be immortal in some way.

I think about all the Jane Doe-s in the Spirit World who don't get to be famous poets that have Empires remembering who they were. People who died anonymously without a past. In Cyclone, the main character chooses Jane Doe as the person who should be brought back to life. Our cast of teens come to terms with the fact that while it's tragic that their lives ended shortly, they conclude "to say that if one dies young, they die needlessly... that is to discount the years we had. We had a life, she didn't. That's my vote." Since Jane Doe has no memory of who she is, it's only fair that she is given that second chance.

I get that Spirit World is choosing these "larger than life" characters as villains, but it's at the expense of their own supposed themes. Of all the people to die and face off our hero as the villain, a character who's essentially an influencer but somehow has an entire empire forget about her anyway feels thematically hollow.

Modern Superhero comics are suffering from a specific problem right now; they're not really about anything. Characters don't feel like people with interior lives informed by the context of who they are. Class, race and bigotry are only touched upon as lightly as possible. Queer characters are now Pride ads with no personhood or flaws. They punch gentrified crime and fight for no one in particular. Even recent adapted media such as My Adventures with Superman and Caped Crusader follow this. Superman fights white-washed xenophobia, while Batman fights gentrified, white-washed classicism. It's why comics like Superman Smashes the Klan, Catwoman Lonely City and Alan Scott Green Lantern stand out so much. It's been a while since these characters talked about anything that matters. Don't get me wrong, slop that's about nothing exists in every industry. But when these characters and worlds historically used to have more bite- it's especially obvious.

If I could be playfully conspiracy theory-like for a second; I believe Xanthe Zhou was pitched so that DC Comics can buff out their Pride Anthology or AAPI anthology with a new younger character. The company will give this character one limited series, but that's it. Xanthe will appear in the larger DC universe whenever big magic plots happen, but that's it. Maybe they'll get a YA graphic novel. I would love to be proven wrong, but the problems with Xanthe are baked in the dough.

Because they don't feel like a person, Xanthe feels more like an industry planted Pride ad. They're designed to be the most palatable and marketable image of Asian androgyny. They literally have no flaws to grow out of, and their backstory makes no sense. They weren't built to be a sustainable solo character.

So I want to contrast Xanthe Zhou against Noel Gruber from Ride the Cyclone. Because they're both queer characters whose lives were cut short at a young age.

In a dramatic lament, Noel Gruber expresses how if he had a chance to live, he'd want to live the horrible cinematic messy life of a French sex worker woman in post-war France. He struggled as the only gay boy in a small town and never got to kiss a boy before he died. It's a look into a queer life that could've been lived, one with all the messy texture and self destruction Noel couldn't have but desires. We get to see how death and queerness intersect into rich, unflattering, gender-messy themes. "I want to be that fucked up girl." Noel sings.

But what's Xanthe's deal? They died as a 3 year old, got brought back, avoided their family at all costs for 15 years, and then had a transphobic confrontation with their family when they're invited to dinner way later. If Xanthe grew up in a transphobic household, how did they ever figure out they were non-binary when they were 3? Could they even verbalize it? Or did they instead figure out their queerness after they died? But how is that possible when they already held a level of familiar resentment towards their family's transphobia as if they've had several fights about it? It's hard to picture a 3 year old having multiple heated debates about gender with their parents for this level of resentment to make any sense.

Details aside, how does Xanthe's queerness intersect with themes of death and grief? Well, it just doesn't. This scene ends with Xanthe's sister telling them that she bothered remembering them even though their parents moved on from their death (which makes no sense since the parents wanted to have dinner with a random 18 year old they correctly assumed was their long dead "daughter" but whatever). Honestly, the only reason queerness exists in this family drama is so that Xanthe has a tense relationship with their family. The story would be exactly the same if Xanthe was a troublemaker that brought shame to their family. Who they are isn't specific to whatever grief exists in the comic.

When people give the critique that modern Superhero comics aren't about anything anymore, we usually think of these comics as "lacking political bite and commentary". We don't often think of something like Death to be political. And even though it is in many ways, it's also a social taboo to talk about. Death is an uncomfortable thing to confront, even in the safety of fiction. It's what made Ride the Cyclone such a difficult stage musical to market.

So how does a modern mainstream comic like Spirit World fit into that? It just sits there in this non-committal way. Yes, this is a story about a trans teenager who died, but only in a cool Superhero Origin Way, not in any way that would make readers uncomfortable. Bury Your Gays is a stereotype after all, so we can't talk about how queer people feel about death. We don't get to know how Xanthe feels about death as a non-binary Asian American. Especially if it's messy. It's the reason why Wan Yujing's character can never commentate on themes of historical queer erasure. God forbid superhero comics be about something.

I think about how, in the original Hellblazer run from the 80s, John Constantine had an elderly gay friend who was diagnosed with AIDS but was killed by a homophobic hate group. The comic openly talks about the sheer amount of gay people dying of the epidemic, a looming threat that informs John's queer life. It's such a culture shock, to contrast these early comics with how John Constantine is written in Spirit World. A character stripped of his own queer history and is at the mercy of incessant slutty bi jokes. Where is the desire to talk about how death informs a queer person's life? The mourning of a lost generation to the AIDS crisis? Something John lived through?

How about how any of this intersects with being an Asian American queer person? Queer people of color are often erased or purposefully excluded from queer history and communities. As a Queer Asian American, what does it mean to have identities that are often perceived to be in conflict with each other? Would your queer Asian ancestors even be remembered? Cultural differences with how you'd mourn your communities? But answering any of these questions means an uncomfortable conversation for Spirit World. For Xanthe. It threatens to be about something.

Which makes it all the more silly that, of the two stories, a musical about teenagers dying from a rollercoaster malfunction is more willing to have that uncomfortable conversation. You should ride the Cyclone.

[noxiatoxia]

I don't know if this is common knowledge, but Komaeda's talent in Japanese is not "Ultimate Lucky Student". It is "Ultimate Good Fortune" (or good luck).

I know the word "lucky" has connotations with being good luck, but "luck" itself seems neutral to me at least.

I think the fact Komaeda is praised for, and has his talent be centered on, his good fortune is a very important nuance. People only see the good that happens to him. People keep telling him what happens to him is "good luck". His parents dying and getting kidnapped end up being called "good luck" in the end. I think this reinforces his pattern of thought more than people just saying he has extraordinary luck (good and bad). It's a minor difference, but it adds a lot. I have been thinking about this for a little bit now.

Because of the fact it is good luck specifically, I wanted to find parts where Komaeda specifically talks about bad luck. Lines such as "my awful luck/dreadful luck..." doesn't make much sense in the context of his Japanese talent. It made me wonder if those English lines even existed or if it was a "Luke, I am your father" situation. I don't have either the English or Japanese script memorized.

I checked the Freetime Events because of this, and found an interesting thing. There's a number of mistranslations, or simply translation choices I don't really agree with.

The freetime events heavily misrepresent how often Komaeda uses the word "luck". He uses both 不幸 and 不運 an equal amount I'd say. Maybe the former more. The former means "misery" "sorrow" or "misfortune". The latter means "bad luck" or "ill-fortune".

Likewise, 幸運 means good luck, but it also means good fortune. It's the word used in his talent as I described above.

Now, that's not to say I think Komaeda's "talent" should not be referred to as luck, nor am I saying he should never use the word luck. I think good and bad luck is a perfectly apt English word to describe his experiences. I just think the English translation overuses it. It wouldn't have killed them to make him say "isn't that just awful" or "what a tragedy, right?" instead of "isn't that such bad luck?" every conceivable moment. Maybe I'm just nit picky.

Now, onto the free time events. I want to talk about them.

I'll be talking about them in order as they appear. Also, I am only going to talk about the 3rd event onward, after Komaeda's chapter 1 reveal.

Freetime event 3

A minor nitpick, but "friends" is not the word I'd use here. It's true you can translate it that way, but considering everything else about Komaeda, at this point in the game, he wouldn't readily call Hinata his friend. Especially considering the connotations that holds for him.

That's precisely likely why he, in fact, doesn't say "friend" in the Japanese text. He uses 仲間 which like I said, while can and does translate as friend when used in that way, it just means people of a common thread. Like, a group, I guess.

My TL:

Because we both share the common goal of seeking out hope!

Freetime event 4

This is a really bad translation IMO. Hope is never said once in the original dialogue. I don't know why they put it there.

My TL:

Hinata: It's pretty ironic that you got wrapped up in this shitshow considering your "Ultimate Good Luck". Komaeda: It's not ironic at all! This is no doubt just the beginning of the good things to come my way! Komaeda: Um, let's just say the "good luck" I was born with is a little less straightforward [than the name would suggest]... Komaeda: once this is all over, I'll be rewarded with good fortune of the highest caliber.

And though this next one isn't much of a "mistranslation", I want to offer an alternative translation that highlights my criticism of "overusing the words good/bad luck".

My TL:

Komaeda: The greater the misfortune I experience before hand...the greater the good that comes my way afterwards! It completely cancels out everything before it!

Freetime event 5

I sadly cannot find in-game pictures of this since it's one of the wrong dialogue choices, so here's the script file text for it instead (sorry)

I remembered this line in English specifically because I always thought it sounded weird for Komaeda to say - "It's rare to hear you give such a half-assed answer".

While not a mistranslation totally, I think the tone is a bit off.

I would write it more as, "Ah ha ha! That's quite the answer, Hinata-kun!"

It literally translates as "for Hinata-kun, that is a very suitable answer!" but it's clearly supposed to be teasing/sarcastic. So he means to say "oh, wow, Hinata-kun, you're answering with that?" but in a lighthearted tone.

Freetime event 6

Almost didn't include this because it's the mistranslation we all know and hate, but it's worth mentioning in case people don't know.

My TL:

Please, just one last thing...don't ever forget...that from the bottom of my heart, I love y...I love your hope that sleep dormant inside you.

Though he does just say "please, don't forget", he uses どうか which is a pretty polite turn of phrase for Komaeda. It also is a way to emphasize a request, as in please do this to the benefit of me.

He backtracks pretty heavily. The verb comes at the end in Japanese sentences, so giving an exact one-to-one would be hard, but I'll try to explain it.

ボクはキミを... キミの中に眠る希望を心から愛していると。

Boku wa Kimi wo... Kimi no naka ni nemuru kibou wo koko kara aishiteiru to.

の/no = possessive. Such as, "Lucy's cat" "David's car".

を/wo = verb particle. There's no real English equivalent but you use it to signify some verb is being done onto something. Such as, "I kicked the ball" ("ball wo kick") or "I pet the cat" ("cat wo pet").

は/wa = topic particle. Commonly translates as "is/am" but that is NOT what it means. It just signifies everything that comes after it relates back to what comes before it. It's most accurate to think it as "as for the topic of..." Such as, "my damaged car wa had to go into the repair shop." After wa, "had to go into the repair shop", you ask, "what had to go into the repair shop?" you can find the answer in the topic, which is before wa: my damaged car. (or... me no damaged car.)

So, with this knowledge, let's break down the sentence.

Boku = I/me.

Kimi = you.

So this would make Boku wa Kimi wo in it's most literal form: as for the topic of me (aka, speaking for me), I, onto you...

Then he trails off. wo becomes no.

I, onto your hope sleeping inside of you...

and then we return to wo:

from the bottom of (one's) heart, love [the hope sleeping inside of you].

One could easily see it as Komaeda quickly changing the wo to no to add extra steps to not make the confession so head-on. Because if we remove everything after no and just continue where the wo leaves off, we get:

Boku wa Kimi wo koko kara aishiteiru to.

As for me, I, from the bottom of my heart, love you.

Now...one could also read it as him not backtracking, but adding. Saying I love you and the hope that lies dormant within you. Both are equally plausible. Listening to the audio it can go either way, but the way he quickly and softly drops off when he gets to the first wo makes me feel like it's a backtrack. Or maybe the background music is just too loud haha.

Well, that's all I got for now.

[roseofhybrids]

was gonna write this in the tags, but it got way too long for that, so

short answer: If we're going purely off of the cannon material we've seen in the series I have to say too ambiguous to answer

long answer:

on one hand she did a lot of bad things, abuse, murder, siding with robo-satan

but on the other, we never got the chance to see what she would choose to do when truly free to make her own choices through the series, she's either under control of the Elliots or the solver. Which severely limits just how in control she can be of her own choices. Would standing up for your "boss and coworkers" against people and entities bent on abusing and killing them be the right thing to do? Definitely, but it's also a fast way to get yourself and them killed this isn't meant as a justification of any of her actions, just an explanation of why she'd choose them

and we don't get the chance to see if she'd continue choosing to act the way she did in the series after the solver gets defeated

take N and V for example they also did a lot of murder of both humans and drones while working for the solver. While V didn't physically hurt N, as far as we know, she still did mistreat him. You can argue that it was to a lesser extent than what J did, but even if it wasn't as bad, it still wasn't good either All three of them were made to do horrific things while working under the absolute solver. But we only get to see how N and V change when free from that

N's change is pretty quick He didn't remember the solver at the time of the pilot, so he didn't have to consider the possible consequences of going against an eldritch space demon that has already eliminated at least 1 planet

V on the other hand did remember and as a result takes longer to change In episodes 2 and 3 we see she's still intent on killing the worker drones and tries to convince N to do the same. She asks him to stop looking into the solver and goes to the prom planning to kill everyone there. V can remember the deal she made with the solver, and she knows it's out there. She can't start slacking off just because J is gone, it could show up at any point and there would be consequences for both her and N In episode 4 we see this fear first hand. V sees Uzi is getting taken over by the solver and attempts to kill her. She justifies this to N by saying that if they do their jobs, that thing (the solver) will leave them alone. She is killing in order to protect herself and N from the solver

This is the exact same justification J gives to V in the finale. She justifies siding with the absolute solver because she believes there's no way to escape or defeat it. There's no escape even in death, so it's pointless to disobey it. Had J come back sooner and had a similar encounter with V in episode 2 or 3, maybe even 4. It's possible that V would have agreed with J back then

But when they do fight in episode 8, V now believes it's possible to overcome the solver and as a result rejects J's offer to join the "winning team". Cementing her evolution to a heroic character

J on the other hand has not had the chance to have that growth. While N and V had the chance to be free from the solver for a while. J spent that entire time by its side. J isn't free from it till CYN's core is destroyed

so, would J choose to better herself now that there's no obligation to please a violent master that will kill her for stepping out of line?

well we can't say for sure we can speculate, of course. There's certainly signs and evidence that she has the capacity for it, but we can't see if that change takes place. If it happens, it happens post canon

I personally believe she could if given enough time and the room to atone by the other drones.

But she could just as easily be rejected by the other drones and be left alone to stew and grow resentful

Maybe they try to let her in, but she ends up being unwilling to change and instead isolates herself. Be it because of ego or a fear of diverting from the life she's lived for so many years

How J turns out after the credits roll is left to interpretation. It's hard to call her bad when we take her situation into account and see the potential for growth. But it's also hard to call her good when we don't know for sure what happens

Rb and all that jazz

[dykedvonte]

wanted to say I appreciate your nuanced takes on MW and especially Curly. i don't get the claim that the fandom is full of Curly apologists when majority (esp yt and tiktok) say he's worse than Jimmy. Yes there's commentary about bro culture defending people, he def messed up in trying to placate Jimmy (tbh "we'll fix this" sounded more like trying to keep someone prone to outbursts like Jim calm and not hurt Anya/himself) but I don't think he did nothing to help Anya, since she continued to confide in him and he had less than a week to resolve it before the crash (I also don't get everyone saying he knew for ages when it seems like Anya told him that same week). I get Jimmy's a pos but saying stuff like Curly should've known he'd crash the ship or that Jim had a criminal record he ignored, reducing them to obviously horrible villain and willfully ignorant sidekick feels like a disservice to the game. If your best friend turned out to be horrible, what would you do in a confined space in the span of a few days to respond? I'd say some of the horror comes from trying to do good but ultimately failing, Curly's state after the crash is meant to be tragic horror not revenge/punishment

Thank you and this is what I want to get across.

A lot of information we have to supplement when it comes to how long things have been happening on this current ship. I think people try to add on to the horror and negligence by making things more obvious so it can feel like it was easier to avoid when, true to life, its not. Jimmy clearly didn't deserve or appreciate what Curly did for him in getting him the job, but do you think if Jimmy was that big of a menace on Earth he would've given him a position where he could have that level of power over people's lives? There's something in the fact he specifically chose to pick a position so close to himself where he could watch Jimmy.

I hate the bro code argument because that is a whole can of worms people really don't get. That sort of mentality is born from the general respect and preference of male matter over female ones. Curly is clearly not that guy, he is absent minded about the issue and inadvertently dismissive but he clearly believes Anya, he just can't understand what she's going through. It's an onslaught of information that no one really reacts right to. Additonally, the entire discussion of her assualt plays to heavy into the idea that there is fault outside of the perpertratior when it comes to SA. It's too close if she only did this or if Curly had protected her better but the fact of the matter is Jimmy did what he did. He did it before any of the conversations with Anya about it and it's why her behavior seemed to change so drastically in those last two days.

He has other conflicting thought and while his role as a Captain should've taken over, people act like it's not a very human thing to have such a toxic presence cloud your judgement. It is never easy to separate friend from coworker once that connection is formed, you want to help them, especially if they were friend first and for a long while like in this case. It's not right, but people act like it would be easy when the game clearly points out that no choice is easy to make, especially when you have to make it for more than one person. You have the weigh the consequences, look at all the options and make a plan. People can headcanon and decide how long things where happening, but if we look at what we were presented through the characters eyes, the only person given time to do that was Jimmy.

He waited two months after the crash to appoint himself Captain. Every time a problem was brought up he immediately took action and refused to sit on it and find a better solution. I think it's important to look at the warped way Jimmy takes initiative where Curly didn't as it works as a good contrast of why you don't just run in to "fix" things. The quickest and easiest option may not be the safest or most beneficial. I think some thoughts on the game suffer from the black and white thinking the game doesn't operate on along with us being voyeurs. We see what exactly led to what but the characters don't. They don't have the hindsight and foresight we do and even ours is scrambled by the non-linear story telling.

Like it's hard to talk abuou those grey zones without sounding like an apologist because you're explaining why taking responsibility isn't easy. It's not and it's weird to act like it would be in a scenerio that led up to the events of the game knowing what we know. We see all these characters in such isolated moments with various things before, in between, after and even during we aren't privy too. The idea that Jimmy is worse than Curly heavily banks on the words Jimmy was saying to Jimmy before he crashed the ship. That whatever happened on the ship was his responsibility to bare, which is true due to his position. But, are they not still not responsible for taking the actions Curly then must bare?

Like i feel like people think that these are situation that become easier with age or when you are in a postion of authority and they aren't. You don't lose your biases or gain some sudden knowledge that makes it easier. It just becomes more tiring as you keep dealing with it. I would be first in line to say Curly fucked up and should've done more but the idea he knew how bad it could get or he really saw the worst in the people around him and ignored it pretty much ignores a huge aspect of his character and the game.