#this part actually contains foreshadowing for

[hearts4chriss]

𝐁𝐚𝐛𝐲𝐬𝐚𝐭 𝐛𝐲 𝐦𝐲 𝐛𝐫𝐨𝐭𝐡𝐞𝐫𝐬 𝐛𝐞𝐬𝐭𝐟𝐫𝐢𝐞𝐧𝐝.

𝐍𝐀𝐓𝐄 𝐃𝐎𝐄'𝐒 𝐋𝐈𝐓𝐓𝐋𝐄 𝐒𝐈𝐒𝐓𝐄𝐑

Brothers bestfriend! Chris + needy! Nate’s lil sis

prompt: Nate ( ur older brother ) wants to go out for a bit with some of his other friends and he doesn’t trust you enough to stay home by urself without mom and dad since they won’t be there either. So he asks one of his best friend Chris to stay over and watch you, Matt and nick know ur crush on Chris so they pretend they can’t come.

Part 01

contains: masturbation ( no actual sex ), use of y/n ( sorry I have to ) dirty fantasies ( pet names, rough! Chris, dirty talk, degrading, forced head etc just beyond FILTHLY imagination ), use of vibrator on reader, caught by Chris, FORESHADOWING, fantasy will be like this

Nate are you serious I’m not 12! I whine when said he was gonna find a baby sitter for me knowing how much it pisses me off

I’m Nate doe’s little sister I’m 18, we’ve Been close to his bestfriends the sturniolo triplets. So obviously him being my brother naturally I got to know them.

Nick

I clicked with him superrr fast, I love his energy and when I found out he was gay that just made it all the better because I’ve always wanted a gay bestfriend, and we always have sleepovers :)

Matt

Matt’s absolutely adorable I love him he always helps me calm down whenever I’m about to or am having a panic attack, I remember one time during a test I forgot everything and almost had one and he slid me the answers. Love that kid

now there’s a reason I saved Chris for last,

Chris

chris and I know each other just as well if not even more then I do his other two brothers, we haven’t done anything unfortunately. I’ve had a crush on him since middle school.

First I just wanted to kiss him and hold his hand.

Then go to his house and do some more.

Then now, as an 18 year old I wanted him to fuck my Brains out.

I’m around him all the time since we all live in LA and always hanging out, I always see him shirtless and fucking hell it turns me on, I always get lucky since nick and matt found of my attraction to his brother they always snap me or text me pictures of him.

What sucks is I cant have him. It would take my life 1000 times over for me to be able to fuck chris sturniolo, and it sucks because my brother nate does not play that shit.

He strictly said "your not allowed to date any of them" obviously referring to matt and Chris.

Which also doesn't help because my wants and desires a hormonal teenage-adult girl only grow more whenever he comes around, chris is always there.

Now today, nate had to run some errands and nick matt and chris used to watch me when I was younger if my parents couldn't

Buttt, nick and matt "could not come due to personal issues" so. Your guess is right, im gonna be alone with chris for hours.

That thought alone made me soak in my p-

“Y/n! are you listening to me kid?” My older brother chuckles leaning against my doorway of my room as im on my bed watching "The Vampire Diaries".

“Huh? oh yeah im listening matt and nick cant come so chris is because im fucking 11.” I roll my eyes hiding my excitement from him watching me.

“Don't think of any weird shit alright? He's just watching you so don't-“

“Ugh is he here yet? You're annoying me already.” I groan shifting in my sheets and taking a sip from my celsius hearin our door open, they have a key.

“Welp thats chris.” Nate says tilting his head for me to get up.

I get up from the sheets wearing some pink sleep shorts and a white t-shirt and he raises an eyebrow.

“Your wearing THAT? around chris?” Nate chuckles and I flip him off.

“Hey! I heard that!.” Chris yells coming up the stairs sounding offended.

He's now at the top of the steps. oh my fuck he looks so good.

Its around 6ish in LA right now and hes wearing a black tank top and grey fresh love sweats, slight stubble and his hair was a bit messy which I always liked and my eyes immediately drifted to his natural bulge in his pants as him and Nate were talking.

“Just make sure she doesn’t get into any trouble.” Nate puts his arm around me giving me a hug and Chris chuckles.

“Don’t worry bro she’s safe with me.” He says before dapping him up as Nate leaves the house. yeah safer if you were balls deep inside

Oh god Chris sh-shit so-d-deep inside me

Yeah? You feel me deep inside you baby?

bro she’s like zoning out today. Nate chuckled and I snap out of it

Whatever no I wasn’t! Just go!

Soon after it was just me and Chris so we made our way down to the living room

“Where are ur other two clones?” I chuckle getting situated on the couch before turning on a movie saltburn

“they have “personal issues”.” He said rolling his eyes causing a small laugh to fall from my lips.

“So it’s just you and me little one.” A smirk curving on his lips, just enough for my panties to be soaked.

Shut up Chris I’m 18.I mutter trying to watch the movie in peace and he chuckles

the movie went on and it was now, the bathtub scene where jacob elordi ( Felix ) is jerking off.

I peer over to Chris whose eyes are clearly fixated on the screen as my squeeze my thighs together under the blanket feeling all my hormonal thoughts leaking through my panties.

This had nothing to do with the movie, it’s the thought for Chris doing that to himself that had turned me on most. The tension so thick a knife couldn’t even cut through.

“Uhm I-i gotta go to the bathroom”. I nearly choke and I fix my shorts placing the blanket down where I was sitting.

“Don’t take to long I’ll miss you.” He chuckles and that didn’t help.

I go to my room and close the door squeezing my eyes shut.

I had maybe 5 minutes to relieve myself.

I quickly reach into my drawer grabbing my vibrating dildo and the remote for it.

I pull down my shorts and panties and spread my legs letting the tip of the toy get coated in my wetness and I bite my lip slightly feeling the thickness of it.

I turned it on letting out a soft moan slowly inserting it, wishing this was Chris’s dick instead.

I began thrusting the toy in and out of my pussy letting the squelching sounds of arousal grow letting it drip down curling my toes throwing my head on the pillows allowing my mind to drift

I was in Chris’s/my room my head smushed in the pillows as his cock rammed inside me whilst I was on my stomach. His hips slamming against my ass and his hand wrapped around my lower stomach as I cried out his name

Fuck fuckk so d-deep- I whimper into the pillows as he was bringing me to my 4th orgasm, we had switched numerous positions and my legs were quivering in front of him as he laid a hard snack to my ass chucking behind me.

such a fucking slut letting me fuck you like this, imagine if ur brother found out his little sister was getting her pussy pounded by his bestfriend. He laid another harsh smack to my ass and I jolted forward.

stretched this pussy out so good- he groans rubbing my clit to chase both our orgasms.

ngh- o-oh shit- fuck- I gripped the sheets tightly curses of Chris’s name flew out my mouth feeling my eyes water from the angle of his hips thrusting allowing his thick cock to hit every single spot inside me

come on sweetheart cum for me, you have another one in you yeah? He grunted lowly in my ear kissing me sloppily as a string of Saliva parts from our lips each time we kiss moaning into each others mouths.

“Oh fuck Chris I-“ I curl my toes and yell loudly as I’m about to release on the toy before I look up and see Chris. Was. Watching me.

“Were you playing with yourself?” Chris leans on the doorway of my room his eyes darting to between ny legs as I was thrusting the toy in and out of me and I quickly covered up my cheeks flush with embarrassment.

“Uhm…maybe. Sorry I-I’ll be down in a second-“

Maybe I can help. Chris says closing the door to my room approaching my bed

@mattsleftnipple03 @bernardsleftbootycheek @sturniolopowers @gdsvhtwa @rac00ns-are-c00l4 @worldlxvlys @chrisslut25 @princessbetsy123-blog @mattslolita @guccifrog @blahbel668 @mattsneezing @trickywritters @hearts4chris

@nonamegirlxsturniolo @luvmxtt @theyluv-meee @mattsnymphette @hoesformatt @luv4kozume @kikisturnioloo @pepsiimaxx @babyddolly @iiheartstef @junnniiieee07 @ast3ro1dzz @sturniolowhore @st7rnioioss @emma4eva @braindead4l @ihearttsyouu @blondiesjailer @kqyslyho3 @sturnsfav @sunsetsturniolos @sturniololoverr @stqrnstars @dlyansworld @soimightlikeoldmen69 @abbie13sworld @lacysturniolo @sturniol0s @chrissgirlsstuff @leah-loves-lilies @luhsexcbihh @nicksmainbitch

[sainamoonshine]

Okay so I finally watched Good Omens season 2 and have tons of thoughts about it, especially how the minisodes and side-plots do so much work, thematically.

*slaps flashback segment on the roof* this bad boy contains so much subtext!!

And here’s my analysis about some of it:

The side plots are about at least three main themes that I can spot.

1. They are all, in some way, about resurrection. The children of Job. The Nazi Zombies. The resurrectionist. Miracles being rated on a scale of how many people they can bring back from the dead. Even Gabriel, in some way, arriving naked and without his memories and innocent as a babe, then finding himself again was a form of resurrection.

This, of course, has to do with foreshadowing season two, the one where the main plot point is going to be the second coming.

2. They were all about how much it’s a bad idea to mess with humans. All flashback minisodes either had someone die directly because Aziraphale and Crowley were around (Wee Morag, the guy at the magic shop), or almost die because Heaven and Hell said so (Job’s childrens). In present-day time, Aziraphale’s messing about with people during the ball is explicitely called out as creepy and wrong and Nina & Maggie have a talk with Crowley about it.

This leads to my theory that this is also going to be a major theme in the third season. We know that in the book, Adam explicitly tells heaven and hell to stop interfering. We also know that in the show, Aziraphale and to a smaller extend Crowley need to learn this lesson.

I also think that the resolution of the next season is probably going to involve Earth being marked definitely off limits to angels/demons, possibly via the same mechanism that makes the shop into a safe heaven you need to be invited in (and the same thing became true of the Bentley once Aziraphale claimed it! As pointed out here , Shax had to hitchhike to get in, instead of appearing inside as she did before). Earth needs to be claimed. I think that this will happen either by a combined miracle of incredible proportions from both Crowley and Aziraphale after they reunite, or (and this is my pet theory) by a combined miracle of incredible proportions by Adam and whoever is the new Jesus (I am a greasy Johnson truther lol). This would make Earth a place that you need to be invited in order to go there, and therefore safe haven for angels and demons who promise not to cause trouble.

3. All of the side plots and minisodes are about misdirection. Sleight of hand. Smoke and mirrors. Magic tricks. Showing one thing while something else is true.

This is shown obviously in the Job part and also in London 1941, with the party who is getting tricked being heaven and hell, respectively. Meanwhile, Gabriel and Beelzebub are trying to trick everyone. But who is tricked by the plot lines of Nina/Maggie, and Elspeth/Wee Morag?

We are. The audience is.

It has been pointed out here and here that Nina is meant to make us think she’s a parallel to Crowley when she is actually more of an Aziraphale thematically, and vice-versa.

But what about Elspeth and Wee Morag? We have one that robs graveyards, and one who tells her that is wrong and is worried about her eternal soul. That seems straightforward enough as a mirror to Crowley and Aziraphale, no? Well, let’s just look at what they’re doing and saying to each other, shall we?

“Don’t do this incredibly wrong and dangerous thing. It will have repercussions that you can’t even begin to understand right now.”

“I’m doing this for you! You deserve better than this life!”

“I don’t want the better life you’re offering. I would rather huddle with you here, homeless and poor but knowing you’re safe and that we’re together, than to know you alone out there doing horrible things you’ve convinced yourself you need to do.”

“I do need to do it. Trust me! This is going to fix everything! And if you don’t want me to be alone, then come with me. There! Problem solved!”

(Problem very much not solved.)

Doesn’t this sound, a tiny little bit, like a certain season finale to you guys? Elspeth was, in fact, Aziraphale all along. She thought she knew what was best, and she barrelled along without listening to anyone else, and then it went horribly wrong.

There is a reason why both times this season that we see Aziraphale fucking up someone else’s plan (the corpse to sell, Crowley’s contraband whiskey) because he initially reads it as a bad thing and thinks he’s doing good by destroying it, without having the full context, it backfires on him and then the situation has to be fixed. He needs to stop and understand things properly before taking actions. He needs, in short, to ask questions.

We see that the one time he did ask questions before acting was during the whole Job thing, and it worked out the best out of all the sub plots this season, right? … except that Aziraphale was convinced that he would Fall for his actions there. The way Crowley had fallen for asking questions.

And if the only person whose assessment of the situation matches Aziraphale’s is a demon, if the only one who is doing what he personally thinks is the Right Thing is a demon, then gosh… either that means that Aziraphale himself should therefore also be a demon, OR it means that Crowley shouldn’t be one, and this was all just one big misunderstanding, and maybe if I just speak to the manager…?

[melbatron5000]

The Big Damn Kiss

Buckle up, my fellow Good Omens Ineffable Mystery Puzzlers, Crackpotters, and Assorted Brainrotters, because I learned something HUGE yesterday.

This will be a bit of a long post, because I want to show you exactly how I got where I am. I want you to understand. I want to put all the naysayers to bed (ha! But I'm still gonna try), and settle this once and for all.

I know (almost) exactly what Crowley gave to Aziraphale during the kiss.

DO NOT TAKE ANY OF MY THEORIES TO NEIL! PLEASE!

Okay? Okay. Thanks. Shall we begin?

Ahem.

Firstly, whether you believe me or not, I am 100% certain that Crowley did, indeed, give something to Aziraphale in his mouth during The Kiss. I've covered that in the link previous. Okay? Okay.

I did not know what it was. I've now heard theories that it was a bullet (nope), a ball bearing (nope), hellfire (nope), and no one, NO ONE has suggested what I see. (If you have, hello! Talk to me!)

Here's our first foreshadowing Clue:

And here's our next foreshadowing Clue:

And the next:

And our last Clue:

With me so far? Well, that first GIF is a bit off, I couldn't find one of Crowley actually spitting out the flies. But he does. When Beelzebub first drags him to Hell, he actually goes "Pleaugh!" and spits out four or five flies. Edit: Found it!

Moving right along, we come to Crowley in Heaven with Muriel, looking at the trial. We learn two important things here:

One, Gabriel doesn't have a desk.

Two, Muriel does. Where they keep the records. And it's a bit lonely. Every few hundred years, someone comes and asks for something. Muriel can't access the sensitive ones, you have to be pretty high up. A throne, dominion, or higher. Like, maybe Supreme Archangel?

So if Gabriel doesn't have a desk, whose desk is he at when he's getting ready to leave Heaven? Of course I can't find a damn picture of Gabriel at the desk, but it's Muriel's. Where they keep the RECORDS.

Gabriel puts his memory into the fly, then gets on the elevator to go to Earth.

Now, when Gabriel opens the fly with his memories inside, we find out that it's a container. Bigger on the inside. You can put thing(S) in it. The bit we see of him remembering is shot in two parts, one where he's flying down a red tunnel, one where he's flying down a blue. If you slow this scene down and watch, you can see that he is NOT looking at just his own memories. There is more going on here, more that he was not present for. @embracing-the-ineffable put up a great meta about that here. Go look!

Now I figured Gabriel must have taken something else. Something important. Something useful. Something he meant to give to Aziraphale, except he forgot.

I also figured he must have left whatever it was in the fly when he took his memories out. Crowley must have realized while watching the trial footage that Gabriel also grabbed something else. I don't know when Crowley grabs the fly, but he does. And that is what he gives to Aziraphale in the kiss. Why? Well.

I had no idea what Gabriel took until I started working on the chiastic structure of season 2. I'm not done with that analysis yet, but let me show you one thing that I have found so far:

(The numbers are just to try and help me navigate the story and its events without time stamps)

My note #357 of what happens isn't quite right, but when I saw the only two times Aziraphale says "I forgive you" are towards the beginning of Season 2 and towards the end, I realized I had something.

Rephrase line 357: Crowley's kiss is forgiven IN EXCHANGE FOR RECORDS.

(Not that I think Crowley's kiss needs to be forgiven. It's just what Aziraphale says, and had to say at that moment, because the Metatron was listening in.)

What does Heaven in Good Omens remind us of most of all?

A big corporate entity. And what do powerful people do when they get fired from a big corporate entity? They download all their emails while they're cleaning out their desks. Damning emails. Emails that can be used to black mail or even destroy big corporate entities. Or, ya know, maybe they swipe some sensitive RECORDS?

Oh yes.

Records that Gabriel meant to give to Aziraphale, but he forgot. Records that Crowley realized Gabriel had put in the fly. The fly that Crowley grabbed once Gabriel had his memory out. The fly that he gave to Aziraphale when he kissed him. The fly that no longer held Gabriel's memory, but did still contain those damning records.

Here's Aziraphale reading the records:

Here's Aziraphale being horrified and outraged by what he's reading:

And here's Aziraphale realizing he has got some GOOD DIRT on Heaven. Maybe enough to bring them down:

That's it folks. I have no idea what the records actually say, and maybe we're not meant to know until season 3, but whatever it is, it's GOOD.

That's my story, and by God Herself, I'm sticking to it.

[ohwormwood]

breaking down over in stars and time's use of tarot cards

[woe, spoilers be upon ye!]

[no seriously, this contains spoilers for the entire game. proceed with caution]

BECAUSE IF I HAVE TO BE TORMENTED BY THIS KNOWLEDGE, THEN SO DO YOU.

Act 2

Six of Swords

Transition, change, rite of passage, releasing baggage

Siffrin is, in the start of Act 2, beginning a new journey. This card is pretty self explanatory, but also is a form of major foreshadowing. Six of Swords has a heavy implication towards evolving and bettering yourself as a person, going on a journey that is absolutely essential to growth. Whether or not this journey is at all pleasant is entirely left up in the air, but given the rest of the game, it’s more of an indication of hard-won lessons.

Siffrin asks “How does the boat not sink?”, which is kind of hilarious, given that they end up almost sinking into complete despair by the end of the game, only saved by getting help and changing, completing their journey and starting a new one.

The Star (Reversed)

Lack of faith, despair, self-trust, disconnection

Stars play a huge part in this game (it’s literally in the name), so this card felt kind of inevitable. The most important part of this card is that it serves as a sort of omen for what is to come. In Act 2, Siffrin is blissfully unaware of the overall impact this will have on his psyche, of the turmoil it will bring him. But the most important part of this card for me is the idea of loss of faith. The very first line in the reference site’s description is this; “The Star Reversed can mean that you’ve lost faith and hope in the Universe”. This is likely indicative of the gradual crumbling of Siffrin’s hope over the course of the game. The site also notes that “You may be desperately calling out to the Universe to give you some reprieve but struggling to see how the Divine is on your side”. Siffrin pretty much does this in the latter half of Act 3, as things become more and more hopeless. This is, for lack of a better term, a test of faith. Given how the Change God mocks Siffrin for the Universe never talking to them directly, this is nailed home pretty hard. But, in Act 2, a lot of the concept of The Universe and Wishcraft isn’t introduced, so this serves more as a premonition than anything else.

Another note: Loop. Loop is a star. Or ate a star. Either way, they have a deep connection with stars (and The Universe as a result). I bring this up because of the general meaning behind the UPRIGHT version of this card, which is a sign of hope, faith, and guidance. Loop serves this purpose throughout the game as Siffrin’s “helpful companion~”, so the connection here there is nice. But the entry states this; “When confronted with a challenging situation, you can either crumble like The Tower or stand firm in your conviction that the Divine is everywhere”. Because of the 2 Hats situation, we know that where Siffrin eventually overcame the challenges of The Star/The Universe, Loop did not. Instead, they made one last plea to the Universe for help, and The Universe listened. But we know the obvious twist of fate here is that Loop is literally helping themself by helping Siffrin. They gave in, crumbled, and lost their faith in the end, only to be the thing that helped Siffrin keep theirs and eventually free themselves. 

Ace of Wands 

Inspiration, new opportunities, growth, potential

Most of Act 2 Siffrin is spent with this idea in mind. At this point, Siffrin is pretty lax about the true meaning of the loops, believing them to be an opportunity to beat the king, each loop full of potential to achieve their goal. But the twist here is that for the Ace of Wands, there is always potential but never a guarantee of success. Siffrin experiences this first hand at the end of Act 2. 

Eight of Pentacles

Apprenticeship, repetitive tasks, mastery, skill development

Another nod to Siffrin’s frame of mind in Act 2. The slow mastery gained through the overall leveling system in the game actually accomplishes this card’s meaning pretty well- you repeat everything, over and over, and it is only when you master it that you are able to defeat the king. Siffrin notes a lot that in a couple of loops, he will likely be able to remember interactions by heart, and some he actually does recall completely, like when the very first interaction with Mirabelle in Dormont at the start of each loop. He’s essentially memorized the script, mastered the actions, the choreography, and now is faced with the fact that he has to do it over and over again. It will turn into monotony by proxy of being so familiar and easy. 

Siffrin also notes that “they seem happy to be working”, which is another nod to how he sees the loops towards the start of the game, less of a curse and more of a boon that requires effort to properly utilize.

Act 3

Two of Swords

Difficult decisions, weighing up options, an impasse, avoidance

There are a lot of hard choices to be made in Act 3, so this likely isn’t referring to any one instance. This is where the Eight of Pentacles card comes back into play, in a sense- there is still more to learn here, more to master, but a lot of that requires decisions that have greater weight than those in Act 2. People’s lives are at stake. However, it is only by doing this and making hard choices that Siffrin eventually learns more about Wishcraft and the way things work in the loops. 

Interestingly, when Siffrin describes this card, they describe someone holding scissors. An intersection of 2 blades, but the thing here is that no matter which side you’re on, they can still cut you. Alternatively, this could just be a representation that Siffrin, who is the main Scissors Craft user of the party, is the one stuck with these decisions. 

Six of Pentacles (Reversed)

Self-care, unpaid debts, one-sided charity

Siffrin is the king of never giving themself proper self care. They are also the king of tearing themselves apart to give everything they have to the party. They are willing to sacrifice everything they have for a “perfect ending” where everyone is happy… everyone but themselves, that is, because they do not receive the same fulfillment in return. They give and they give and they give, but the party does not give in return, not in the way they need. Not soon enough to prevent them from falling apart at the seams over it. 

The note here mentions that it shows “someone walking on the sky and offering flowers to sky people”, but then when flipped shows “the man is touching the ground, and giving flowers to normal people”. This kind of struck me as strange, as no matter what orientation the card takes, they will always have their feet on the ground. This also isn’t the last mention of sky people, but I haven’t really delved deep enough into theories about that to understand what that really means in the context of this card.

The Hermit

Soul-searching, introspection, being alone, inner guidance

Hilariously, this is something Siffrin completely lacks for most of the game. They avoid thinking about themselves and their own sense of self for a vast majority of their character arc, and it isolates them. While this card means well in its message of introspection, it’s also key to note that this withdrawal from the outside also can lead to being alone with your own thoughts, something that Siffrin experiences more as the game continues. And their refusal to acknowledge what they want almost breaks them. 

The loneliness aspect of this card is further hammered home by the fact that Siffrin says “they look sad and alone”.

Five of Wands

Conflict, disagreements, competition, tension, diversity

Misunderstandings and miscommunication is at the heart of this card. And oh boy, does Siffrin deal with a LOT of that in the loops. My brain immediately goes to the whole “touch therapy” arc and Siffrin’s refusal to clarify that they don’t dislike touch, which eventually leads to Memory of Touch. It’s also a bit of foreshadowing of what is to come, especially in Act 5 and the breakdown of the party’s trust in Siffrin because of their break in communication and understanding with each other. 

Siffrin asks “Why are they fighting?” when this card is drawn. The answer is that they don’t really understand themselves. This is conflict driven by a lack of communication and understanding of the other parties at hand. As the description for this card says, “No one is listening.”.

Act 4

Eight of Swords

Negative thoughts, self-imposed restriction, imprisonment, victim mentality

Act 4 starts with Siffrin experiencing quite possibly one of the worst endings to the loops he can imagine, so it’s safe to say that at this point, their deterioration is rapidly worsening. They begin to spiral, and the idea that there is no way out begins to appear. However, the main crux of this card’s significance is that there is a way out, but it lies in freeing oneself. There is a gap in the swords, and if one was to take off the blindfold they could get out. The description of this card calls this “imprisonment”, which ties in pretty nicely to one of the screens you can get when you loop back; “You are in a prison of your own making”. The description for the card also reads “You surrendered your power to an external entity, allowing yourself to become trapped and limited in some way. You may feel that it isn’t your fault – you have been placed here against your will”. This is heavy foreshadowing for the idea that Siffrin’s own wish to The Universe that got them trapped in the loops, not the wishes of The House or The King. 

Siffrin asks “Why is he alone?” when drawing this card, which kind of projects onto themselves. They feel alone, they feel trapped, and they believe that there is no one who can help them, but that isn’t true. They have the ability to change things, but they are afraid. 

Ten of Swords (Reversed)

Recovery, regeneration, resisting an inevitable end

There are good aspects to this card, but the main focus in this case is likely the idea of resisting the inevitable. This is pretty much what the whole deal with the Head Housemaiden is, the repeated attempts to find some way to change something that, by the nature of the wish, cannot be changed. And yet, Siffrin is unable to let go of this. It’s also noted that this card represents past trauma that is still being carried around and still hurts the bearer. Siffrin spends this Act searching into their past, tearing up painful memories (or lack thereof) in the process. They carry the burden of being without a true geographical/cultural home to go back to. They cannot let go of this, nor do they want to. But the card’s description notes that “these old pains need to be dealt with once and for all. It may be difficult to delve back in, but it's the only way to release yourself of this pain and allow it to pass from your life”. In a lot of ways, this nods to the avoidance of pain that Siffrin displays when they are unable to cope with their trauma from the past and the loops. It is only through promising to tell the party their wish and deal with the pain and fear of their trauma that they can move on and begin to heal. This card pretty much represents the whole crux of the story’s meaning. 

Five of Pentacles

Financial loss, poverty, lack mindset, isolation, worry

Loss is a major theme of Act 5. The loss of memories, the loss of a home, the loss of faith, and, perhaps most importantly, the loss of hope. The card’s description says “You no longer feel safe because it has all been stripped away from you in one blow”, and this is pretty much what happens. Siffrin is in a crisis. They are exhausted, they are alone, and they are profoundly terrified of what that means. At this point, they are searching for help desperately, but are unable to ask for it. This card explicitly deals with fear of rejection and reaching out for help- the situation is dire, but, as seen with the card’s depiction of lit church windows, there is help nearby. The issue is that one must be willing to accept it. There is fear that you may lose something important- in Siffrin’s case, his found family- but there is no telling if that will actually come to pass. 

To further nail the loneliness aspect of this card home, Siffrin says that the figures on the card “probably don't have any friends”, something he starts to believe in the latter loops as the group loses their identities to the script. The in-game card also is different from the real card, and is said to show empty glasses, a pretty on-the-nose reference to Siffrin’s “glass half empty” mentality as they lose hope later in the game.

The Hanged Man

Pause, surrender, letting go, new perspectives

The Hanged Man gets a pretty bad reputation if you don’t really understand what it means. It’s a card about acceptance, pausing, and entering a new phase in life. But this change is heavily implied to come via unfavorable circumstances, situations outside of one’s control. The description says that when a person is unable to pause when they need to, unable to stop their actions, “The Universe will probably put things on hold for you, in the form of continued obstacles, ill-health, and breakdowns”. And this is pretty much what happens in Act 5. Siffrin is ground to a screeching halt by their own body, exhausted, starving, and mentally/physically fatigued to the point of actual sickness. On the topic of “surrender” and “giving in”, things get more pointed. Siffrin gives in to Mal Du Pays (very ‘L'appel du Vide” style), almost dying as a result, but then conversely gives in to the party’s urges to tell them what they wished for, to let go of their fear and stop looping. 

Siffrin notes that the Hanged Man “Look(s) like they're about to die, but they're smiling”. This is more of a connection to the end decision of Siffrin to let go of the loops and tell the party about their fears. They are facing down something that they are terrified of, something seemingly insurmountable, but rather than continue to fight and avoid letting go like Loop did, he instead chooses to surrender and tell the party.

Act 5/6

The Fool 

Beginnings, innocence, spontaneity, a free spirit

There are two versions of The Fool, technically. In Act 5, if you take the card and inspect it immediately, Siffrin will give a manic laugh and tear it to pieces. In a lot of initial interpretations of the card, some people will assume The Fool to be what the card says they are- a fool, someone stupid and tricked and hopeless, about to send themselves to their doom. But the reality is that this card is not really about that- it’s about new beginnings and the start of a new journey, but specifically through a leap of faith- a leap of faith that Siffrin has to take at the end of Act 5. While he is going through The House during this act, however, he is unwilling to accept this advice, either because it is misinterpreted or consciously, and instead tears it apart.

When the card is examined after the game, rather than during the final loop, Siffrin seems to recognize the card for what it actually means. He says “It's a traveler. He seems to be starting a new journey”. Siffrin’s title in the Profiles is literally “The Traveler” (alongside having the Traveler’s Hat), so this is a direct statement of new beginnings for the party and Siffrin’s life, a new journey they are taking with their family rather than alone. 

-

annnnd that does it for me, i've spent no less than two hours writing and researching for this post so ima go take a nap now, gnight

[vidavalor]

Remembrance of Things Past

Aziraphale's scent-oriented, mindful moments in Good Omens also might be something else as well-- an attempt to circumvent the potential taking of his memories by Heaven. He might be trying to create for the future what are known as madeleine memories or involuntary memories-- the sudden rush of a memory prompted by a certain taste or, especially, by a particular scent.

On Aziraphale trying to get around Heaven by setting up triggers for The Proust Effect under the cut.

I wrote a post awhile back about how I think one of the reasons why Aziraphale keeps a journal is as a way of having something that Crowley can show to him in the event that Heaven takes his memories. While reading something doesn't necessarily trigger a memory itself-- it can but it's not guaranteed-- I think there might be other things they are doing as well that they think might be effective in different ways when it comes to helping Aziraphale retain his memory. The biggest might be actively trying to create for the future what are known as madeleine memories or involuntary memories.

Understanding of involuntary memory? It comes from the extremely Aziraphale intersection of food, the French, literature and psychology...

For anyone who does not already know about involuntary memory:

In 1913, French writer Marcel Proust published the first volume in his 'In Search of Lost Time' series and it contained a passage about the power of memory so descriptive and that resonated with so many that it got scientists to actually study and prove the validity of the connection between scent and memory about which he wrote. Proust had his narrator in the novel describe how, after dipping a lime madeleine into a pot of tea, the scent and taste of eating the madeleine brought him instantly back to a specific time in his youth when his aunt would serve them to him while he was recovering from illness as a boy. He remembered details about her house and their time together, sounds and scenes that had dimmed or been forgotten entirely... all triggered by his mind upon smelling and tasting the specific combination of flavors of the tea-dipped lime madeleine.

Most of us have probably experienced something like this and scientists have since confirmed that it's a very real phenomenon, probably rooted in our need to be able to recognize danger by scent. They have also found that, in some cases and to a slightly lesser degree, hearing specific pieces of music can also bring about a similar sense of memory. Scent, though, remains the best possible trigger for memory.

I can't imagine that after seeing Crowley struggle with his own memory for so long and knowing that it could happen to him, too, that Aziraphale wouldn't be trying everything he could think of to be prepared for the possibility that it might.

In a story that has so much focus on memory-- and in a way that seems to potentially foreshadow that Aziraphale might (temporarily) lose his before the story is over-- there also are scenes that might suggest that Aziraphale's mindful moments might also be an attempt at trying to associate moments with scent in an effort to get around Heaven and retain as much of his memory as he can in the future.

But that's only one part of it... The other part is how he and Crowley are shown to consistently tie times in the present to times in their past.

There are many reasons for doing so and we looked at some of them in other metas but another one might be as a way of trying to connect memories together in a way that, should Aziraphale lose his memories in the future, if one could be triggered with a madeleine memory, then other memories connected to it might follow.

In the first episode, Aziraphale's mindful, sensual eating experience involves breathing in the scent of the sushi with his eyes closed, as if committing it to memory. The evening, as we looked at in the Fish meta, was supposed to be a dinner with Crowley tied to their time in ancient Rome. Breathing in brine and alcohol and salt like Aziraphale is here might also be a way of trying to literally tie these scents to his memories of the scents of oysters and wine in Rome so as to not forget either.

In the parallel to the sushi scene in 1.01, Aziraphale is shown in S2 to breathe in Goldstone's when he and Crowley go there in the present. It's part of the mindful experience for him in the moment but it could also serve as a way of trying to remember the events of both the present and 1941 in the future.

Crowley also breathes in Goldstone's in the present in S2. It's something they both do without even looking at one another in the scene and just kind of know the other is, indicating that this is just a thing they do. Both of them do it instinctively, like the rampant sensualists using elements of mindfulness to work through trauma that they are lol. Aziraphale's eyes are again closed and I would bet that he's as much willing himself to never fully forget his human magic love and 1941 in the future as he is reliving memories of the past.

This scene is a really interesting inclusion because while it's set in our present of S2, it's really about the past and the future. No one has any trouble believing that they're both thinking of 1941 here, even as they're here in the present, and both of them are utilizing techniques both related to the present (mindfulness) to connect with memories of the past (Proust Effect/involuntary memory.) What else might be true as well is that they don't just do this for the past and the present moments but for potential future ones as well.

Then there's this...

There are two scenes-- one in each season-- that focus on Crowley's unsurprisingly amazing scent. While memory wouldn't be the only reason why Crowley would smell great lol, both scenes suggest that Crowley's scent is unique and distinguishable. Sandalphon can smell it as being different from Aziraphale's cologne in S1 and Shax... a paralleling character to Aziraphale, played by the actress who played the character with whom Aziraphale shared a brain in S1... well, Shax is into it. Girl's in a dead faint to a point of straight up huffing him.

While there are others, one reason for this scene, though, could be that it parallels the fact that Aziraphale actually does this sometimes, if in a decidedly less ick way than Shax did lol. Part of why Crowley's been wearing the same, apparently quite appealing, scent for awhile now could be out of an effort to help Aziraphale's mind create enough associations between Crowley's scent and Aziraphale's memories that Crowley himself might be able to trigger some of Aziraphale's memories just by his presence alone.

It's also then interesting-- and potentially a little eerie-- that the only time Aziraphale eats or drinks anything in the present in S2 is when he drinks a few sips of a cup of tea to introduce Muriel to the drink and the custom. This is just after Muriel showed up at the door and failed to recognize Aziraphale, even though he recognized them, in one of several scenes that suggest that Muriel had their memories taken from them at some point. The two characters parallel one another pretty strongly. The difference could well wind up becoming that Aziraphale is able to retain more of his memories because he and Crowley have been working for years to find ways to get around Heaven... and they're using knowledge uncovered by humans to save what they can of Aziraphale's memories.

Or, as Nina would put it:

[babyaiker]

I’m writing this at 5am but when @verdemoun “kieran duffy hyperfixation page” themself encourages you to talk about your now 5 month long obsession, you know you gotta,,, 

Mini break down of Kieran’s characterization in the Paying A Social Call mission, lets go

Before I get too far please know I genuinely have no beef with people who baby Kieran. He’s a fictional character and we’re all just having fun, I just really like analyzing the text ^^

In my last post where I talked about my favorite part of Kieran’s character, I briefly mentioned how the mission Paying a Social Call (the mission in chapter 2 where Kieran is freed) contains a lot of characterization for Kieran that a chunk of the fandom misses. It was when I was watching someone's random stream did I remember how much was getting left out. While I've seen plenty of people rant about Kieran's mischaracterization in the fandom, details from this mission were often left out of the discussions I personally saw. So while I really don't care WHO you interpret Kieran as, having an excuse to rant about the mission I could probably quote start to finish is fun.

Despite the circumstances Kieran finds himself in, he’s not a coward. He knows his worth and isn’t afraid to bite back at others for messing with him. The only reason he cowers and runs off is usually because he was physically hurt, threatened to be hurt, or knows the person he's talking to would gladly hurt him. We have evidence of him acting like this in maaany different ways through the hidden dialogue scenes in camp. His goddamn catchphrase “I ain’t no O’Driscoll” is an example in of itself, showing that he isn't just cowering and crying because of how he’s treated, he's actively fighting against it.

But now let’s actually get into Paying A Social Call, as the only thing Kieran does throughout the entire mission besides show the boys where Six Point Cabin is, is defend himself. 

The beginning of that quest is well… a beginning for sure. I’d probably be a mess too if I was starving and about to get my nuts ripped off. 

His whole “I ain’t no O’Driscoll” shtick only gets louder the second he’s untied. He’s as cooperative as he needs to be, but is gonna make sure everyone knows he isn’t happy about it. While there's a lot of snarky shit he can end up saying, the dialogue where he directly compares the Van Der Lindes to the O’Driscolls is something special. Like Jesus I would not be saying that shit in the predicament you're in right now! While you can still hear the unsureness in his voice, he’s not afraid to say it as it is. (I still find it interesting that even non Kieran fans will point back to that dialogue as foreshadowing and be like "aw shit the horseboy was right fellers")

Okok skipping ahead to the end cuz arughh there's a specific line said in the last scene that completely changed Kieran’s character for me. All I’ll say about the gunfight is that right before it, when John has his gun up against Kieran, while the camera pans to a group of O’Driscolls, you can see Kieran give Arthur a thumbs up when Arthur shushes him. It’s such a tiny detail but it amused me and my partner when we discovered it.

At the end of the mission, after Arthur realizes that Colm isn't there, he confronts Kieran at gunpoint, pretty much ready to kill him. Kieran of course acts like how we’d think he would,,, he promptly begs for his life. But once Arthur spares him and gives him the decency of running away, Kieran doesn't grovel back to him, begging to be taken back, he fuckin yells at him. He understandably points out that letting him go free is as good as killing him, as the rest of the O’Driscolls would likely have his head for this (didn’t like typing that). His very blunt, angry line of “So I’m one of YOU now!” genuinely made me rethink what I’d been assuming about him. It likely dawned on me while I was staring at the streamer’s “hose goat” cam, but just demanding a spot in the gang like that isn’t something a coward would do. He is incredibly firm in his “fuck you, you’re stuck with me now”.

Even his dialogue after is just more examples of him being very aware of his vicarious situation (Arthur: “Alright, but I’m warning you”, Kieran: “Oh, I know”) and being more than eager to start proving himself useful (Kieran: “See Arthur, I ain’t so bad!” ^^)

I genuinely think the whole “whiney useless baby” assumption comes from the fact we play as Arthur. Arthur VERY adamantly views Kieran this way, literally calling him a baby as a way of antagonizing him. And because most everyone loves Arthur, they’re bound to view Kieran the same way he does. Unreliable narrator kinda thing, though I'm not saying that's a bad thing in the slightest. And with the magic of RDR2’s actually good character writing, I can sit here for 700 words summarizing why Kieran’s actually kinda cool sometimes. 

So ya, I wouldn’t say Kieran’s a coward, but I’m also not gonna say he’s some crazy cool badass murderer outlaw. He’s a dude trying to survive who’s been kicked out of or lost every home he’s known. He’s still a silly guy I wanna lovingly snap over my knee like a twig. With the life he’s lived you can’t afford to be unable to stick up for yourself, he’s just smart enough to know when it’s time to lay low.

[princeasimdiya12]

Bucchigiri Utena Parallel-The Greek Chorus

In many plays and stories, the Greek Chorus refers to a group of characters that either commentate on the main storyline or have their own subplot that parallels or foreshadows the main story that appears. It's rare when they actually interact with the main characters but their role is meant to emphasize the meanings and plot events that occur.

In Bucchigiri, we have Nyan Nyaight Love which is their version of the Shadow Play Girls from Revolutionary Girl Utena.

For those who aren't familiar with the Shadow Play Girls, they serve as an actual Greek Chorus in the Utena anime. Every episode, the girls put on a cryptic and bizarre play with a message that correlates to the ongoing events or conflicts that Utena, Anthy and the Student Council deal with throughout the series. Some are straight forward and easy to understand, others are straight up wackadoodle and have layers of meaning to comprehend. But each skit contains a hidden but vital message that relates to the main storyline in Utena.

While Nyan Nyaight Love may not be as complicated or bizarre as the Shadow Play Girls, they still do their part in paralleling the Bucchigiri storyline.

Episode 1: Introductions

The first episode features the customer contemplating whether he should go into NNL or if he should leave. It isn't until he sees Arajin being chased down the street by the NG Boys that he enters out of fear of being spotted.

The customer serves as a parallel to Arajin. He too is a wimpy, unappealing, jittery, hopeless, mopey, delusional everyman. And just like how the customer was unsure as to whether he should enter a shady, controversial place like NNL, Arajin also struggles with entering the dangerous and colorful world of the Ichizu Gangs. And his involvement in their lifestyle has mainly been a forced reaction, as in he jumps into the fray while fearful for his safety. The NNL Receptionist can also be seen as a parallel for the colorful banchos and bad boys that Arajin, and the audience, meet in their upcoming encounters.

In the world of Revolutionary Girl Utena, one of the ongoing themes was fairy tales and stories that are told from one person to another. The Shadow Girls fit that theme by putting on plays for the audience about their own stories. So there are clear parallels of the main storyline.

And then we "meet" Jasmine.

Just like it's the customer's first time in a place like NNL, it's also Arajin's first time in the world of Ichizu's gangs. And his meeting with Jasmine is a clear parallel to him meeting Mahoro for the first time. This is more apparent when you take in the Disney movie with Arajin (Aladdin) meeting his beloved Mahoro (Jasmine).

It's also worth noting that the customer asks if he can use the honorific "chan" which is mainly used for people/girls that someone has a close relationship with. And despite meeting her for only one day, Arajin is the one who proposes that it is "fate" that brought him and Mahoro together and how they're destined to be lovers. Clearly he's skipping multiple steps in the relationship making process expecting Mahoro to feel the same way.

Episode 2: I Couldn't Stay Away

The second time, the customer returns and is scared into entering the building after Senya drags along Arajin. Despite some hesitance, he asks the Receptionist for Jasmine again.

So it's pretty obvious, the customer is in "love" with Jasmine and is hooked onto her. Even when she starts to "cling" to him.

At this point, Arajin has fallen head over heels for Mahoro and can't get her out of her head. His new motivations begin and end with conquering Mahoro's heart so he can use her to lose his virginity. And to conquer her heart and be as close to her as possible, he's more than willing to go through a shady and morally ambiguous place like the gang life.

Though the clingy part comes off as self-delusion since Mahoro absolutely hates him and wants nothing to do with him. Even making it clear constantly from this episode onward. Yet Arajin isn't bothered and is eager to make her his.

However, this does set up as it's first example of foreshadowing for the following episode.

Even though Mahoro hates him, she decides to play along with his infatuation with her when he's recruited into Siguma Squad. She's "clinging" to him in order to sway and manipulate him so he'll be able to take over Siguma Squad as it's new leader, forcing her brother to graduate so she can have him all to himself. Or so Arajin will get beat up badly, she's down for whatever. And because Arajin is stuck in his self-delusion about Mahoro and their destined love life, he doesn't see the red flags and falls for her claws. Eager to continue hanging out with the violent happy SS regardless of the peril he may face.

Episode 3: This episode did not feature a NNL segment.

Episode 4: Please Forgive Me

The customer is once again contemplating whether he should go in or not, even saying that he should just quit. Alas, a chubby Arajin scares him inside where he once again asks for Jasmine. Only now he's in hot water for having left her for so long.

While normally this would be a stand in for Arajin and his hopeless love for Mahoro and how he's failing her, this time, the customer represents another character.

In this case, it's Matakara.

Earlier in the episode, he gets into another conversation with Arajin over the upcoming Gang War and how they should stop it. But it soon turns into another plea for him to rebuild their friendship and how he wants to become Honki people with him like before. Despite his efforts, Arajin tells him to get over it and orders him to leave him alone. Just like a cat turning her back on the customer after their absence.

And just like the customer blames himself for her anger, Matakara believes he's at fault for their friendship failing. Because he was too weak to fight the thugs who beat him up which is why Arajin abandoned him. And much like how the customer never viewed at any other "cat", Matakara has his eyes and heart only for Arajin. Even after making new friends in the Minato Kai club, his idol has always been his childhood friend who inspired him when he was just a weak boy so many years ago.

And he'll make that fact known to Arajin everytime they meet; reminding him that he's someone of great importance in his life and that he just has to believe him. No matter how many times he's turned away, Matakara still holds him dearly in his heart.

Episode 5: The Next Level

The customer returns and declares that it's a big day for him. This time he gets scared in by Kenichirou and the Minato Kai Gang making their way to the upcoming warzone.

Hoping to patch things up with Jasmine, the customer presents a gift.

The way I interpret this scene, it comes off as taking his relationship with Jasmine to the next level by giving her a choker. For pets, giving them a choker can be considered the same as giving them a collar. Usually to signify your bond as master and pet. Or in this case, it comes off as the customer treating his precious Jasmine to a gift in the hopes of raising her mood.

For this scene, I see it as a parallel to everyone's relationships and how they're moving on to the next level.

This takes place during the Gang War two parter with both gangs going at each other only for the NG Boys to stage their attack. The fighting persists until Arajin steps in to protect Mahoro from being killed by Akutaro. And while fighting, he gains a major power boost from Senya as his merge rate increases as a result.

And once he defeats the NG Emperor, everyone's mood cheers up for the better and their relationships improve as a result. The rival gangs are more friendly with each other and are able to get along in spite of their rivalry that's lasted for years. Matakara gets to have a bonding moment with Arajin which is a huge step compared to how coldly he's been treated in the past. And Senya is super excited that the merge rate between him and Arajin has increased.

Everything and everyone is in better spirits now.

To bad it won't last for very long.

Episode 6: This episode does not feature an NNL segment.

Episode 7: A New Cat???

The customer is once again worried about whether he should enter NNL and is scared into coming in when Arajin rushes by due to being late for the Group Date.

The receptionist welcomes him into the establishment and asks if he wants his usual. But to his surprise, the customer has someone else in mind.

It's hard to say why exactly the customer decided to go for a new cat instead of Jasmine. Perhaps it's because he's become used to the NNL environment and is bold enough to try someone different.

But what strikes me fancy about this part is not so much the change in cat but the receptionist's reaction. All this time, we've seen him as a silly catboy who loves to tease the customer and rolls with him coming to see his precious Jasmine. But it's the change in cat that causes him to react this way. He loses his silly front and shows actual shock and maybe concern over such a drastic change. He doesn't even revert back to his playful self as it cuts straight to the customer meeting Pu'er-chan (Fun fact: Pu'er is a type of tea that's specially grown in China. And taking Jasmine into account, the cats at NNL are all named after Chinese tea flavors).

So he goes on with meeting the new cat even though he still has feelings for Jasmine. And he's greatly surprised to see Pu'er accept him with relative ease based on his elated reaction.

So to start, this segment is ripe with foreshadowing as it features the customer deciding to take a break from his old cat of interest and goes for a new cat. The customer changes his old cat for a new one. And who do we know who's interested in choosing someone new at the end of Episode 7?

"Do you know? Do you know? Do you know who he chooses?"

And mixed with the receptionist's reaction of shock and concern, the series itself has underwent a change in tone based on everything that happened in Episode 8. The comedy and jokes are significantly toned down in order focus on the more serious and heartbreaking elements of Matakara's brother being suddenly hospitalized and Arajin confessing that he was a coward all along which all leads up to Matakara falling into the palms of Ichiya, our presumed villain of the show.

Another things I want to mention/theorize is that when the customer brings up how he couldn't get Jasmine out of his head, that was a parallel to Ichiya being unable to get Senya out of his head. The two genies have a long, hidden but deep history with each other and it's implied that Senya did something to warrant his wrath. And given that Ichiya has a grudge in his heart that he intends to resolve, his goals in using Matakara are all but stated to be part of his masterplan of taking revenge against Senya.

And the last part with Pu'er fully embracing the customer will be foreshadowing of Matakara accepting Ichiya's proposal and power with minimal hesitation. With him at the brink of despair and with no one to turn to for emotional support (sorry Minato Kai boys), he'll be desperate and eager to follow Ichiya's will no matter how questionable or corrupt it may be. It isn't clear as to what type of wish Mataraka will make or what Ichiya will offer him to go along with his revenge, but the boy is clearly at his most vulnerable and weakest. He'll accept anything and fall into Ichiya's hands just to make the pain more bearable.

Conclusion

The Nyan Nyaight Love segments are meant to serve as a Greek Chorus for the Bucchigiri series. Paralleling the dynamics and conflicts between the main characters (Arajin, Matakara and Mahoro) while also providing foreshadowing for events to come. Much like the Shadow Play Girls and how they would parallel and foreshadow the main events in Utena. And under the assumption that we'll get more NNL segments, then the scenes with the customer and the receptionist will foretell more of what will happen throughout the show and the relationships between the characters.

And those are my thoughts on this nonsensical skit. What do you guys think? If you have your own interpretations for these segments or if there was something that you agreed or disagreed with, please feel free to reblog this and share your comments. It's worth mentioning that the plays that the Shadow Girls held had various ways of being interpreted so there's really no wrong way to go about this.

[glassbirdfeather]

Complaining about the final boss in Shadow of the Erdtree, both in terms of lore and mechanics. Spoilers for the end of Shadow of the Erdtree:

Part 1: The Lore

I think the ending is really good and foreshadowed well in it's own story. I think it is fitting and well told. But it isn't living in its own bubble. It exists in context to a previous story directly connected to it. In the context of the entirety of Elden Ring, it sucks.

If we were just dropped in the Shadow Realm and the main game didn't exist, it would be really, REALLY good. The problem arises when also having the context of who Miquella was in the base game. His motivations in the DLC retcon the motivations from the lore of the base game. And the retcon is worse. The thing that made him fascinating was that he was the only compassionate character among Marika's children, the only one who didn't care about petty power plays because he was focused on helping people and helping his sister. That it is revealed he is just as shallow and self-centered as the rest, so much as to be willing to endanger his sister in exchange for a consort after all the lore surrounding how he wanted to help her, takes away the facets that made him unique.

This may also contribute to why there are two general camps of people who like or don't like how Miquella is portrayed. There have been a couple of years between the original game and now. Memories of the original game's lore--if people even read those particular bits of item descriptions in the first place--have had time to fade.

However, I acknowledge that item descriptions in Elden Ring intentionally have author biases. It could be said that every Miquella-related item description was told from the perspective of someone bewitched. That would make a lot of sense.

So in the end, this also is a personal preference. I think that Miquella turning out to be a brat who will sacrifice his sister for his consort is much less interesting than him being motivated to do bad things for his sister.

This leads into the overlap between pure lore discussion and mechanics.

Part 2: I CAN'T FUCKING SEE

The last boss fight is shit. Part of what convinced people that the leaks were fake, not considering lore implications, is that many people looked at the attacks that were happening and judged them to be bad.

As someone with a passing understanding of editing animations and moves in a game, something that can be done with little modding skill to create a new enemy is to use existing animations and add new effects to them. People were convinced the fight was fake because of how many moves looked similar to ones from previous FromSoft bosses with lightning effects glued on. I cannot speak to the alleged copied animations in this fight, since I don't have experience with every FromSoft game, but I don't actually think reusing old bosses and animations is inherently a bad thing. The real complaint was that it looked to be both reused animations and extra effects.

Stretch new textures over existing enemies, increase the speed of their attacks, and then add events to those attacks that spawn a bunch of effects like explosions, or lightning bolts. These are all things I could do with my limited knowledge. These are the things that some mods have done, and have gotten ridiculed for. The ridicule is because doing that demonstrates a shallow understanding of what makes a fight not just hard, but fun.

I'm no master of boss design myself, but I can say with confidence that spamming incredibly long attack chains containing effects that blind the player and prevent them from seeing the next move in the chain is bad game design. Something that has been established as an unspoken but understood rule in souls-genre games is that you should be able to dodge an attack while standing point blank in front of the enemy. Whether this is by rolling, jumping, or running away, you know what's happening from seeing the start of the enemy's animation, and you should be able to escape being hit by the attack. I also argue that by this metric, Waterfowl Dance is a badly designed move, but I digress.

Waterfowl Dance is one move in an otherwise stellar boss fight.

In the DLC final fight, I. can't. see.

The screen is covered in lightning for at least 1/3rd of the battle, often making dodging a game of guess and hope. I 100% acknowledge that I was not good at that fight, and that many of the attacks that hit me were dodge-able if I'd learned them more. But some of them were chains of attacks that demanded I blindly learn a random rhythm of button presses. On account of all the lightning from the previous attack hiding the next swing.

One of the things I actually did like about the fight was the grab being a guaranteed 2HKO regardless of health values. It would have been a great gimmick on a better fight. Where I had a better probability of seeing it so I could dodge it.

I also liked the warp-in speed effects of the boss jumping in, although such warps felt very buggy.

Were the lightning effects transparent or otherwise did not obscure the battle so terribly, I wonder what kind of fight it would actually be. Maybe the attack chains only feel unreasonable to dodge to me because I cannot see what is happening in them. It is possible that the fight itself is just bad, and the lightning is, just like in a bad mod, being used as a crutch to hide a very boring, simple moveset.

But it is impossible for me, in the game's current state, to imagine how that fight might play.

Because I can't see shit.

Part 3: The Remembrance

Turning in the remembrance and a duplicate of it just to end up with a total of 3 Radahn swords I think really shows the lack of creativity under the lightning. That is what the essence of the DLC final boss distills down to: 2 variations of a sword we already have.

If the fight had been something COMPLETELY different, perhaps we would have gotten something interesting from Miquella's side of the pair. Something that bewitches a struck enemy? I don't know.

The last fight was a spectacle, but only due to all the fancy effects that it vomited everywhere. Remove them, and I suspect there exists an uninspired base.

[ask-whitepearl-and-steven]

You put a lot small visual elements and details in that I never seem to notice on my first read, and it always makes rereading exciting. What’s a detail from the comic that nobody ever seemed to notice? I’m sure there are things that nobody has mentioned, especially from the early chapters, that you’d want to talk about

Oh man.........that's a great question.

The thing is, there are a lot of details that people don't pick up, but there are definitely eagle-eyed readers that also do! There are also details which most didn't pick up until someone posted about it, and now everyone knows!

There are also details which are actually... yet to be revealed as relevant! That's a secret tool that'll help us later. :)

But most of it is plot relevant decisions I make which make the story more full, but are not necessarily NECESSARY for full enjoyment.

For example, in the very first comic, when Earl approaches Steven....

Her eye isn't white! That was a fully deliberate decision. She didn't actually approach Steven because he wanted her to. That was a decision she made on her own!

Most of the white eye shenanigans in Season 1 were deliberate, albeit not very explicit. I suppose that worked out okay, though. Plus, many people DID catch on!

Also, this part in the Kindergarten comic:

...which people assumed was a power separate from everything, is actually just the first instance of Steven's Command power. The thing is, I hadn't settled into how to portray it at the time, and also - the gem is Corrupted! It doesn't respond to Steven's commands the same way normal gems do. I planned to explore that earlier initially, but in the end, decided to tie it into much later plot.

In Season 1, EP 38, Steven asks Earl to write her name.... and she does! But in gem, not English, because she doesn't know how to write in English.

She designates herself as White Pearl, putting the dash over the top diamond. It was at the time when she was still anxious about making Steven - White Diamond - angry with her.

And to add to the eye thing - during the Season finale of Season 2, when Steven wondered if Earl only came to see him because he forced her to - the comic where she finds him in the water proves otherwise!

Immediately when she grabs him and swims up, her eyes aren't white! She's doing it of her own accord.

Also, in Season 3's opening, when Rose is angry at what she THINKS is White Diamond, she almost has a slip of the tongue when talking about the past.

There's a very pointed reason that panel of Earl is right there next to Rose's cut-off 'My...'

Also, when Rose leaves Steven in the Containment Sphere - the Baby Jail Bubble - she unlocks it to leave, and you can pretty clearly see an interesting detail.

(which Steven, of course, doesn't notice.)

There's also a bit of a narrative tongue in cheek line-up which is accidental on Steven's part but still rings true:

(TVTropes editors caught this one! Hey TVTrope editors!)

Also, this very famous Seaglass foreshadowing:

The first instance of Steven connecting to tech was in the beginning of this season!

When Steven has a bad dream after fusing with Earl and forming Bleached Coral, there's a hidden detail in this reflective text from Nightmare Rose:

(It might be easier to read if you mirror-flip it.)

Another fun thing I enjoyed doing before I got busy with other stuff is gem language! Earl writes Steven notes in it to help him learn, and now signs with her English name,

In the Cluster Experiments comic, if you look at the panels before stuff starts to Happen, you can find a few Experiments hiding in the background. :)

In Amethyst's room, there is a Japanese stopsign and a d20 in the background.

In episode 25 of season 4, Steven is playing Moonlight Sonata!

In episode 33, the ship Steven connects to displays a bisection of the earth which showcases its lumpy core! Or rather, the megastructures that are hidden deep inside the mantle.

It also showcases a few geothermal coring sites made during the colonization.

And by the way, the drill Pearl built was actually a repurposed ship hull which was used for the Space Race ship in the original show!

And man there are actually... many more! But I had to skip over them because they are alluding to things which have not yet been explicitly revealed! :D

But even with this, I'm sure there are other ones I'm missing. If you think you have one that should be listed - throw it on a reblog or in the comments!

[mychemisgay]

Yuji, the main character of the story is the son of Kenjaku (big bad mastermind of the series) and part of Sukuna's soul (final big bad in the series). These seem like important plot points, right? Wrong, they go exactly nowhere.

If you think about it, the story would've been the exact same if Yuji was just an unusually strong human. He gets told he's a really good vessel for Sukuna, most other people probably wouldn't be able to contain him, but no one, not even Yuji questions why that is. It's just accepted at the start, so they start feeding him the fingers. No one thinks it's kinda suspicious how strong he was even as a non-sorcerer. Literally no one cares, it's just accepted in the manga, quirky main character syndrome I guess.

Then why make these interesting plot points about his parents as one off remarks? The reader gets baited into thinking these will all tie together, then gets blue balled.

Why did Sukuna mention towards the end of the whole manga, that Yuji was made from part of his soul (his would-be twin that he consumed before birth) and that Kenjaku wouldn't make a kid for no reason? We could see Sukuna hated being in Yuji so what was Kenjaku's plan? As soon as he could Sukuna dipped and posessed Megumi instead. So what even was Kenjaku's plan with creating Yuji? Even Sukuna said he doesn't fucking know, and that's where we as readers are left at.

Also, we got the conversation with Yorozu, Sukuna told her she could do whatever with him if he lost. What was the point of that out-of-place conversation in the middle of a mediocre fight? Logically it could have been foreshadowing as to what will happen when Sukuna is actually defeated in the series.

When Sukuna lost against Yuji, he could have done anything with his body, and with Yuji wanting to help him, he probably should have eaten him. Even the deal they made in Yuji's domain went something like "give back Fushiguro and come back to me OR I will kill you." Sukuna gave back Megumi, so by that logic he should have gone back to Yuji, probably by Yuji eating him. But no. Nothing comes from this at all, he just fucking dies.

Man, Gege is the true potential man (gn).

[lakesbian]

twig faq to answer all of the asks i got regarding my liveblog

Q: holy shit twig turned out bad huh A: yeah

Q: should i read twig? A: no. it's bad

Q: what about the parts of twig that were good though? i noticed that there were parts of twig that seemed awesome before everything suddenly exploded A: okay let me elaborate. the first ~13 arcs of twig are really really endearing when they're focusing on the lambs. when they're being about the lambs, they range anywhere from "cute" to "extremely fun" to "genuinely super compelling" to "shit that made me cry (positive)." we have high points such as:

12yo sylvester lambsbridge fumbles 3 people with crushes on him harder than anyone's ever fumbled in their life in the span of like 7 hours maximum

sylvester lambsbridge does transhet biopunk brokeback mountain

wildbow writes rose thorburn but if she were a hardass trans girl (she's the one doing transhet biopunk brokeback mountain with sy)

gordon dies and lillian copes by taking some of sy's drug that gives him turbo-adhd

helen is there

sylvester lambsbridge experiences what i earnestly believe to be one of the cruelest things wildbow has ever done to any of his protagonists

lots of other stuff, i'm abbreviating here

but the reason i say the first ~13 arcs of twig are good when they're focusing on the lambs is that twig is prone to slogging, strikingly mediocre fight scenes--sy can't fight for Shit, but wildbow still insists on describing, like, sylvester trying & failing to hit someone with a wooden plank with the same gratuitous, lengthy detail as taylor inventing a spider-based saw trap for someone. and unlike the spider-based saw trap, it's not interesting to read about. the arcs take an episodic format, and what this means is that virtually every arc goes on way too long, contains at minimum 40% more tediously detailed fight scenes than are actually necessary, and then leaves you feeling jarred when wildbow inevitably timeskips to the next arc just as the prior one was really getting into the emotional swing of things. i also have a (quite possibly subjective?) sense that twig wasn't as well-developed and thought-out as, e.g., pact, and oftentimes the setting conceit (1900s biopunk frankenstein-y british empire) doesn't feel like it's hitting quite as hard as it should.

for all of these reasons, i wouldn't have rated the first ~13 arcs of twig any more generously than in the 3.5-4 star range while i was reading them, but that's still an overall rating of good. i wouldn't still be thinking about some of the things from the first ~13 arcs of twig if they weren't overall good. if all of twig was the same quality as the first ~13 arcs, i would recommend it to people who i feel like could tolerate the pacing issues & would feel reading about the lambs was worth it.

but. BUT. BUT-

Q: so, twig turns out really bad, huh? what went wrong? A:

it is not all the same quality as the first 13 arcs. it turns out really bad the last 7 arcs are actually atrocious

the first thing that comes to mind if you ask me "what went wrong with twig" is that wildbow tries to write a trans woman as one of the main characters, and he does it badly. miss jessie ewesmont, my new favorite girl whom we need to get the fuck out of a wildbow novel. i think she was written extremely well--and in fact one of the top 2 characters in the book--prior to wildbow trying to handle her coming out. i'd even say the foreshadowing for it was perfectly well done and enjoyable. but after she comes out, during the last 7 arcs of the book?

you know how trans women are often victims of being treated as undervalued, disposable girlfriends, who are expected to coddle & cater to their partner's every whim while receiving effectively nothing in return? and you know how trans women are often treated as if they should be grateful for receiving (what is often less than) the literal bare minimum? and you know how trans women are frequently treated as if it's completely implausible for anyone to find them genuinely attracted or desirable, let alone worth pursuing or putting effort into?

yeah, the last 7 arcs of twig contain untold tens of thousands of words of wildbow reinventing all of that from first principles. this is a subjective experience, but it genuinely felt worse to read than amy dallon. at one point, the Disposable Trans Girlfriend in question literally says "i appreciate you not killing me" after she gets stabbed in her sleep by her boyfriend, sylvester. it's beyond parody. i've never said "WE HAVE TO HIT WILDBOW WITH HAMMERS" more in my goddamned life than while reading the last 7 arcs of twig. Transmisogyny Fucking City. it's a completely unforgivable and miserable reading experience.

and speaking of unforgivable and miserable reading experiences involving bigoted handling of a main character...onto Item No. 2 on the list of writing decisions that ruin twig! the ableism.

wildbow wants all of the lambs to--due to being ill-fated human experiments--have set expiration dates. one of the Main Points hanging over the entire narrative of twig is that every single lamb is, in all likelihood, going to die of complications from the way they've been experimented on before they're even twenty. two of them do die from those complications before the story is even halfway over: jamie's entire mind & sense of being is regularly taken out of his body, and one day, the doctors can't get it back in. gordon is a ~15yo with the heart problems of an elderly man, and they kill him while he's still young enough to make one of his last acts begging to see his dog one last time. it's good. it's tragic, it's interesting.

the problem is that wildbow's decision for how to depict sylvester starting to experience end-stage complications is to...turn sy into an ableist horror movie trope villain. sy hears The Devil telling him to kill his friends, and he just fuckin' blacks out and then comes to like "oh no...what's all this blood on my hands." i'm talking "mental illness is a Demon that can Possess You and make you an Evil Serial Killer" levels of ableist writing. like wildbow straight up turns sy into the joker from the movie joker. it's like that one "insaaaaynenene....assyyylum..... cray-ay-zeee...Insaayne" tiktok, you know the one. it's why he stabs his disposable trans girlfriend.

and it's baffling because: 1. wildbow wrote worm. you'd expect better from him when it comes to writing mental illness. but his skills apparently stop short of being able to depict a character with psychosis without making it cartoonishly ableist. but also, 2., sy doesn't only start becoming mentally ill at the end of arc 13! the previous arcs do very clearly establish that he's extremely codependent with the other lambs and needs continuous support to avoid experiencing life-threatening mental health episodes. he experiences dissociation, he struggles with severe memory loss, he acts erratically, he has self-injurious tendencies, he hallucinates, he talks to himself in public. prior to the start of arc 14, all of that is written with perfectly amenable levels of nuance and empathy towards sy. i wouldn't describe it as glowing representation, or anything, but it's by no means egregious.

but after arc 13? change of plans. now he's the joker from the movie joker, and we have to watch while his friends chain him to an armchair so he doesn't go around randomly cutting peoples hands off in a murderous fugue state.

it's bad. it's extremely bad to read.

the third item regarding how/why twig becomes terrible is a lot more simple to summarize: it becomes almost entirely about the previously mentioned sloggy fight scenes as opposed to about the lambs. and when it is about the lambs, it's often terrible to read anyway, due to the aforementioned issues with the handling of protagonist sylvester lambsbridge and his disposable trans gf. the plot becomes incoherent and uninteresting to the point where it's not even worth the effort of attempting to summarize how or why. everything that made twig good more or less entirely disappears from the story, and things that make it fucking awful are added.

Q: okay but lets say i have something unfixably wrong with me and i want to read twig anyway. wheres the best stopping point? arc 13? A: yeah it's arc 13. it's not a satisfying stopping point at all though. nor is the rest of twig prior to it really worth it. just don't waste your time. go read a good book, like pact, instead

Q: what the fuck is up with helen? A: :)

[drconstellation]

Come Back When You Can Make A Whale

This is going to contain some speculation for S3, so you know what to do! Or not do!

SITIS: What did God say? JOB: Um... I'm not sure. I didn't understand much. Things too wonderful for me. Ostriches came into it. SITIS: Ostriches? JOB: And whales. God's very proud of the whale. Went into some detail about... how great whales are. SITIS: But did They explain? JOB: [shakes head] I think the point was, if you want answers, come back when you can make a whale.

Whales, huh?

If you aren't well read, this could be quite the misdirection. It should be reasonably obvious, given who is doing the talking - Job - what he is actually referring to, then we can join a couple of dots to make some speculative leaps.

You still with me?

No? Then let us start with how do you make a whale?

By giving it another name.

Leviathan.

Chapter 41 of the Book of Job is all about the Leviathan, a great sinuous sea serpent with impenetrable scales and breath like fire. It sleeps beneath the sea until the end of days. Over time it came to be associated with any sea monster, then anything large, and what is the largest animal ever known to have lived? The whale.

The top of the matchbox is also worth a look. We have a skull and crossbones, which is classic Memento mori symbolism, fitting in with the resurrection theme of the Second Coming - but look at the way the address of the pub is spelt! Now, this not the same way it is spelt on the record single Maggie gives to Aziraphale; Goatgate is spelt as one word, not two. A little bit of searching reveals the meaning behind this fictional address that backs up and reinforces the quote on the side of the matchbox.

Strong's Concordance for 66 gives us "wild, savage, fierce." Goatgate is an interesting one, because it turns out to be a relatively modern term from the urban dictionary, and I'm just going to refer to the polite version of it here - it's another word for "mouth." So 66 Goatgate is a "fierce and savage mouth." Yes, that does sound about right - in more ways than one, once you know who it is. (If you want to look up the impolite version, go ahead - I'm sure you will still find the connotations very amusing.)

Our metaphorical Leviathan is Crowley. He gave the game away at the end of S1 during the appearance-swap.

This also means Aziraphale is his counterpart, Behemoth. Why - well, I made a bit of joke in my post here that he was playing at being a "river horse" while he wallowed in the bath of holy water during his part of the appearance-swap scene. Modern day scholars think the description of Behemoth in the Bible may be that of a hippopotamus in real life history. If that is so, I'd still be betting this is what the "dark horse" comment from Nina in S2E1 is foreshadowing.

Maybe none of this new to you if you've been hanging around the the fandom for a while. That's fine, I'm just trying to establish the scene. And the next bit we need to talk about is this one, where Job gets a lecture from God.

During this sequence, we hear lines that come from Job 38 and 39.

GOD: Job, if you have questions for me, I have questions for you. Do you know how I created the earth? Where were you when I laid the foundations of the earth, Job? Were you there when all the morning stars sang together and all the Angels shouted for joy?

These lines are paraphrasing some of the beginning of Job 38.

Then we have:

GOD: Do you know the rules of the heavens? Did you set the constellations in the sky? Can you send lightning bolts and get them to report back to you? Did you give wings to peacocks, Job, or teach the ostrich to run?

These lines are again, paraphrasing Job, half from 38 and half from 39.

So then, we need to ask, why highlight these lines in particular?

Job 38 is mainly about setting the boundaries of the universe around us. The Earth might seem impossibly huge to a human, but it started with a single stone at its foundation. Earth and the other planets obey certain laws as they move around the Sun. The patterns of the stars in the sky take so long to change that it seems like they are set and inconstant. Even the chaotic form of lightning respects its Creator and returns to its point of origin.

From the last part of Chapter 38 to the end of 39 God challenges Job with a list of animals. The theme here is about freedom and wildness. Whether it is a noble lion, a loathsome crow, a nimble mountain goat, the head-strong wild ox or the willing war horse, they all flourish upon the Earth under the sight of the Almighty. Even the mightiest and most fierce beasts of all, Behemoth and Leviathan, have a place, although only God has the means to control those two.

None of this needs a human to be involved. We are so often the center of our own universe, and try so hard to control every aspect of the world around us that we lose sight of the bigger picture. Shit happens. Some things are out of our control. That doesn't mean its your fault and you're wicked and damned to go to Hell because of it. And that was the point God was trying to make to Job. The world is a far bigger, wilder and chaotic than you can imagine, but its also incredibly beautiful, and it runs itself within the rules and limits that seem to be set by invisible forces you can't see.

So back to the script from the show.

The first set of questions from God could apply to both of the duo. They were both around when Earth was created and were more than likely there when the "morning stars" (the highest angels, such as Lucifer, Gabriel, Michael and angel!Beelzebub) sang together.

The second set of questions are the ones that seem to have got the most attention so far, with ops cross-matching them to things Crowley does in S2.

Do you know the rules of the heavens?

Did you set the constellations in the sky?

Can you send lightning bolts and get them to report back to you?

Did you give wings to peacocks, Job...

(I make a suggestion this has something to do with Michael, but also see comments below)

...or teach the ostrich to run?

The first three of those questions are fairly straight forward, and I doubt many would dispute what they are referring to. But the reference to the peacock and the ostrich are more subtle and curious, and I would like to take a moment to look at the actual verse - because it is only one verse that is providing both questions - that is being paraphrased here.

Job 39:13 Gavest thou the goodly wings unto the peacocks? or wings and feathers unto the ostrich?

Did you realize that the King James Version of the Bible is the only one that mentions peacocks in this particular verse? All the other versions mentions the first sentence of that verse in relation to the wings of ostriches: "The wings of the ostrich wave proudly." The ostrich is considered a cruel and witless bird in the Bible, pleased with the way it looks, and seemingly careless about its young.

Why does that sound familiar...

Shax thinks this ostrich feather-clad angel in disguise isn't too smart either.

So using the peacock line is a curious choice in the script. Other than the "eyes" in the tail of the peacock having a connection to Michael's many watchful eyes on the world, it's still not clear how Crowley helped them upwards. Unless both lines are supposed to refer to Gabriel, and how the vain peacock was helped to both fly and run to a distant location in the stars.

Edit: Since I first wrote this, @beebopboom pointed me to some more peacock lore, and this helped me delve a bit deeper into them. Peacocks were associated with wealth and royalty, but they were also associated with immortality in early Christian beliefs. There was a belief that the flesh of the peacock did not decay after its death. The bright colours in its tail came from its eating venomous snakes, which reminded people of Christ becoming sin for humanity's sake (think of Crowley downing the laudanum to save Elspeth from Hell in the crypt in 1827, its a similar action.) The "eyes" on the males tail also represented the all-seeing eye of God. So we have a connection with both royalty and resurrection here.

(Oh - just as an interesting connection here - a number of the newer versions of the Bible not only don't mention the peacock in this verse, they compare the ostrich to the stork! The meaning is meant to be that the stork cares more for their young than the ostrich, but if you read the words at face value, you could take a double meaning away...)

Let us return to questions, answers, and whales.

Questions. Always questions. It's like the proverbial toddler who's always asking a never-ending string of "but, why?" for funsies and you just want them to shut up for a moment and think about the last thing you said first. They, too, are a bit like Job. They are the center of their own universe at that age, having not had much experience of the world. They have no grasp of how far it extends beyond them, and how little even we as adults know.

If at this point you're going "oh, no, no, no, no, op, please don't tell me the point of this meta is it's all ineffable," relax. I'm not.

The point was to set you up for some nice, juicy, awesomely sweet S3 speculation.

Because I believe Crowley will finally get to ask his questions of God.

(oh lordy, I made the mistake of taking a break to have a shower before trying to finish this off, because I was having trouble seeing how to finish this in a tidy way, and that caused me to have "shower thoughts" and now the nice sweet simple speculation has turned into a slightly bat-shit crazy kind-of one, although still on the same track as what I was originally thinking. Here goes...)

We have this three card spread from waaay back at the beginning of S1. We all think its something to do with the three babies.

What if its not?

Because we need something like this to happen again - Aziraphale and Crowley either side of a third protagonist. What if it's the King of Kings, Love personified, Jesus, in the middle? (Or Adam again, I wouldn't discount that option either...)

If you would look at the GIF and the screenshot together again and go, well that makes, sense, white for the angel on the right, and green for the demon on the left, I would jump up and shout at you - NO!

Look at the cards again! In the Tarot, that's the Ace of Swords on the right - it belongs to Aziraphale. It's a very powerful card, about new beginnings and change.* Lets call the one of the left Knight of Wands, which also represents the element of Fire. Knights are all about movement and journeys. Who owns the Bentley? And look what Gabriel has instinctively done with his hands - he has held his screen-left hand out to Aziraphale, the Sword, the angel who wears green, and his right hand out to Crowley, the Knight of Fire. The yin and yang qualities are actually swapped. That was what I was trying to tell you in this post. They aren't as obvious as they seem at first glance.

And love is the answer, it turns out. Did you see my comment the other day on another post? In Strong's Concordance 25 = to love.

Anyway, we should get a third parallel scene somewhat like this, and like when Aziraphale and Crowley took Adam out of time to talk to him in S1.

Only this time the three of them (with who ever is in the middle) should be having a talk with God about what is or isn't supposed to happen.

JOB: I think the point was, if you want answers, come back when you can make a whale.

Crowley could be a literal serpent (though I would be very surprised if he did manifest that way) but it should be a metaphorical Leviathan that stands before the Almighty to ask his questions and get his answers. And it will be that he has earned the right to be there, because he finally understands the lessons of Job.

@makewayforbigcrossducks I hope this answers one of your questions

*The Ace of Swords speaks of new beginnings, but it is a two-edged sword that can cut both ways. It is strength in adversity, victory out of struggle, good out of evil, a change in the old order on the way.

[dreamingsnowflake2013]

Let's talk about Yinglong and Bingyi (BEWARE spoiler images ahead!). It seems that the legend that Bingyi made the sword using Yinglong's soul and horns after killing him is either a lie or a distorted history, with the truth getting lost over the long centuries, because he is holding the sword with YL being still alive. At one point, Wen Xiao mentioned that those books in the archives are either missing some information or contain outright incorrect ones. Apparently, YL and BY used to be friends, however, the sky above looks like the original TTEOTM demon god has arrived to destroy the world - there are fireballs, the sky is black and red like it's on fire - an apocalypse is clearly imminent.

In the original legend, YL was a rain dragon deity so powerful he saved the world from the Great Deluge. My theory is that he made the sword(s) for Bingyi, using his horns and parts of his soul, and then taught BY how to kill him. ZYZ mentions how YL was much more powerful than him, so if he can merely contain the evil energy in his body for tens of thousands of years, what if YL's sacrifice could actually destroy it.

Using himself as a sacrifice to stop the apocalypse, with him being a rain dragon putting out the fire in the sky. However, gradually, the history turned the hero into the villain, because people always need a hero to slay a great evil monster.

YL welcomed the death at his best friend's hands with open arms and a smile, as if silently telling him it's okay, but it seems BY couldn't bear to go through with it, so YL thrusted the sword into his heart with his own hands.

It's a foreshadowing of the same fate awaiting ZYZ and ZYC, another pair of best friends who will have to sacrifice themselves, one his life while the other his soul, to save the world.

I suspect that WX's adoptive father or his right hand man, or both of them, are secretly in cahoots with Chongwu Camp, because it's them who picked the archer girl and BJ as the members of the monster hunting squad, and here he is clearly repeatedly putting emphasis on how YL was such an evil demon, how ZYC's family is destined to kill evil demons,... basically goading him and setting him against ZYZ from the start.

[autistichalsin]

My chapter-by chapter analysis of The Hunger Games, chapter 1

Disclaimer: this and all future chapter analyses will contain spoilers for all the books.

What really strikes me about this chapter is what a masterpiece it is; a masterpiece of foreshadowing, establishing moments of characterization, worldbuilding and more, all without ever feeling like we're actually getting infodumped on. This is accomplished with Katniss's stream-of-consciousness storytelling. I've heard it criticized so much, but even aside from the very salient point that it fits her characterization as an emotionally stunted, traumatized, poorly-educated teenage girl, it still helps the story in moments like this. We feel Katniss's inner chaos, and it makes the story that much more immersive.

On to the spoilery part of the analysis:

When I wake up, the other side of the bed is cold. My fingers stretch out, seeking Prim’s warmth but finding only the rough canvas cover of the mattress.

There was a post, a while ago, that I can't find but wish I could. In it, the OP talks about how Prim is literally doomed by the narrative, not "heavily foreshadowed death," but literally doomed by the narrative, and this paragraph is the first sign, because Katniss reaches for Prim and feels emptiness instead. And re-reading this, I agree. The first thing we see Katniss do is reach for Prim, and find nothing. This time, it's temporary, but by the end of the series, it won't be. We've been warned, even if we don't realize it yet: Prim is doomed.

Scrawny kitten, belly swollen with worms, crawling with fleas. The last thing I needed was another mouth to feed. But Prim begged so hard, cried even, I had to let him stay. It turned out okay. My mother got rid of the vermin and he’s a born mouser. Even catches the occasional rat. Sometimes, when I clean a kill, I feed Buttercup the entrails. He has stopped hissing at me.

Katniss loves her sister and will do literally anything for her. Katniss also has no moral qualms about drowning kittens. With just one paragraph, we learn what a simultaneously harshly practical yet beautifully caring, loving person Katniss is. She has no room in her life for useless things like pets, and drowning strays probably helps the people of 12 in the long run by leaving vermin to be eaten by those on the verge of starvation. But her sister wants to keep Buttercup, and so she will. Katniss will sacrifice anything to keep Prim happy.

Foreshadowing. Prim is doomed.

Entrails. No hissing. This is the closest we will ever come to love.

STILL more foreshadowing, for different themes: both for one of Katniss's biggest complexes (I'll get into details about this later) and for the theme of love. Katniss doesn't truly love anyone but Prim. Her entire world, we know, is going to be shaken when she does finally feel that for someone else again. Once again, we are being introduced to the recurring themes of love vs practicality and the classic question, "how much pain is love worth?"

Katniss is going to answer this question again and again: for Prim, there is no amount of suffering too great. For others... she'll find different answers. Eventually.

My father knew and he taught me some before he was blown to bits in a mine explosion. There was nothing even to bury. I was eleven then. Five years later, I still wake up screaming for him to run.

The first hints of Katniss as a deeply traumatized girl emerge. Sometimes, when you're traumatized enough, thoughts can segue into The Event with no warning, just by proximity. And through the combination of blunted language and stream-of-consciousness leaps, we can see just how broken this has left Katniss. Unfortunately, this is only the start of Events for her.

My father could have made good money selling them, but if the officials found out he would have been publicly executed for inciting a rebellion. Most of the Peacekeepers turn a blind eye to the few of us who hunt because they’re as hungry for fresh meat as anybody is. In fact, they’re among our best customers.

A brilliant bit of worldbuilding. The Peacekeepers are working off of deeply corrupt laws, which they ignore because they too are being mistreated and systematically starved, even if they aren't as at risk as the people of 12. The system doesn't care about the very same people it safeguards to enforce its rules. This is the first hint we get that the system isn't sustainable, and it comes before we even fully understand what kind of hell this government is.

The theme of "bread and circuses" is going to be hammered down to us again and again that this is how tyrannical governments, including this one, pacify the masses. But when only the bourgeoisie are being given the bread and circuses, well.... the proletariat aren't going to take it forever.

The book hasn't shown itself to be the anti-capitalist masterpiece it is yet, but this is the first hint that we're reading a tale of class warfare.

“District Twelve. Where you can starve to death in safety,” I mutter. Then I glance quickly over my shoulder. Even here, even in the middle of nowhere, you worry someone might overhear you.

I have seen criticisms that this is an egregious case of showing and not telling, with Katniss constantly talking about the dangers of badmouthing the government while never facing them. But in truth, it's the opposite. Yes, Katniss hasn't been caught despite repeated statements that she could have, but we'll learn, here and in future chapters, that 12 has been receiving a sort of tradeoff with other districts; their more severe poverty places them below notice. No one thinks them capable of causing real trouble, and even their district specialty- coal- is later proven to be basically useless, busy-work. So they get ignored... for now. Until the oligarchs start seeing what the proletariat can actually do and crack down all the harder to ensure they keep their cheap labor.

Are you seeing the resonance with the real world yet?

Even at home, where I am less pleasant, I avoid discussing tricky topics. Like the reaping, or food shortages, or the Hunger Games. Prim might begin to repeat my words and then where would we be?

Here we see the dual themes of parentification and sacrifice. Katniss will be the adult, even though she ISN'T an adult, for her sister. She will keep quiet on things that hurt her, and upset her, to set a better example for her sister and keep her from getting hurt. Prim gets to have the normal and safe childhood Katniss never had, because Katniss has invested everything into ensuring she does.

We are taking a step up the ladder of self-sacrificial acts, here. In other words: more foreshadowing. Katniss will give everything for Prim. Prim is going to die, because Katniss is going to lose everything she cared about in the process of protecting everything she cared about.

In the woods waits the only person with whom I can be myself.

Katniss can't be a teenage girl. She has to be Prim's mom. She has to be tough. She has to be a provider. She has to be a trader. An advocate. She so rarely complains about it, too. But it shows here just how much she's given up. Only one place, and one person she can be herself with, and yet...

Gale.

Isn't this ironic. Because we are about to see, throughout the entire series, that this day is going to be the last time Gale actually lets Katniss be herself (and even here, there are strong hints that Gale wants Katniss to be something very different).*

*Disclaimer, because it seems important: my opinion on the Katniss/Gale vs Katniss/Peeta ship war is "team nobody." I think both of them were very bad for her in different ways. Any comment I make that seems like it is favoring one ship or the other... isn't.

“Hey, Catnip,” says Gale. My real name is Katniss, but when I first told him, I had barely whispered it. So he thought I’d said Catnip. Then when this crazy lynx started following me around the woods looking for handouts, it became his official nickname for me.

Maybe I'm overanalyzing, but I feel like this sums up the Katniss/Gale relationship so much. Katniss tries to speak, and Gale doesn't hear or understand her. Gale projects something onto her, and Katniss rolls with it. Sure, in this case it's a cute nickname, but it represents so much more to me.

Gale doesn't understand Katniss. Fundamentally. He understands the Katniss he wants to exist. The one who will run off with him and play house in the woods and indulge his little fantasies. He doesn't know very much about the real Katniss, at least as long as he's looking at her through a romantic lens.

“Look what I shot.” Gale holds up a loaf of bread with an arrow stuck in it, and I laugh.

Despite what I just said, I do love Gale and Katniss's friendship, and it breaks my heart that their friendship was as doomed as Prim. (Hint. Hint.) Katniss needed someone who understood the unique pain of parentification due not to abuse, but poverty- the kind where you aren't 'allowed' to feel angry at anyone within reach. Which is the worst kind of injustice. Getting mad at someone who harmed you is one thing, but getting mad at a system you can never (... yet) hope to change is different.

She must have really loved him to leave her home for the Seam.

It's said in a casual and sort of admiring way here. But Katniss is going to learn firsthand about the intersection between love and sacrifice. With the generational mirroring as a theme, especially between Katniss and Peeta, we're being given more foreshadowing that Katniss has self-sacrifice "in the blood."

I try to remember that when all I can see is the woman who sat by, blank and unreachable, while her children turned to skin and bones. I try to forgive her for my father’s sake. But to be honest, I’m not the forgiving type.

Another little glimpse into Katniss's pain and trauma. Her mom wasn't there when Katniss needed her most, and Katniss and Prim both almost died as a result. It wasn't her fault, and we see later that she regrets it deeply, but this still leaves scars. Your parents, above everyone else, are supposed to protect you. Katniss's mom didn't, Katniss nearly died, and because of that, Katniss had to sacrifice what remained of her childhood to become Prim's mom.

Katniss and Prim's relationship never goes back to just normal sisterhood after this. From the moment Mrs. Everdeen's trauma rendered her catatonic onwards, Katniss and Prim's relationship was infused with a mother-child dynamic that never left, not even when Mrs. Everdeen became well again.

It's so painful, all the more so because it's so real. I lived this with my little brother, albeit with stakes maybe 1% this high, when my mom became an alcoholic and my dad was too busy just trying to survive to really do anything. I was the one to take care of him emotionally, to show someone cared, to provoke my mom's anger so he wouldn't be hit, to make sure homework got done and he didn't skip school (I failed. Badly.) He still considers me more his parent than either of our parents. It never really goes away, even when you're both adults; that overdeveloped feeling of responsibility stays with you. Always.

And the worst part of it is when the parent who made you have to do this decides, on their own, that the time is right for them to come back. Katniss's mom is far more gracious about it than my own. She at least understood Katniss's pain, and didn't try to force the role on her; it happened only when Katniss was ready. But that too, as we'll see in a minute, was painfully real for me.

“I never want to have kids,” I say. “I might. If I didn’t live here,” says Gale. “But you do,” I say, irritated. “Forget it,” he snaps back. The conversation feels all wrong.

Once again, a hint that despite their sweet friendship and similarities, these are two tragically, fundamentally incompatible people. Katniss is in too much pain to think of ever having a family, and Gale is in too much pain to think of not ever having one. Katniss wants to survive the way she always has (which she doesn't realize isn't her destiny yet) and Gale wants to flee and survive literally any other way.

Both change in the end, but the underlying incompatibilities in their life approaches are still there.

And even if we did . . . even if we did . . . where did this stuff about having kids come from? There’s never been anything romantic between Gale and me. [...] Besides, if he wants kids, Gale won’t have any trouble finding a wife. He’s good-looking, he’s strong enough to handle the work in the mines, and he can hunt. You can tell by the way the girls whisper about him when he walks by in school that they want him. It makes me jealous but not for the reason people would think. Good hunting partners are hard to find.

A few very interesting things are happening here. One, we're getting another hint, first dropped during Katniss's thoughts about Buttercup, that Katniss has a pathological inability to believe others actually like her- romantically or otherwise. Part of it is low self-esteem, part of it is putting Prim on such a pedestal that Katniss feels she can never live up (and giving her more self-esteem issues) and feeling like anything she attributes to herself might take away from Prim, and part of it is just raw cynicism. And maybe a dash or two of the feeling of permanent othering trauma gives you. Especially when that trauma involves a realization that you're never going to be able to rely on others to meet your own needs. You're responsible for your needs and your loved ones' too.

(Katniss is one of the most complex and real characters of all time. I relate to Katniss an uncomfortable amount sometimes.)

The other interesting thing is that you're getting a sense, for the first time, of how much trouble Katniss has recognizing and processing her own emotions- a very common trait in neurodivergent people. She can sort-of-understand a feeling of jealousy, but can't quite put her finger on the reason, and fitting with her attitude of relentless practicality, she decides that it's the worry of losing a useful hunting partner. Because, after all, Prim is the only person she loves, she can't care for anyone else, there isn't room for that. To care about anyone else would be to "take away" something from Prim.

Katniss repeatedly raises the question of when self-sacrifice crosses the line into self-harm by proxy. When altruistic love becomes self-negation instead. It's sweet that she loves Prim so much, but the codependence... If this is the benchmark for love for Katniss, it's no wonder that she feels at this point that she can't feel it for anyone else. This isn't sustainable.

(Prim is doomed. We've been warned.)

I found the patch a few years ago, but Gale had the idea to string mesh nets around it to keep out the animals.

This is going to be a recurring theme; Katniss is too impulsive and lacking a sufficient cause-effect pathway to be a planner/strategist. Gale makes the plans now; later it'll be Peeta and Haymitch.

(Also, this is foreshadowing Katniss's lack of agency. She is about to become an audience member in her own life story. She found the strawberries, but she didn't decide what to do about them. Gale did. That's about to become her entire life.)

No one in the Seam would turn up their nose at a good leg of wild dog, but the Peacekeepers who come to the Hob can afford to be a little choosier.

There is a hierarchy still, where the Peacekeepers are starving, but not as starving as the people in the communities they're sent to. Everyone is hungry, but some are hungrier than others.

Hint. Hint.

“That’s not her fault,” I say. “No, it’s no one’s fault. Just the way it is,” says Gale.

"Remember who the real enemy is." Katniss gets told this repeatedly, by Haymitch and others, and eventually she learns the lesson in time to lead a successful revoltuion.

Gale does not learn this lesson. He will end up destroying everything he cares about in his pursuit of revenge against the Capitol and anyone associated with it.

Gale would normally say that there is a huge difference between Madge, the mayor's daughter who is pampered and comparatively privileged, versus the willfully malicious Peacekeepers; the middle class are still part of the proletariat, after all. But Gale, in his pain and fear, loses sight of it and lashes out. This time, it's just words. By the end of the series, when he gets actual power, it will lead to something far more catastrophic.

Prim is doomed to die, Gale and Katniss's friendship is doomed to end in the most bitter way possible, and Gale is doomed to be his own worst enemy.

Gale knows his anger at Madge is misdirected. On other days, deep in the woods, I’ve listened to him rant about how the tesserae are just another tool to cause misery in our district. A way to plant hatred between the starving workers of the Seam and those who can generally count on supper and thereby ensure we will never trust one another. “It’s to the Capitol’s advantage to have us divided among ourselves,” he might say if there were no ears to hear but mine. If it wasn’t reaping day. If a girl with a gold pin and no tesserae had not made what I’m sure she thought was a harmless comment.

Gale knows he's wrong to say things like that. But again, as said above, his pain and fear get the better of him, and cause pain to those around him. His normal philosophy is correct, but he loses sight of and discards it far too easily.

(Gale is going to lose everything because of his scorched-earth approach to anger.)

Also, a note: this is how the real world operates too. Culture wars to distract from class war. For an entire generation of readers, this was their introduction to the basic principles of socialism.

But what good is yelling about the Capitol in the middle of the woods? It doesn’t change anything. It doesn’t make things fair. It doesn’t fill our stomachs. In fact, it scares off the nearby game. I let him yell though. Better he does it in the woods than in the district.

Katniss is still hung up on practicality. When she rants about the Capitol, she is, subconsciously, crying for help. But venting for the sake of venting doesn't make so much sense to her, given her stunted emotions.

Another bit of characterization I really enjoy here is the realistic teenage behavior. Yes, they're the oldest in their families, responsible for their entire family and only able to support them by hunting, and they should "know better". But they're teenagers in a fascist government, with an already extreme list of traumas and corresponding problems with emotions. Of course they're going to act irrationally at times and scare off game because they're having a meltdown- even non-traumatized teens would do that sometimes!

They're teenagers. Incredibly well-written, realistic teenagers. They don't have fully developed frontal lobes with the corresponding gifts of planning, impulse control, cause-effect relationships, and other things yet. They're more mature than most, but they're still going to behave foolishly sometimes.

Prim is in my first reaping outfit, a skirt and ruffled blouse. It’s a bit big on her, but my mother has made it stay with pins.

This is probably a "the curtains are blue because they're blue!" moment, but this is another bit of symbolism I enjoy. Katniss, at Prim's age, was hunting and entering the Hob. Prim is being kept alive by both Katniss and Mrs. Everdeen. She has a dress that mostly fits. She has good meals now. She is protected where Katniss wasn't. The dress represents both the sacrifices Katniss made for her and the fact that now, Prim has the adoring mother Katniss didn't have. She has two loving people looking out for her, willing to do anything to keep her safe, healthy, and happy.

(Prim is doomed.)

To my surprise, my mother has laid out one of her own lovely dresses for me. A soft blue thing with matching shoes. “Are you sure?” I ask.

Katniss can't comprehend her mom doing motherly things for her. Both because of the parentification, and because Katniss still fundamentally can't believe that anyone, even her own mother, actually cares for her enough to want to do anything for her. Not after four years of Katniss carrying the entire family on her back. It's incompatible with the world she's lived in for the last four years.

Katniss is painfully relatable.

I’m trying to get past rejecting offers of help from her. For a while, I was so angry, I wouldn’t allow her to do anything for me.

Painfully. Relatable.

What Katniss is feeling in this scene, I don't think I can describe to anyone who hasn't been there. It's relief-bitterness-anger-hope-longing-mistrust.

"Oh great, look who's finally here to help now that things are okay again and I figured everything out on my own! I want you back. I want a parent back. I don't want to do this anymore. I can't stop it. I can't trust you not to make me do it again. I'd better keep doing it so I don't get my hopes up. How do I even live without doing this? How do I live as a person and not a caretaking robot for my family? Am I allowed to do that? What kind of selfish person would I be if I did, especially now that I've seen what will happen if you fail again? No, I'm not letting you do this. I'll let you pretend to the little one because they need a parent figure and they deserve to feel normal, but me? Hell no, do you think I'm stupid? I am taking care of myself, I already learned what it costs to trust other people to see to my needs and that is not a price I'll pay a second time, thankyouverymuch. Yeah, mom I love you. I'm glad you're okay now. And thanks for doing this for me, I guess."

It goes something like that.

But I digress.

In just this paragraph Katniss expresses so much of the pain of parentification, so succinctly yet vividly that it makes my chest hurt.

I just really, really love Katniss, okay?

“You look beautiful,” says Prim in a hushed voice. “And nothing like myself,” I say.

Ow. Just... ow. She says it so matter-of-factly. Like she's just accepted it into her worldview; Prim, the embodiment of everything good in the world, is beautiful. Katniss, the leftover, the thing that exists just to take care of Prim, is ugly. That simple.

I wish we could have seen Prim respond here; surely she doesn't like anyone, even her sister herself, talking about Katniss this way? Or maybe Prim is so used to these kinds of casual self-put-downs that she's stopped trying to talk Katniss out of it.

Again: painfully relatable.

I protect Prim in every way I can, but I’m powerless against the reaping. The anguish I always feel when she’s in pain wells up in my chest and threatens to register on my face.

Once more: Painfully. Relatable. You put so much into protecting 'your kiddo'. And then something comes along and reminds you that you're even more powerless than the useless adults in your life. It hurts. It feels like you failed. It's one thing for you to get hurt, you already know how to deal with it, but them?

Ugh. Dystopian fiction isn't usually where my inner abused and parentified child gets validated, but this series unlocked some things in my neural pathways.

Thank you, Suzanne Collins, for Katniss. I feel so seen in so many ways through her and her story.

Sorry. I know this is supposed to be an analysis, not a love letter, but damn if Katniss doesn't play my heartstrings like a fiddle.

“Tuck your tail in, little duck,” I say, smoothing the blouse back in place. Prim giggles and gives me a small “Quack.” “Quack yourself,” I say with a light laugh. The kind only Prim can draw out of me.

Sorry, I am going to try to not repeat myself so much, but once again it just... Prim gets to be a child, because of Katniss. She gets to be a normal-ish 12 year old who makes silly animal noises and can't tuck her dress in. Katniss was fighting for her life and trying to find food. And of course it's not Prim's fault- I love Prim. But there's something just so painful about this contrast. Katniss had her childhood stolen from her, first by the tyrannical government she lived in, then her father's death, then her mother's mental illness, and finally the needs of a child she never should have been responsible for.

It's no wonder Katniss spends so much of the series in that emotional state abused, neglected, and traumatized children know all too well. You're simultaneously precocious and childish. Too grown-up one minute and acting like a child the next. Katniss never got to experience linear growth, and her psychology sure as hell shows it.

Painfully. Relatable.

Also, yet again: Prim. Is. Doomed. She's the most important thing in Katniss's life, the rationale for every decision Katniss makes, the reason she gets out of bed in the morning. The one person who makes Katniss's life worth living. Precious, sweet Prim, who retains her innocence and kindness in a world that aggressively stomps out both, is doomed by the narrative in every possible way.

Anyway, Gale and I agree that if we have to choose between dying of hunger and a bullet in the head, the bullet would be much quicker. The space gets tighter, more claustrophobic as people arrive. [...] I stare at the paper slips in the girls’ ball. Twenty of them have Katniss Everdeen written on them in careful handwriting.

When you're a child, you can't comprehend something awful happening to your parents, because your life experience just hasn't shaped yet to show you that it's even possible. You don't understand that it can happen.

When you're an adult, you can't comprehend something awful happening to your child, because your life experience has shaped to show you exactly how it's possible. You know exactly how it can happen, so you can't believe that it can actually happen.

Katniss is at a stage of her life that would already be transitional in normal circumstances, where she'd start contemplating mortality- but she's already dealt with it for years.

Her own death doesn't scare her anymore. Her sister's scares her so much that she doesn't even think it's a possibility. After all, everything she's done for the last four years of her life has been for Prim. To keep her alive and give her the childhood Katniss lost suddenly and traumatically.

Prim is doomed.

Taking the kids from our districts, forcing them to kill one another while we watch — this is the Capitol’s way of reminding us how totally we are at their mercy.

We got hints of apathy and cruelty before, but now the curtain is, for the first time, being peeled back. This isn't a system built on simple oppression. It's a system built on raw sadism.

It's another sign that Panem isn't sustainable. People can endure a lot of cruelty when their loved ones are hostages, but there are limits. When those limits get pushed (hint), something will have to give.

To make it humiliating as well as torturous, the Capitol requires us to treat the Hunger Games as a festivity, a sporting event pitting every district against the others.

Bread and circuses. The poor give labor (food) and entertainment, and the rich receive them. The rich live sequestered lives full of privilege, yet ultimately just as much under the thumb as the tyrant as anyone else. But still supporting the system because they lack the empathy to want change when they benefit from the status quo more than they would from a new system, so they think. They are simultaneously disgusting and pitiful.

Like the comfortably wealthy Trump-supporting boomers we all know and loathe.

The last tribute alive receives a life of ease back home, and their district will be showered with prizes, largely consisting of food.

Our very first, incredibly subtle hint, that winning the games might be even worse than losing them. The first time reading, of course, you'll take this at face value. Later, though, you'll think of this and realize it was all only mockery and isolationism, a way of guaranteeing that the victors would be scapegoated by their District, ensuring they would never find companionship again even if their trauma didn't prevent it. And they can't complain, because, after all, they now have a life of comfort.

So many things are intersecting here; class warfare (Victors being an allegory for "temporarily embarrassed millionaires" and the American Dream) and the isolation of trauma and mental illness and more.

But suddenly I am thinking of Gale and his forty-two names in that big glass ball and how the odds are not in his favor. Not compared to a lot of the boys. And maybe he’s thinking the same thing about me because his face darkens and he turns away. “But there are still thousands of slips,” I wish I could whisper to him.

Katniss so rarely worries about herself, only those she cares for. Again; her own mortality is okay to her. It's those she protects she can't let this happen to. But since she can't even bear to face the possibility of Prim being chosen (Prim is doomed) yet, she focuses her feelings on Gale, not only worrying that he'll be picked, but worrying that he will be upset that she might be. She only spares thoughts for herself for a few brief seconds, in the next paragraph.

Katniss gets accused of being selfish so many times, but it's notable that those moments only happen once she volunteers to go into the arena, once her survival depends on a bit of selfishness. Before then, she's one of the least selfish people in the entire series, and I'd argue that even at her worst she doesn't count as truly selfish. She's a teenager trying to survive and return home to her family, not a toddler who won't share toys.

I’m feeling nauseous and so desperately hoping that it’s not me, that it’s not me, that it’s not me.

But, of course, even when you are theoretically okay with dying, being faced with the actual thing will still inspire terror. So for just a moment, Katniss lets herself lapse into worry about herself.

For just a moment, she thinks about herself- and just that fast, Prim is placed in danger.

(This is how Prim will die too, by the way; being put in danger the one time Katniss is focused on something other than her. Prim is doomed.)

Effie Trinket crosses back to the podium, smoothes the slip of paper, and reads out the name in a clear voice. And it’s not me. It’s Primrose Everdeen.

The unthinkable has happened, and Katniss's life has been changed forever.

And even though she can save Prim this time, it's only temporary.

Prim is doomed. Nothing in the world can prevent it now. Prim would die in the arena, but by going instead, Katniss has put herself in a position where any and all actions she does will spark a revolution that gives her a Pyrrhic victory.

There is no version of events where Prim lives.

Prim is doomed.

[tenebraevesper]

Shadow the Hedgehog (Sonic Prime, Character Analysis - Part 3)

Welcome back to Part 3 of my character analysis, now focusing not only on Shadow, but also on Sonic! This part will be only covering the second half of Episode 09: Avoid the Void, as there is a lot to talk about. I had also realized that I probably could've just breezed through the episode, but instead, I had the urge to put these two hedgehogs under a microscope because they are so fascinating to talk about.

Let's dive in!

After realizing just how bad the consequences of his actions were and how Ghost Hill came to be, Sonic wonders how he should fix things. Shadow just sighs and tells Sonic to follow him, leading him back to the cave where the Paradox Prism was.

The first thing to note here is Sonic's body language as they arrive at the cave. At first, he seems to be ready to confront whatever is awaiting him, only for his expression to fall and he seems to be a bit lost in his thoughts, clearly reluctant to enter the cave. He understands what he had done and he is not ready to confront his past actions... at least, not until Shadow calls his name.

''Sonic!''

Shadow doesn't sound angry in this scene. It is more as if he's just trying to draw Sonic's attention to get him to move. I'm certain that Sonic would've stood in front of the cave for ages before even going inside, probably trying to come up with some excuse not to have to do this.

We see Sonic being quite unsure of this, holding his arm in comfort as he approaches the cave slowly, with Shadow patiently waiting for him. He clearly doesn't want to be here, especially since he doesn't know what to expect.

As Sonic walks into the cave, we also see Shadow briefly glancing at Sonic's shoes, which are reacting to the remaining Shard of the Paradox Prism, which is just more foreshadowing for what is about to happen.

Shadow then turns his gaze back to Sonic, who stares in grief at the lone Paradox Prism Shard within the cave, joining him a moment later. I think there is something quite telling about this scene. Shadow actually gives Sonic a moment to process everything, leaving him to contemplate in silence. There are no comments, no fighting, nothing... just silence. I do have a bit more to say about this moment, but I will leave those thoughts for a scene in Episode 17: Grim Tidings.

''I would do anything to be back...'' ''Home.'' *pauses* ''There is a chance.''

After Sonic has a flashback to the moment he shattered the Paradox Prism, he wishes for nothing more but to be back... home, as Shadow finishes for him. I do love that Shadow is the one who says ''Home'' here, showing not only that he understands Sonic's grief, but again, he acknowledges Green Hill as his own home as well. He then slightly lowers his gaze, having a contemplative look, before telling Sonic that there is a chance.

One thing I love about Shadow here is how he actually gives Sonic hope that there is a way to fix things. He doesn't just confront him with the harsh reality, but is also very patient with him, giving him time to process things, before explaining that there is indeed a way to fix things.

The two then dash to the Ghost Paradox Prism, with Shadow explaining how every Shattespace contains a Shard, creating a distorted version of their reality, meaning that the Shard in Ghost Hill is the real one.

''Exactly.'' *Sonic slowly reaches for the Shard* ''Don't!'' ''I wasn't going to touch it! I was just pointing at it to tell you not to touch it!''

Honestly, this little exchange had me chuckling. Once again, Shadow knows Sonic too well, just closing his eyes and moving on, not even caring about Sonic's lame excuse.

Instead, he reveals his plan to Sonic, pointing out how the Ghost Paradox Prism shows them how the other Shards need to be placed and that bringing them together would fix their reality, with Sonic interrupting him, agreeing that this plan would work.

Note Shadow's expression here as Sonic starts speaking. He is frowning and gritting his teeth. I may have had said that Shadow was probably on the fence on whether to let Sonic help him, but I think that in this moment, especially when Sonic starts talking about Nine, he has made the decision to find the Shards on his own.

''No!'' ''No?'' ''No!'' ''Why 'No'? I just said he's like super smart.'' ''He can't be trusted.'' ''What are you talking about? Of course he can! He's just like Tails! He's just a little... angsty, that's all.'' ''No, he's not Tails. He's Nine, and they're not your real friends!'' ''Dude, he's real! This is his reality! And you know what else is real? Nine's tech on my kicks and punching sticks. So back up off Nine!'' *growls*

Honestly, there is a lot to say about this dialogue. First of all, while Sonic defending Nine is very admirable, Shadow isn't wrong in saying that Nine is not Tails, nor that he is real. From a logical standpoint, Nine really is not Tails, but his own person. He is Nine, and he was created as a Shatterspace Variation of Tails' personality, the part of him that seeks emotional validation. Shadow understands that, but Sonic does have a point that Nine is indeed real, although Nine would be real in the sense that his existence is tied to the New Yoke Shatterverse.

Also, note how Shadow doesn't continue the argument, just growling in frustration when he sees that Sonic has his mind set on Nine being just like his Tails. The conversation then continues.

*sighs* ''Okay, look, what matters now is that I get the Shards. I'll bring them back here, and then we-'' ''That's not the plan.'' ''Dude, not the plan? I'm totally confused. I thought a moment ago you said-'' ''Sonic, you literally broke our world. Why would I trust you to do anything?'' ''Okay, I can see how you might think that-'' *gets knocked back by Shadow, hitting a wall* ''Ugh.'' ''Your turn is over. I'm taking the tech and I'm going after the Shards myself.'' ''No way Shadow! I know what you're capable of and that's not gonna happen! Nine and all the rest of them are real! So the only way you're taking my tech is over my dead-'' *gets attacked by Shadow into a wall, groans in pain* ''You could've at let me finish what I was going to say!''

Now, there is a lot to unpack here, especially when it comes to Shadow. He now believes that Sonic cannot be trusted with gathering the Shards, making it his personal mission to do it himself. I don't think his lack of trust in Sonic's abilities is just because of Sonic shattering the Paradox Prism, but also because of Sonic's trust in Nine, a person Shadow is clearly paranoid about.

Sonic protests, and his words ''I know what you're capable of'' hold a lot of weight when you know Shadow's backstory. Sonic is not just saying that he knows that Shadow would beat up anyone who stands in his way, but pointing reminding both himself and the audience that, if Shadow is motivated enough, he's capable of destroying the world.

He then gets interrupted by Shadow, who doesn't even talk back. This is another aspect of Shadow's character, as once he is done with all the explanations, he is all business and once he is focused on a mission, he has no time for small talk. If Sonic wants to stop him, he will have to fight.

What follows next is one of the best fights of Sonic Prime, and you can't change my mind about that. I will highlight some moments of the fight, because you can actually see that there is some strategy behind it.

''That's one! Three to go.'' *puts tech on his hand* ''Want it back? Come and get it!''

When Shadow gets punched by Sonic, he actually manages to bite the tech off his hand, which is actually genius. Not only that, but he actually is the one to start goading Sonic into fighting him. During their last fight, Shadow was mostly silent, trying to stop Sonic, but now? Now he's going all out.

As a matter of fact, you can actually see him smile several times during the fight as he baits Sonic into attacking him and dodges his moves. It is very brief, but it shows another side of Shadow - he enjoys fighting Sonic, and from what we have seen earlier in the show, Sonic also enjoys fighting Shadow.

There is a reason why Sonic has called him his biggest rival, several reasons in fact. Shadow is the only one who can keep up with Sonic, both in speed and fighting skills, and both enjoy fighting each other (whether the fate of the world is at stake or not). In short, he and Sonic aren't that different, and I will explain that in a moment, but let's just enjoy these two beating each other up.

If you know Shadow, you will know that this pose is a reference.

Drowning selfie!

Anyways, to recap what happened until now, Sonic chases Shadow to the beach, where Shadow manages to get two more pieces of his tech, before throwing him into the water (Sonic's weakness, as he cannot swim) and then grabbing the fourth piece of the tech. As Shadow swims away, Sonic manages to grab the tech on Shadow's shoes, something Shadow doesn't notice.

He is about to walk away, when Sonic shows off the tech he snagged away, much to Shadow's shock. *chuckles* Dude, you're really underestimating your rival!

Honestly, I just love how expressive Shadow gets during the fight. He is always seen with a scowl, but now we see a wider range of expressions and emotions from him, and it is glorious.

The fight continues, and we even get a scene of Shadow using Sonic as a surfing board (Sonic Riders reference?), and it is just fun following these two in their high-speed chase. Shadow eventually manages to get back the tech pieces from Sonic, putting the last one on with quite a lot of flair (I wish I could post the screenshots of that, but again, Tumblr has a limit of how many images you can put in one post).

*breathes heavily* ''One left... Come at me, bro!'' ''Nah, I'm good.'' *shows off stolen tech* ''Huh?! No!'' ''So long, Sonic! See you back home.''

I absolutely love this scene! Shadow doesn't just leave, but stays for a moment to rub it into Sonic's face that he won. It is so hilarious, but also so in character! Shadow can have fun when he wants to, although this usually involves Sonic in some form *hears the Sonadow fans screaming in glee* *stares at the rest of the audience* What, I am right, aren't I? Did you see him act like this around anyone else (in Sonic Prime, I'm not talking about the games)?

This is then followed by a chase between Sonic and Shadow, with Sonic having a hard time to control the Paradox Prism energy without the tech, and Shadow...

Look at that grin! Shadow is a smug bastard and he knows it! We also love him for that!

With Shadow escaping Ghost Hill, Sonic is left behind... until he has a moment where he remembers what Shadow told him previously about his Prism Energy and being able to create portals - proof that Sonic actually did listen to Shadow! Elated, Sonic uses it to escape into The Void, where he tackles Shadow and their fight continues, with both of them having to avoid the crystals falling around.

''Come at me, bro.''

It is repeated in monotone, but I do love that Shadow actually mocks Sonic with his own words. He is more than willing to continue this fight. However, it is cut short when they get to the New Yoke gateway and spot the Chaos Council flying into Boscage Maze with their fleet of ships. Shadow follows them, but unlike Sonic, he still cannot get through the gateways.

Man, that looks painful, and what follows is even worse, because Shadow is sent flying into the black hole below, much to Sonic's horror.

Sonic is horrified, not just because Shadow is about to die, but he also probably has a flashback to what happened in Sonic Adventure 2, when Shadow was left flying towards Earth and Sonic was unable to save him. However, this time, Sonic won't repeat the same mistake.

This time, he manages to save him (and the Sonadow fans go wild!).

''You're not dead. You're welcome! On the bright side, I'll get to hold this over you foreeeever. Oh, and I'll take my tech back.''

Now, it's Sonic's turn to be a smug bastard. Do you now understand why these two aren't too different from each other?

Shadow replies how he doesn't understand, as he thought that the tech would allow him to go through gateways... and then he realizes that it's not the tech - it's Sonic.

''The only way to fix the reality you shattered is if we... work... together.'' ''Together!'' *groans* ''Wow! Coming from you that's, well, not like you at all. Man, you must really hate having to admit that you need me.'' ''You need me!'' ''Sure, I'm big enough to admit that. But, not as much as you need me.''

Honestly, their banter is just as hilarious as it's cute. Shadow genuinely looks like he's in emotional pain when he says that he has to work together with Sonic, and Sonic is not just surprised, but also is very happy to hear that from Shadow. Shadow then points out that Sonic needs him, with Sonic getting the last word in in their banter as he leaps to get to Boscage Maze.

Sonic's grin and Shadow's little nod here say more than a thousand words. To me, it seemed that Sonic was actually seeking a bit of validation from Shadow, something to make it clear that Shadow trusts him now and that they will work closely together from now on, with Shadow nodding in agreement. It is such a small, yet powerful moment, showing us that Shadow has finally come around to rely on Sonic's help. Sure, he had to be knocked out to realize that, but what would Shadow be without his stubborness.

Sonic is now set, having Shadow as a powerful ally and watching over him.

This was an amazing showcasing of Sonic and Shadow's relationship, and my conclusion by the end of it is this:

Sonic and Shadow complement each other.

*hears cries of joy* Calm down Sonadow shippers, I'm done yet with this statement.

If you know the process of creation of Shadow's character, you have probably heard that Shadow was supposed to be a darker reflection of Sonic (his previous name was Terios, which means ''reflection of''). These two are two sides of the same coin, with Sonic representing the more carefree and freedom-seeking side, while Shadow is the more grim and focused side. Both want to protect the world, but often clash due to their differing methods.

However, while they don't work often together, when they do, they work really well together.

You have seen in this very episode that Sonic, even though he had a plan, he was very unfocused and has a hard time listening to people. So, when does he get focused? It is when Shadow knocks some sense into him, confronting him with the harsh reality of their situation, but also giving him some hope that they can fix their reality. Even in previous episodes, we saw that Sonic's friends, be it the Green Hill crew or the Shatterverse Variants, had a hard time to get him to listen, but with Shadow, it's different. He knows how to treat Sonic and what to tell him and it's beautiful to see.

Both Sonic and Shadow were right in their conversation. They need each other, because alone, they won't be able to save the Shatterverse and Ghost Hill. However, they are just in the middle stage of their developing relationship and it'll be an uphill battle for them to finally work together properly.

It is also one of the many reasons people love the Sonadow ship so much. No matter their differences, they are very much alike and it just takes them to open up a little to acknowledge that.

Also, the moment I saw this episode, I made a Sonadow AMV, with the song being Vandalize by One OK Rock, aka the song from Sonic Frontiers (click on the link provided to watch it). Seriously, you can't tell me that that isn't a Sonadow song. Enjoy!

Anyways, I'll see you in Part 4, which will (hopefully) cover the other seven episodes of Part 2 of the Sonic Prime (I refuse to call 8 episodes a Season no matter what Netflix says).

#Shadow the Hedgehog (Sonic Prime, Character Analysis - Part 2)

#Shadow the Hedgehog (Sonic Prime, Character Analysis - Part 4)

#Sonic the Hedgehog Analyzer (Masterlist)

[poppystheories]

The Lala and Gozul Containment Post:

This was admittedly the part I was looking forward to the least in my reread. Not because of anything bad, but because, well, there's a lot of foreshadowing here and lot of conclusions you can draw and a lot of them make me deeply unhappy.

Upon actually rereading, I came to several realizations that actually made me more optimistic about Allen's future haha

But lets take it from the top.

Starting off with an incredible chapter cover: Kanda and Allen, back to back, the cross inbetween them. Yes, it gives me Pillar vibes too. We're gonna ignore that for the moment because I don't have a clue how to interpret that. It could mean anything. Or nothing.

Lala and Gozul in front. The composition here definitely highlights all the Lala and Allen parallels we're going to cover below, but Gozul parallels both Allen and Kanda a bit, so he's in the middle.

Lala is very, very Allen-coded. The lie is she is a child abandoned by humans, found and kept by a malfunctioning ancient being.

The reality is Lala is not a real child, she was not abandoned by any parents, and she is created by Innocence. Likewise, Allen was also not a "real" abandoned child, but someone remade by Innocence.

Her left eye and left arm are also, well, fucked up.

She even fights the same way Allen did earlier this same arc, by using her strength to tear apart the crumbling city and throw it at her enemy:

But Gozul is also kinda Allen coded, right? In terms of role, as a disfigured human raised by malfunctioning ancient being. Gozul feels responsible for destroying Lala himself, because he loves her and doesn't want anyone else to do it if it has to happen. It's not hard to think as this as the probable end of Allen's story with the Earl.

It is also a parallel with Kanda and Alma, and how both Kanda and Alma felt like they had to be the ones to destroy each other. Someday, Alma will die in this same place.

But there's another person we're missing in this story.

Nea.

If Mana has to die, Nea wants to be the one to do it. If the original Allen was going to be erased, Nea wanted to be the one to do it. If the current Allen, all that's left of Nea's friend, has to disappear, Nea wants to be the one to do it.

The wish to "stay together forever" comes up repeatedly between various pairs of characters throughout the story, but especially Allen/Nea and Mana/Earl. It also comes up between Kanda and Alma. They all just want to be together with their loved ones until the end. This desire is without a doubt Hoshino's idea of "love".

Allen clearly sees himself in both Lala and Gozul and their ongoing tragedy. He can relate to them both, and he got to stay with Mana until what he thought was the very end, as Mana gradually slipped away.

He understands how they both were desperate for acceptance, abused by everyone they'd ever met before. How Lala was getting angrier and angrier at the world's rejection of her, just like he was as Red. How Gozul clung to the first hint kindness, just like he clung to Mana and Allen the dog.

Gozul and Lala "saved" each other and lived their lives together. Alma and Kanda got to be together, at the very end. They found their own peace together.

Notably, one of each pair did not destroy the other. Gozul did not take out Lala's heart, like he said he wanted to. Kanda thought he'd killed Alma, but it wasn't true, and in the end Alma asked Kanda to not destroy him with Innocence, but to let the Akuma-transformation kill him. Kanda agreed, and Alma crumbled to dust.

The "one destroys the other out of love" is not the conclusion reached here.

But, Allen is both sides of his own equation here. He's got a lot in common with Lala and Gozul. He's got a lot in common with Kanda and Alma. He's both Nea's Lala and Mana's Gozul.

There's also a big emphasis on Lala's heart. And this cover, with Allen placing a hand over his own heart. Later on, we'll see a very similar cover with Krory.

Yeahhhhhhh. Time will tell how that ties in to everything. Let's just keep it in mind going forward.

Lala gets reset after they retrieve her heart from the Akuma and attempt to restore her. The parallel with Mana, after being devastated by Red's Innocence, is obvious. He's no longer "Mana"—Nea already lost his chance to destroy "Mana" himself.

But this also parallels Allen becoming "Allen", no longer remembering Nea or the previous Junior, just a living puppet of the Innocence. Much like Lala was broken by the Akuma before Gozul could break her himself, the friend Nea was going to erase was erased by Apocryphos long before Nea even woke up again.

To Nea, both the Earl and Allen are broken dolls.

But, that's now how the story ends. Despite it seeming hopeless, Lala does remember who she is, in the end. Because Gozul didn't break her, at some point over the three days Allen patiently let her sing, Lala remembered herself.

The idea of managing to keep a promise at the end, despite having lost oneself, is very important here!

We haven't seen what Mana was like before he "died"; Allen's retelling of it is bleak. But I'm not so sure that's accurate. Maybe Mana regained awareness at some point of the time they spent together, maybe there's more to the story Allen doesn't know. Or maybe Mana will regain awareness, will remember who he really is, and the Earl will peacefully surrender his "heart", like Lala did, after fulfilling a promise.

As for "Allen"...

Allen is Nea's Lala, but "Allen" is Mana's Gozul. If "Allen" remembers being Allen, restores himself like Lala did, what of current "Allen"? And what will it cost? If Allen surrenders to Nea, Nea will kill someone they both love.

Kanda says that to save something, something else must be sacrificed, but what's actually established in this arc is: destroying what you love with your hands isn't the answer. Nea is wrong.