#this post is just for me to get through the day tbh

[scintillyyy]

Hi. I love every second of your blog going "Fuck Chuck Dixon. All my homies hate Chuck Dixon." concurrent with "Dixon could often be remarkably competent as a writer with legit interesting ideas." Please never stop writing metas.

listennnnnn i hate dixon he's awful. he's also written stuff i really enjoy despite the many glaring faults.

the thing with dixon that i'm always trying to suss out tho. like, i think because current day dixon has been radicalized in a truly awful and horrendous way, there's a lot of desire to place his current day radical beliefs onto every aspect of his past works and blame everything on him and him alone as this one terrible writer who ruined all characters for ever and ever just because he's a conservative. but like. i think that because he's an awful person it's easy to place blame on him retroactively for some things that weren't necessarily solely a product of his conservatism or his fault alone.

and mmm. i never ever deny the conservatism present in his works. it's present in his robin book with tim, it's present in his nightwing book with dick, and it's present in his batman books with bruce. but people sometimes act as if he was working in a batoffice that had the current day issues it does where writers are given a carte blance to do whatever they want with all characters with little regards to continuity or character growth. that did not happen during his tim under denny in the 90s--denny o'neil was known for running a fairly tight ship (i can't find the interview but there's an interesting retrospective interview he does wrt jason where he talks about his failures as an editor and how he was too hands off and not firm enough allowing writers to do what they pleased which led him to become a much stricter and firm editor following jason's death because he learned from the experience). dixon in that interview i posted made it clear that o'neil wouldn't even let dixon touch the joker until dixon had demonstrated to o'neil he had a grasp on the character that o'neil approved of. dixon would not have been allowed to do whatever he wanted with characters like robin/tim. without o'neil putting a stop to it if he had gone too far. and for the record, o'neil was a big old bleeding heart liberal that, at the time at least, dixon is noted to have gotten along with very well despite their political opinion differences even at that time. dixon says he was an avid read of grant's work on batman. he's awful now, but at one point he was probably younger and a bit more willing to entertain ideas that weren't his own too.

so when i look back on his work as a historical work, i'm always trying to tease out the following - is this representive of dixon's brand of conservative views in particular or is it representative of a different, overall more conservative time era. and there's a lot of things that fall under the second umbrella that get attributed to the first tbh. listen i love no man's land and understand that despite my love it is full of copaganda and downright conservative ideals by today's standards. but NML wasn't written solely by dixon to push a uniquely conservative pro-cop view--o'neil approved of the story and was the editor of the office at the time. rucka was a huge player in helping tell this super pro-cop story (he even wrote the novelization!!) and nobody ever really puts blame on him for these things the way they do dixon afaik. NML being written in a 'democrats trying to be tough on crime' era absolutely means it's not solely the fault of dixon and his evil conservatism, but he often gets the flack as if it were despite the fact that he was getting these stories okayed by people on different ends of the political spectrum than him + these stories were not his evil conservative brainchild alone.

so these are the things i'm thinking when i read through his works. and maybe that gives me a rosier view than it should, but a lot of my thoughts come from "what can reasonably actually be attributed to showcasing what dixon's views actually are" vs "what might actually not be his fault and his fault alone".

and when i say that tim generally isn't the one who showcases his personal views, i'm not trying to minimize the fact that there is inherent conservatism baked in to his character along with everyone else written by dixon, i'm saying that we need to be realistic and realize that dixon did not have as much freedom to do with tim what he had freedom to do with tim's side characters. tim, after all, had to ultimately fit in o'neil's batbible framework of what he was supposed to be because tim was ultimately an IP character who was part of a batman and robin mythos that o'neil was very, very protective of in the 90s given his previous failures to maintain control of the ship. so when you consider dixon's particular conservatism in tim's books you need to consider that the vast majority of it came from the characters surrounding tim (such as his dad, dana, steph, etc) because dixon had more freedom with those sorts of characters, rather than tim himself who often doesn't have any particular opionion of his own--he's just reacting to all the different opinions being presented to him. and that's not to say that those character should be evil conservatives forever and ever--in fact, i personally think they shouldn't. but take the racist and classist inner city kids are bringing guns to school storyline in robin #25-26. as a whole it's a conservative story. o'neil allowed dixon to do the story in the first place when he could have said no. in the story tim wanders around not knowing what to do about karl bringing a gun to school--which is why he has to go to his dad and dana, who represent "go to the cops/don't be a narc options"--his dad is the one who tries to talk to karl's dad--karl is the conservative one who thinks that they need to protect themselves from inner city kids compared to tim who thinks that guns shouldn't be in school. but tim also thinks that they shouldn't go to the cops and wants his dad to handle it by himself, but eventually comes to the realization that he should have gone to school administration to begin with. in these issues, steph is also the one who dixon uses to link karl's shooting to the inner city kids who are getting bused in to the suburban schools--we talk about that panel of steph declaring herself the protector of the suburbs, but also that panel in context is within the confines of the story--steph is essentially saying "maybe the suburbs need a spoiler (to protect themselves from the inner city people coming to bring crime out to them)" which absolutely is a conservative dixonism that you can pinpoint to his particular kind politics in comparison to the milquetoast of tim's "i don't know what to do/talk to a trusted adult to get help before tragedy happens PSA/overall conservativeness" that happens. that the story itself that exists in tim's book is conservative, yes, and i won't deny that tim also has a few conservative dialogue here but to me the difference is that o'neil would not let dixon use tim drake to go on any overtly political rants or represent any specific ideology *himself* that could make him controversial with readers of the time given how protective o'neil was of not repeating his previous mistakes. you're generally going to find the more egregious dixonisms outside of tim. like "robin 1993 is a conservative book that has a pro-life storyline" (true) =/= "tim goes on an anti-abortion rant" (not true, literally never happened). tim shares blame because ultimately it is his book that presents a conservative worldview but tim as a character tends to exist as a more moderate (not completely, but more) character to have other characters present options and opinions to him rather than he himself saying he has those opinions. robin cannot take sides like that. o'neil wouldn't have let that happen.

and like. when discussing dixon my goal is never to completely absolve tim of dixon's writing. i just don't often see a need to completely rehash the tim-conservatism points because it's been discussed already over and over again to the point there's a pretty widespread misconception that tim is the ultimate dixon conservative mouthpiece who is solely at fault for all of robin 93's conservatism when actually there's a lot of other interesting places dixon's conservatism presents that are almost never discussed in comparison. my goal is not to be "tim's not at fault" or anything but it is to seriously consider and think about where i see dixon's personal opinions shining through more overtly based on what i know of the conservative mindset (as much as i don't agree with it). dissecting dixon and how he writes in consideration of his beliefs is fascinating and fun to me.

anyways he's awful.

[rdr2enjoyer]

Can I get some 'dirty talk' headcanons? 🙏🙏

Their dirty talk is tbh one of my favorite things to theorize about. I’m a slut for some good dirty talk.

Long and very NSFW post beneath the cut

Arthur- Arthur is a little more talkative during sex than one would imagine. His dirty talk is all praise and encouragement, talking you through it with a soft yet authoritative tone meant to make you feel like he’s got you.

“That’s it, take it just like that. You’re doing so well, sweet thing.”

“Just breathe…there you go. Told you you could take it.”

“Eyes up here. Focus on me, darlin’.”

Charles— Charles is characteristically quiet during sex, but what does slip out tends to be surprisingly filthy. It’s as if there’s another Charles hidden beneath his skin that occasionally breaks free with a mix of reverent and raunchy outbursts.

“Gonna make it so you ain’t walking right for days, little bird.”

“You want me to fill you? Make you mine?”

“Don’t look away. Let me see those pretty eyes.”

Dutch— Degrading, possessive and filthy. Dutch treats you more like a pet or a treasure than a lover, and his dirty talk reflects that. He’ll praise you when you do well, and admonish you when you fail him. He uses his words to train you into the perfect toy for him.

“Uh-uh, don’t you dare spit it out. Swallow it all.”

“Oh you can take it. Every last inch…”

“Further. I wanna see the shape of my cock in your throat.”

John— John is borderline obnoxiously talkative during sex and his dirty talk is straight up perverted. He tends to get completely lost in the moment and all shame just goes out the window. He’s almost always embarrassed about what he’d said as soon as he finishes.

“Gonna make a goddamn mess outta you. Leave you leaking me.”

“That’s my boy/girl. Taking my cock like you were made for it.”

Bonus sub!John

“H-Harder, Fucking wreck me.”

“Don’t care if it hurts. Just need you.”

Javier— Javier’s dirty talk toes the line between romantic and straight up filthy. Indecent words fall from his lips with a tone of reverence so stark in contrast it leaves one dizzy.

“You look gorgeous like this, Mi amor. Taking my cock down your throat…”

“You’re going to get me addicted, baby.”

“That’s it…keep looking at me. I wanna watch your face as you cum for me.”

Sean— As talkative and hyperactive as Sean is in his day-to-day life, he is equally so in bed. His dirty talk is a bit over the top and sometimes a bit embarrassing, but every now and then he drops these insanely earnest compliments and praises that make your heart stop.

“Oh darlin’, the things I’m gonna do to you’d make Lucifer himself blush.”

“That’s right, call my name. Who’s your daddy?”

“Christ I…I need you. Anything you want. Just please…”

Kieran— Kieran has a tendency to ramble when he’s nervous and this does not exactly get better in bed. There is a point however when he goes from a nervous mess to someone completely drunk on you, and he goes from nervous rambling to affectionate and needy babbling.

“Please. Please I-I’ll be good. I need you. Anyway I can have you-“

“However you want me y-you can have me. Please just touch me—“

“Feels…so good. Y-You’re amazing.”

Micah— Degrading and filthy and mean. His dirty talk is all wrapped up in stroking his own ego and his pride.

“Look at you, ruining yourself for me. You’d do anything for me wouldn’t you?”

“That’s it. Tell me how good it feels.”

“Gonna ruin you for all other men. Make you mine.”

[warmcozyblanketz]

things i need to do today:

write 30 cards

clean my whole darn house (or at least start)

propagate what is left of the plants my negligent partner killed while i was gone to hopefully clone them 🙃

things i have the energy to do:

make pasta and sleep

things i would like to do if i had the time & energy:

take an epsom salt bath

yoga/cardio/pt

put on a cute outfit

grocery shop

unpack

laundry

schedule a dmv appointment bc i have no id atm lol

misc other stuff i def need to do but am avoiding so hard im not even gonna think about what those things are

(I will most likely do none of these things)

things i will do:

cry

make pasta and sleep

nap

make coffee even though my therapist said to stop having caffeine so late (oops)

write the stupid cards 🎉

eat dinner

fill the cat feeder

cat waters

(most likely) not clean -- guess who tidied hehe 🤗

(most likely) stay in my pajamas ✅

things i MIGHT do:

charge the roomba

tidy clothes + dirty dishes + trash + misc objects

~start~ unpacking

collect laundry in a laundry bag

at least bring the walking pad out from storage

put teepee back together

wash my face before bed

reflection

completed more than i thought but also worried i burned myself out a bit for tomorrow..time will tell. proud of myself either way ^.^

Tomorrow

put on a cute outfit

change towel

propagate the planties

make dmv appointment

make grocery list

order groceries

finish unpacking

vacuum

put away laundry from last week

sort laundry to do

therapy 🕺

overall deep clean (as much as i can)

cook dinner

laundry (hopefully)

apply to backup job (maybe)

stretch/cardio/pt (maybe)

epsom salt bath/shower (maybe)

build new lego kit (hopefully!!)

:)

[mulders-too-large-shirt]

s3 episode 6 thoughts

it’s been an exhausting day. work was awful. i was brave and didn’t cry whilst there. and for that, i deserve this episode even more than usual. 

oooooh it’s an internet episode!!!! an episode about an internet killer!!! that probably felt new and scary back then!!! i’m excited to see something i assume as naturally dangerous as hitchhiking to be seen as scary and new. let us jump in, and enjoy the adventures of our agents, and numb ourselves to the hardship of the outside world.

these two people are in a car. he is smooth talking her. oh… they only waited three months to meet in person after talking online. hmm… is that speedy or not? i guess that depends on who you ask. for me, i’m gonna say speedy. because they didn’t even see each other’s faces before this.

he has mysterious scars on his neck. yeah, i noticed that very conspicuous camera panning. the music is very ominous. and now they’re kissing. 

OH??? THERE IS A STICKY FLUID. IN HER MOUTH. an unusual one. not whatever you were thinking. what the hell… was that man some kind of insect????? there was real goop in there, man. eughhh it was very gross. 

cop is approaching the car next day. and she is like. jelly? as in, covered in gel. the gelatin monster has struck and apparently he’s surfing the net. 

(trust when i say i’m not a gelatin monster. or don’t trust. perhaps skepticism is better)

okay, investigation time. this guy shakes hands with mulder and entirely ignores scully. tells me a lot about his character very quickly. mulder has also got some more conventional looking shades this time around. perhaps his other ones were just not keeping the sun out like he had hoped for.

body reveal! so it seems that the goop has um. melted her skin? EUGH. mulder swabs the goop. it’s just a prop, i tell myself to avoid gagging. a prop with excellent construction that was very carefully crafted. shoutout prop team as always. 

detective looks real freaked out by the goop. yeah he’s not special in that regard.

mulder says he has heard of similar killings from women placing ads in the paper! i don’t want them to separate though, as he announce he’s going on an investigation while she does an autopsy. c’mon, can’t we do some teamwork in the same room?

scully looks disgusted at the bloody goop in her hand. this is appearing to be a universal sentiment.

the goop man is at the computer typing to another woman. and smiling mischievously. we learn, from a woman dropping a key off at his door, that his name is mr. incanto, and she thinks that since he types and gets a lot of packages, he must be a writer or an editor. and she wants him to read her poems. wow. leaping to conclusions here. i admire it. it’s clear she’s flirting with him, and the idea of a person you’re attracted to reading your poems is a wild one for me to entertain. personally i would rather explode crazy style.

scully is scrubbed up <3 and she is so cute <3 i don’t mean this in a condescending way… she just looks cute in a fully “i respect her capabilities” kind of way. don’t worry. but this man is not respecting her and is shocked she’s a doctor. rude as hell… could never be me.

he says he’s old fashioned. umm okay if you want to be all manly about it how about you cut up the goop body yourself… oh that’s right you can’t. because you don’t have the skill set. or even any skill sets, as far as i can tell.

he says this is effecting her judgement because the victim is a woman and he isn’t being sexist. IF YOU DON’T SHUT YOUR MOUTH MAN…. she is so patient even when she ought to rip his heart from his chest with her teeth

she’s making a face when he leaves like she really IS thinking about doing some heart ripping and then she gets into the recording mode. and the body has increased in goopiness. in fact. there is only a skeleton now and a LOT of liquid. oh… 

mulder is asking about the murder victim, and he’s sitting on a very 90’s printed couch, and yeah he looks good. don’t worry about it. he’s asking the victim’s roommate what chat room they met in. now personally, if i was talking to people on a chat room, i would not be telling my roommate the names of said chat rooms, but maybe it was different vibe wise at that time. imagine if my roommate knew i ran a blog like this. i couldn’t picture such a thing. and the victim would READ her roommate the letters???!? OH I CANNOT IMAGINE SUCH A THING!!!!

he uses the roommate’s house phone to call scully, who is dealing with a very wet skeleton. but that’s so funny to me. he wanted to use someone else’s phone to call her. maybe his phone still hadn’t been replaced since that kid melted it in episode 3.

he’s putting out a localized online warning… is that a thing? wow. you learn so much on this television program.

“in life, bones have the tensile strength of forged iron”, says scully. and i’m giggling. n kicking my feet.

ohhh the bone is SQUISHY. it is not supposed to be this way. but it did look quite satisfying. again, props team, shoutout.

oh tea… the body fat wasn’t there!!! it disappeared. scully is like, why would he do that, steal a victim’s fat. and i would love to know the same thing. 

another woman is preparing to meet with the goop monster. oh, but someone is telling her there was a warning SPECIFICALLY for woman in cleveland to not go meet people online! but she’s like nooo i’m a good judge of character. LIES LIES LIES. she’s only been talking to him for a MONTH???? HOW CAN YOU JUDGE A CHARACTER IN A MONTH?

the killer’s at a fancy restaurant looking place with a bouquet of flowers and he’s checking his watch. oh and he dumps the flowers!!! queen of self preservation saved herself tonight by standing him up??? yes, it appears this is the case!! 

now there are a bunch of ladies on the side of the road. i have only seen this happen in this show and never in real life, but maybe i'm not looking in the right direction. NO! he sees a woman and smiles. they go to a back alley… no!! but she won’t kiss him. okay, i think, she has a chance. alas. i was wrong. so he attacks. OH AND HE IS SLURPING ON HER BODY???? another woman finds her goop-ified. 

they’re at the scene and the detective is being awful (shocker!) but mulder hands over some of the letters from the killer, and notes that they contain letters from 16th century italian poems. which tells me he is familiar with 16th century italian poems. ohhhhhhhhhh. blushing a lil. 

focus. so the fellow would have access to niche italian poems, is what we are learning here. likely a college professor, or a grad student, or something along those lines.

the killer should also have a wound pattern, they note, because the woman scratched him very well.

and BLEGHHHH, cut to his place, where he’s cutting his wound??? like straight up trimming it like it’s fabric or something. nasty nasty nasty nasty!!!

someone is bringing him a package. and the woman who asked to show him her poems asks him to dinner?!?!?! but he says he’s busy. the teenage daughter reads him for filth. he’s creepy and smells weird. delivered by a girl who meant every word she said.

scully is posing impeccably, looking as someone types on a computer. it was formidable.

mulder comes by with some results and he sort of. scoops her out of the room. 😳

theory time in the hallway! hallway theory time!! always one of my favorite times. “okay, it’s not yet the finely detailed insanity that you’ve come to expect from me” <- at least he’s self aware 

FAT SUCKING VAMPIRE LET’S GOOOO. such a preposterous creature. i have to admire it.

there are examples of this in nature, right? “i don’t know too many scorpions who surf the internet” scully, you just offended the coolest scorpion alive somewhere out there. but they couldn’t hear you so it’s okay. just don’t ever say that again…

scully wants to brief the people involved in the case and the detective is again being weird. mulder recognizes this. i can see it.

okay, so the killer has some more niche italian poetry. and an email from the woman who saved herself by not showing up! nooo, i thought she had escaped!

knock at the door. it’s scully. but not at the door of the right guy!! the detective is at the door of the right guy!!! 

mulder makes some remark about not being a good salesman because no one answered the door. and yeah i giggled. but she cuts him off with the fact the detective hasn’t answered his calls or returned… has he been gooped?!

now the killer is out with the woman who previously saved herself. and she sees his skin. and she offers to drive him home!!! noooo ellen :( don’t fall for his tricks and lies

the poetry woman is at his door. she puts a HUGE thing of poems under his door. 

but back in the car he is about to smooch ellen. somehow poetry lady let herself into his room??? and a bunch of flies are around. 

(we later learn she was the housekeeper or landlord or something so yeah. she would have access to the keys. but at the time i was baffled)

goop monster and ellen don’t smooch because he sees the poem lady is in his room!!! and the detective is in the tub!!! and he walks in right as she sees this!!! oh no. violence ensues…

her daughter comes to the door. and asks where her mom is. and he GRABS her weird as hell. and says he’s leaving.

mulder is sitting on a table again because he’s weird. but the girl calls the police!!! and they found her mom’s body and the detective's. the little girl asks scully why someone would do this and she says she doesn’t know… STOP I’LL SOB

okay, this dude’s name is virgil and there are no records of him existing. virgil. damn. maybe he’s FROM 16th century italy, because that’s a 16th century sounding name. are there any italian legends of fat sucking vampires? can’t say i’m very familiar with their lore 

they’re trying to get into his computer and all the files were deleted. ohhh they have floppy disks!!! i love floppy disks 💾

the killer went to ellen’s place?!!?!? and she locks the door. ellen please pull out a glock at this time. 

scully sent out a warning to everyone in proximity. and three of them were already missing!!!! that is evil :(

and ellen got the email but he’s in the room. and he starts attacking… oh lord, just as the agents roll up. 

they get in formation and then kick down her door and WHEW they way they work as a team… i’m eating it up. sweeping the rooms. guns cocked. 

ellen is under some sheets and coated in goop whilst mulder does parkour to go and find this guy. GO GO MULDER RUN RUN!!! his voice is all growly while he holds a shadowy figure at gunpoint, but he only runs into a teenager. no! poor kid :(

NOOO… THE KILLER WAS HIDING IN THE BATHROOM AND SCULLY WAS GOING IN THERE TO GET SOME STUFF TO TAKE CARE OF ELLEN!! he smashed her head in the mirror and he starts to goop her until ellen does in fact roll up with a glock. and shoots him in the chest. YES ELLEN I KNEW YOU HAD IT IN YOU <3

so they have him in custody now and his skin is suuuuuuper dry and peeling and nasty. and scully asks what the hell he was doing and he goes on about stuff blah blah blah and then he quotes some italian and she gets freaked and dips. and we end with a hannibal-esque shot of his evil peeling nasty face. and some contemplative music.

so. that was gross.

grossness established. i once again kind of enjoyed this episode. like was i gagging, and not in the good way? yeah i was. but again with the suspense. i think the plot could be absolutely ridiculous- like an actual fat vampire- and if the plot and pacing are the right tempo, i’ll find myself fully absorbed into it. 

but i can’t help but feel that i’m missing something. the italian seemed too purposeful. is there some medieval tale of a fat vampire? i’m being so serious btw like actually. is that a reference that flew over my head? is it in dante’s inferno or something? i love history but middle ages europe always puts me to sleep so i can’t say i’m familiar with the literature or tropes beyond what i learned in art history class. where we never covered ANY sort of vampire. just a lot of baby jesus and also mary and sometimes adult jesus. 

hmm. so i’m wondering here what that was about. and yeah, i could google it. but again, more fun when you tell me things.

i mean, if it was something they just made up for fun, i get that too. like earlier we had that evil mermaid baby that lived in the waterways. and we had that evil twin that looked like the fiji mermaid. and eugene tooms the lizard man. the seriousness with which the situation is played enhances the campy angle when you ponder it.

overall, it was interesting to see a world where the internet was new and fresh and scary. now it’s scary in mostly familiar ways. but it was not always this way! and while i am a little confused on the concept of the episode itself- who exactly our monster of the week was, if he even WAS a monster of traditional sort of means- i won’t lie, the episode had me invested. there were also moral questions raised about how someone could do something so evil, specifically in relation to scully’s character, which probably speaks to her biggest fear being that anyone could pose a threat, which i think i’ll contemplate at another time, because it is fascinating, especially when you consider… i think it’s s2 episode 13? where the narrative also really dives into this question. how can people do evil things, and how can good people cope with knowing that it’s impossible to know who is capable of doing terrible things?

after a hard day at work in which a million things went sideways, it does feel nice to watch my pals mulder and scully do some sleuthing, no matter the situation in which they find themselves.

the goopsterrrrrrrr

[gayofthefae]

A classic, old stand by. Mike and El consistently kiss and have romantic moments at night.

And their platonic

Or negative moments are in the morning

Whereas Mike and Will consistently have positive or romantic moments in the morning

With their only night ones being either negative for their relationship or goodbyes/something final (knowing or unknowing)

Also shoutout to the shed scene which I just realized is done at night despite being romantic because it is their last moment like that before El gets back!

Also makes me wonder about the ily2 scene, which takes place in the morning, and if that is, rather, emphasizing the fact that it's the first scene in the plotline of Mike's inability to say he loves her. That would make sense as, though it's played as romantic, we now know that it is starting a big plotline for the following season.

(If you're confused, mornings = new beginnings, night = endings is one of the oldest tricks in the book. So mornings is what will be their future and nights is what is/needs to come to a close. It's near universal, if not universal)

A great, direct example of this is also simply Mike saying goodbye to El at night and then staying up at the hospital to say hello to Will in the morning in 1x08. Establishes this really clearly for the audience.

Also, of course, can't talk about lighting without bringing up...

In general, seasons are typically ended in the morning with hints and lead-ins to the future seasons - with Mike, this is consistently El. The one time it ends with El, the season ends at night.

[dailyhatchetfield]

day 109 - june @hatchetfield-rarepair-week day five; acceptance

[crossbackpoke-check]

yOu'Re gOiNg fOr a LiTeR? | "Habs react to Quebec Maple facts", 10.22.24

[nonsensechemicals]

crying whenever i talk about Cookie9 because all my friends have these interesting and unique theories on them while i take everything too literally and they all just stare at me like “dude… uuugh we r TIRED” <-they dont actually say this they are very kind to me but i can Feel It

[wereh0gz]

Is my discomfort with my boobs gender dysphoria, body dysmorphia, or just a general discomfort with the sensations of having a human body that comes with possible neurodivergency

[softceleste]

The fact I honestly thought I'd pull off playing College Craze and being normal about it, and then less than a week later I've already played it multiple times, made a duel MC au, a Pinterest board, and recreated some of the PopMe pages, is genuinely not lost on me.

[maradovan]

Um this is my public apology and explanation for why I fell off the readathon but basically it went like this:

Anyway. I'm sorry I genuinely wanted to stay on top of it but life had other plans!!

[skrunksthatwunk]

ok so. kiwami 2. rooftop scene. the ending. it's a bit of a clusterfuck but i wanna talk about one detail, a problem they bring to your attention by Fucking. Talking About Her.

haruka is watching all of this unfold.

[this post is like 4.5k words long + pretty critical + has spoilers for kiwami and kiwami 2, and really minor/vague ones for a couple others. they're not that bad though, trust me (and i added a warning in the one place it is major)]

ALSO CONTENT WARNING i'm gonna talk about kiryu's passive suicidality a good amount in this one, so stay away from this if you think that might affect you negatively/you'd be better off skipping it. i'll also make a tl;dr (which i will highlight in red) at the very end if you really wanna know what my point is that will exclude those elements <3. i am also going to use a lot of choice-based language in regards to kiryu's contemplation of suicide because i think it's the lens through which the games treat the topic, but i personally don't find it a productive or realistic way to look at suicide or suicidal ideation at all. someone dying by suicide absolutely does not mean they don't care about their loved ones enough to fight on or whatever. i love you, and proceed with caution on this one.

(also i'm using the kiwamis as my point of reference because i uh. don't have a ps2? those are the games that i played, and though the differences are likely slight, i wanna be clear about that. also,, ignore the watermark on these screenshots,, i didn't notice them and i'm not retaking them. we're all gonna have to settle for youtube cutscene comps for now xoxo)

first, we have to talk about the ending of the first game.

[note: i am Really Really Confident kiryu has a conversation earlier in the game about his going to jail in nishiki's stead being him running away and choosing not to resist his two options (go to jail or let nishiki go to jail) and define his own path, fighting his way against fate to make it happen. part of why i'm so confident it exists is because it made such an impression on me at the time. it's pretty important to my interpretation of things but i also can't find it for the life of me, so uh. sorry ✌️ i really tried. this post's takes/analysis will be dependent on this scene existing, so keep that in mind. if anyone knows where to find the scene/screenshots of it, lmk and i'll add a follow-up with it]

kiwami stuff

so as she's dying, yumi tells haruka this:

that she may be dying (painfully, and right as she's getting everything she wanted), but she doesn't regret it, because at least she did something rather than running away from it all. that you shouldn't run away, ever.

shortly thereafter, when the police find kiryu and haruka, this exchange happens between him and date. here's the play by play:

date tells kiryu he can get him out of trouble with this, and that if he doesn't, he'll get life in prison; kiryu declines his help:

kiryu is so devastated (understandably) by the back to back losses of the three people closest to him that he resigns himself to life in prison, and the death-in-effect that would be. he would prefer to waste away rather than struggle through a life without them. prison was monotonous and isolating, but coming back after a decade was overwhelming, and coming back to everything being so warped and twisted, and then losing the corrupted scraps he had anyway, well. he wants to go back to sleep. he doesn't want to be in a world where everything's the same except he's on his own. better to return to safety, to die slowly in a hell he knows well than weather a new one where he has control and agency, and thus one where he has the ability to fail and to lose anything at any time. he explains to date that that loss is why he can accept his death:

date shakes him and asks him if there's really nothing left for him, no reason to keep living at all:

then echoes yumi's advice to haruka:

which makes an impression on kiryu:

date gives him a reason to live in the form of haruka, saying she'll be on her own again if he goes to jail. he hijacks kiryu's tragic protector complex to keep him alive, because she needs him, and because she's someone precious to him:

after the dust has cleared,

kiryu and date also have this exchange, where date tells him to stay away from the cops (and presumably arrest and a return to prison, the aforementioned fate akin to death), and kiryu cites haruka as his reason to stay away, one he holds to with no uncertainty (showing again that he's accepted date's logic, that his reason to keep living even when it's incredibly difficult is to care for the more vulnerable haruka). given the weight of the consequences, to me, it feels like date's telling him not to be alone with his thoughts or something. it's almost frightening:

so, what's our takeaway from kiwami?

kiryu lost everything and hit rock bottom, but he chose to fight, and to live life on his own terms, even when it got difficult. that's the narrative life lesson he had to learn to avoid repeating the events of 1995. he made that choice for haruka's sake. it's seen as growth.

and without him, haruka would've just returned to the orphanage (assuming she could make it back to sunflower at all) with no one who knew or understood what she had been through, no one to mourn with her, and no one to give her the attention, care, and protection she needs. kiryu knows what it's like to be an orphan with a limited parental figure who only checks in every so often (kazama, "aunt" yumi), and what someone will do for attention/affection from that person (via both himself and nishiki swearing up, climbing the ranks, etc. arguably haruka coming to kamurocho by herself to find "mizuki" is similar), and what it's like to lose them anyway (again, kazama, yumi). their situations parallel each others' somewhat, and that binds them further. and after losing everyone (which he blames himself for to some extent, as one can probably assume from this and 2, and something key to his arc in later games), he chooses to protect her. and this time, he won't fail. at least partially because failing would hurt him, too. he'd have nothing left again.

okay. now we get to kiwami 2.

if you forgot, the context is basically:

everybody's fighting on the roof of a building which i'm sure will not be a running theme or anything as the series goes on

there's a bomb that's about to go off and they don't know how to/can't defuse it

ryuji shot the twist villain to death, but took fatal hits to do so

sayama's like hey!! let's get out of here!!! and kiryu and ryuji are like nooo we have to settle this oughh it's punchin time and they stick her on an elevator and send her down so she doesn't have to watch

ryuji loses. sayama returns, they have a cute sibling heart to heart, and ryuji dies in her arms. sad

kiryu is in rough shape as well, and there's like 2 minutes left on the bomb's timer

here's the scene itself:

sayama tells kiryu they have to run, and kiryu says he can't. the gist is "let's run!" "you go without me" "i'm not leaving you!" "i'm in no condition to run" "i'll carry you then!!" sayama: *sees how fucked up kiryu is, realizes he's Going To Die Anyway* "ok, then i'm staying with you!" and then further bickering about that, before they give up and make out (as one does i guess)

date (he's here now) yells this at them from a helicopter:

before someone else in the helicopter tells date this:

we get this shot of haruka calling out to kiryu as the helicopter swerves away:

and kiryu and sayama have this exchange about haruka where they say they let her down, but that she'll understand:

then they hug and the bomb ticks to zero right when the credits hit. in post credits it's revealed that the twist villain defused the bomb when they weren't looking, betraying his co-villain for reasons i truthfully do not remember and am unwilling to look up. it's not about that right now.

so, how does this scene interact with the ending of the previous game?

the short answer is "badly <3" but here's the long answer:

it's about choices.

the thing about fiction is that anything you want to have happen, as a writer, can happen. it may not be effective, internally consistent, or logical, but you can write it regardless. audiences suspend their disbelief for the sake of engaging fully with your fiction, but everyone has a threshold past which they will stop being engaged in a story and either become uninvested or annoyed. writers usually have lines they're unwilling to cross as well. but in almost every story, there's at least a couple of places where they stretch reality a little to make the narrative they want happen. this is not a bad thing at all. that's how stories get told.

now, i'm gonna be real with you. i don't care about how feasible plots are like 95% of the time. it's not something i think about much, nor is it something i prioritize. i am a very character-centric media consumer, so if world building and/or plot are a bit stale or contrived, that doesn't really bother me much so long as i'm invested in the characters involved. some people can't stand plot holes or the ways musicals burst into song or whatever, and that's fine for them. but it's not something i tend to find that all that important.

this is all to say that i have a sorta affection for rgg's flavor of bullshit pulling. and it is a powerful flavor, maybe even an acquired taste, but i can and do rock with it so long as it doesn't damage the characters too much. this is why i'm not making a lengthy post howling into the void about joji kazama or the second joon-gi han or how many secret relatives there are. those things are silly and endearing and a clumsy yet heartfelt part of a series i care about very deeply. i'll joke about it, but i don't consider it much of a flaw. it's more like personality. flaws are texture, and they help a piece's identity. point is i am very, very willing and able to suspend my disbelief for these games in exchange for a good time, particularly via good characters.

(if you want another example of where i draw the line from within rgg, the answer's the YAKUZA 4 SPOILERS INCOMING rubber bullets twist, because i think 1) it's actively horrifically stupid (especially retconning a scene we SAW HAPPEN. WE SAW BLOOD ON EACH IMPACT, AND RUBBER BULLETS DON'T OFTEN BREAK SKIN THAT DEEPLY (THEIR DAMAGE IS MORE PERCUSSIVE THAN PENETRATIVE). THESE EVENTS HAPPEN IN THE SAME GAME YOU DON'T HAVE TO RETCON IT JUST REWRITE IT. OR DON'T SHOW THE HIT AT ALL SO THERE'S MORE PLAUSIBLE DENIABILITY. DON'T DO THIS JUST TO HYPE UP YOUR SHITTY VILLAIN NO ONE CARES ABOUT. and 2) (a bit more importantly) i think it actively removes saejima's primary internal conflict for that game, that being his intense guilt over the 18 murders he thinks he committed, one i was invested and interested in. but this isn't a rubber bullets post.)

characters in this series walk off a lot of life threatening injuries. they survive miraculously, they escape in the nick of time, and they pull through in the end. kiryu still somehow hasn't killed anyone. almost every game in his saga ends with an "is kiryu gonna make it out this time?!?" shortly followed by a "yeah lol. lmao" postcredits reveal. kiryu fucking punches a marble statue into dust in the first game. having a story that asks you to suspend your disbelief so much and so often means that when a decision is made, it's not the writers saying, "well, this would have to happen so we are obligated/forced to write it happening" so much as "we wanted this to happen for some reason(s)," because you already know that they're not guided solely by logic. again, this is true of all writers, it's just amplified in stories like these because they've already given you so many hard mode suspension of disbelief moments (they've broken you in like leather, yeah? or like how obvious internet scams allow for self selection by being so obvious that only the most vulnerable people would fall for them. they curate an audience willing to play along with their bullshit flavor so they can tell a story that's more likely to satisfy that audience. in a good way, in a fun way! mass appeal is overrated). there is not much limit to what this series is willing to try and sell you.

so when ryuji takes lethal damage taking out the big bad, that's a choice. when he doesn't die immediately, that's a choice. when ryuji and kiryu send sayama away in the soon-to-be-forgotten elevator so they can settle this like men or whatever despite the literal actual bomb about to go off, that's a choice. when sayama comes back, that's a choice. when ryuji does die, that's a choice. when kiryu determines that he can't escape in time, that's a choice. when sayama is unwilling to leave him, that's a choice. when she says she'll carry him out and there's an elevator right fucking there and then she's like never mind i guess i won't anymore we're dying together right now kiryu like they're not gonna even try?? wouldn't distancing themselves from the blast give themselves a better shot, something that's super possible given the 2 minutes they have with that elevator??? sayama you met him like a week and a half ago why are you ready to die with him that's not a plot hole i just think that's kinda strange whatever anyway, that's a choice. when kiryu stops arguing with her so they can kiss (next to her brother's corpse), that's a choice. when date shows up, that's a choice. when the helicopter can't save them because the bomb was going to go off too soon, that's a choice. when they put haruka in that helicopter and take her away, let her only impact be reminding kiryu and sayama that they can't help her, that's a choice. when they spend their last moments talking as if they're already dead, then simply waiting, that's a choice.

they're all choices that the writers made for the characters, and we are asked to believe them for the sake of achieving the writers' vision, as with any story. the only problem is that the writers' vision here fucking blows.

i'm not saying it would be realistic for kiryu and sayama (and even ryuji) to make it out alive, but it wouldn't be out of character for the series in the slightest. kiryu is suddenly unable to power through here, and that's a choice. so, what is their vision?

put simply, i think they wanted a romantic last stand for kiryu and sayama, a tragic scene of doomed, devoted lovers. and i think they wanted an edge-of-your-seat fake out death. they wanted spectacle.

here's how some specific choices they made undermine all that shit we talked about earlier from the first game.

once again, kiryu is called by date to live, to pick himself up and keep going, no matter how impossible the odds are. he's even reminded by haruka's presence, his one anchor in keeping himself going. the growth he had in the parallel scene in the previous game is challenged, and he fails.

it's not enough this time. and that's a choice.

it's also one i can't think of a good reason for, and that's the real kicker.

characters can have developmental backslide just like people do, and if they're given good reason for it, it can be just as, if not far more compelling that purely linear growth (i am a chimera ant arc enjoyer, and that's all i'll say. sorry if you haven't seen hunter x hunter. uhh. i am also a zuko avatar enjoyer if that helps). but i can't think of anything that happened in that game that would cause this from a character perspective. if anything, kiryu should be less likely to do this intentionally. he's spent around a year raising haruka, and a year has passed since he lost his loved ones. at the very least, the pain should be more dull, though it is established through an early nightmare sequence that his ass is (justifiably) not over it yet. given that their deaths were the initial motivation for his willingness to rot forever, theoretically, he should be more motivated to stay alive than before now that he's got more investment and stability in his life outside of them, particularly when it comes to haruka, his reason for surviving. and if the ongoing nature of the trauma was the motivator for this, then they should've had it affect him more past that nightmare scene (it really serves more as a recap of the last game than anything else) so it didn't come out of nowhere. so the reminder of the lesson that saved his life and then guided it for at least a year afterwards, one that the whole resolution of the previous game relied on heavily falls flat for... some reason.

i think this is a good time to mention that, generally speaking, you don't write arbitrary choices into characters. sure, people in real life are often sporadic, but when analyzing fictional characters, every choice is filed into a portfolio of characterization that can and should be analyzed. going for pure realism can obfuscate their development, motivations, themes, etc. their choices and reactions may be unorthodox, but they must be internally consistent. this is very related to how i view plot contrivance as well. characters drive the plot, not the other way around. stories are about the ways characters affect their worlds/lives and vice versa, and they're the human face to the themes and ideas the writers are trying to explore and express. maybe my stance on this seems hypocritical. i don't know if it is. but to me, plot issues are usually a matter of engagement and investment, while character issues are a matter of substance.

i hope this doesn't feel patronizing explaining all of this, but i want you guys to know where i'm coming from in my analysis. starting at my base philosophy on writing is the easiest way to do that, i feel. defining the terms of the debate, and all that. anyway

and i mean, look. they survive because "it was defused the whole time we just didn't see it happen", so it's not like narrative tension or realism or whatever was THAT big of a priority overall. if it was gonna be a cop-out anyway, they should'nt have ruined kiryu's development too, yeah?. and sayama fucks off to america after this game anyway, so it's not like the doomed lovers thing had much payoff or meaning after this one (though you could argue that's more an issue with yakuza 3 than yk2, which has some merit to it). which means that they chose to sacrifice kiryu's prior development and internal logic for the sake of cheap tension for their finale that was both kinda illogical in and of itself (the elevator!! the elevator!!!) and a romantic climax that neither required nor really benefitted from this staging. (like. you coulda had them make out and then get saved by date, or kiss on the elevator in a "it's moving, but will we make it in time??" way or whatever. look i'm not saying those are great options either but they're SOMETHING okay. it would remove/reduce the amount of time wasted on characters sitting around with their thumbs up their asses for no reason in this finale).

instead the message of this finale is that, actually, sometimes it is impossible to change your circumstances and fight for your own way out of an awful situation. and what should you do about this unfortunate truth? uh. die! i guess. it's the exact opposite of the encouraging, optimistic message of the last game. zetsubou chou pride my ass.

note: i feel i should mention that when suicidality is brought up within the series (particularly in substories), it is always something someone has to overcome themselves through wanting it badly enough. they simply need the inspiration and the motivation to keep going. it's arguably treated as a moral obligation. frankly, the series is broadly very meritocratic (<- bad) when it comes to this topic (and others, but that's a Whole Other Thing. see akiyama's weird loan shark tests as well). sheer will and resolve is enough to conquer any problem, be it physical or mental/emotional, and it's irresponsible to act/feel otherwise. this is the logic the games operating under, and kiryu is often the mouthpiece for this bootstrap-pulling "tough love" sentiment. so when kiryu "chooses" to die, yet faces no emotional fallout from date, haruka, or anyone else, it feels very out of place. it's not just an odd choice; it's specifically, once again, an odd choice to make in context of the game/series/character it appears in.

kiryu's just like eh, haruka'll watch her only family die right as she gets some sense of tentative stability and lets her guard down after a devastating month the year prior (and a relatively dismal upbringing before that) that we trauma bonded over. sure, she likely came to view me as the one who would stay no matter what, who was too strong to be taken out, who she could always rely on, and so i know that dying would hurt her immensely, but she's smart enough to know it'd happen eventually. her eventual recovery means it's okay for me to do this (somehow, in a way it wasn't in the first game). it's an excuse within the narrative's logic, and one it is uncritical of simply because it's kiryu. he gets a pass.

and i think with the previously mentioned passive suicidality and general series-long mental health issues kiryu displays (i mean. yakuza 5's literally his depression arc), this could be retroactively seen as an interesting choice, like a piece in that particular narrative. i don't even dislike that viewing, especially in terms of fan approach. but (assuming this went down the same in yakuza 2), they likely didn't have that in mind. all they had then was the first game and the movie. and they took the first game's Entire Message and contradicted it for nothing but a scene they wanted to have happen because it'd be suspenseful and/or emotional (without actually doing the work to earn it). and they're not fans trying to analyze his character, they're the ones making choices for him. and they chose to massacre my boy. and if the subject of kiryu's mental health was a priority of theirs, why didn't they explore that? haruka and date's feelings on him not resisting and their words not being enough (whether that blame is justified by the narrative or not (it shouldn't be btw)), the uncomfortable drifting that resigning yourself to death and living afterwards anyway often brings, literally any conversation about it besides the minimal shit we get post credits of date being like "did you know about the bomb not having a fuse?" which like. bad answer either way (which is why they weren't straightforward about it, the cowards). you can't just be like "oh uh. idk he just gave up this time. yeah he was gonna die on purpose for some reason. good thing the bomb was fake lol" and then pack up and go home!! that's stupid!! any merit the idea of kiryu dying by suicide in this scene and in this way could have had from a character-based perspective loses its weight because 1. it didn't happen (for kinda stupid reasons), which makes it fall flat and 2. no one is really affected by the fact that it almost did, including him. they sacrificed his ass and replaced it with nothing, even when there could have been interesting outcomes to it.

so the narrative effectively chose to kill him by making the situation impossible, and this impossibility is ultimately arbitrary, given the series' usual approach to miraculous, illogical escapes. that, or the choice to stay was up to kiryu and sayama, one that 1. doesn't make sense and is actively regressive in context of kiryu's arc in the only other game in the series (as well as his whole saga in retrospect) and 2. one that contradicts how the series sees/treats resignation to death/death by suicide in all other contexts without being addressed, challenged, or condemned in ways it would in all other contexts. because they don't want you to think about it like that. they want you to think he (and the narrative) had no choice, that it made sense to do that. but it didn't. it doesn't.

and look, honestly? if i was bleeding out and had like 2 minutes to live, there's a non zero chance i'd say fuck it and kiss a girl too. i get it. but i am (and this is crucial) not a fucking yakuza character. and i'm certainly not kiryu kazuma.

tl;dr (basically just rephrasing the second to last main paragraph)

there are not sufficient character reasons for kiryu and sayama not trying to escape. additionally, because the narrative regularly facilitates even less likely escapes, it's not so constrained to logic and reality that it couldn't pull this one off. the choice to let their situation be impossible this one time was a cheap and arbitrary way of forcing a scene they thought would be cool and dramatic, and in doing so they chose to cannibalize a key emotional note of the previous finale (namely kiryu's mission to dedicate his life to protecting haruka) for hollow last minute stakes-upping in this one. it is then completely disregarded anyway. god damn.

[svtskneecaps]

thank you for bearing with my purgatory posting and i'm also glad to see i'm not the only one who still has this fungus eating away at my brain matter. seeing other purgatory posting in the tag makes me feel better lmfao.

i'm not done btw, posting will (probably) continue as i revisit vods. wanted to extend a thanks in the interim, since i know how contentious the event was in the moment. i kinda thought the general consensus was most people hated thinking about it, but there's been a weird amount of engagement and yknow other people talking. makes me happy to know i'm not alone here!

[mayo-is-an-instrument]

I made a boo oc!! I'll make more drawings to use them for when I start making "serious" YouTube videos :3

[freakwiththeknifecollection]

I don't know why every time there's a bad situation going on adding extra stress in my life, it ALWAYS coincides with extra responsibilities being put on my shoulders- also adding extra stress in my life

[chronologically-challenged]

Just fought an embarrassing long battling against the tumblr queue. I won but at what cost <- pride