#trying to make them act right

[erigold13261]

:/ your NSR AU is Dark... I like it!! Sorry for asking so much but How does West feel after all of this? How will NSR look like in the 5 years?

Don't be sorry for asking questions about my AU, I love talking about it so any questions are welcomed! (also, glad you like the darker aspects of this AU! I was scared people wouldn't like it because it is a darker take on the game)

At first West feels extremely guilty and at fault for everything, mainly because he was already in an emotionally vulnerable state from Zuke disowning him as a brother. He felt like a shitty brother already and that just grew as he found out his brother almost died to 1010.

He was so full of guilt that he sold his house and land to move back to the city and take care of Zuke. And Mayday, but only because Zuke asked him to since the 3rd rap battle never happened so he had no reason to end up liking May (as a friend, not anything more).

Overtime though, that guilt turned to anger at NSR. It's one thing for NSR to come after him, but they went after his family and he is willing to do anything for his brother now to make things right.

As for NSR in 5 years, it really depends. I have been tossing the idea around of another revolution taking place (either with just Ex-Jay, or Kliff getting someone new, or Neon J being an insider for the revolution) so that would change things whether or not a new revolution takes place.

Either way, I would say that after the revolution failed, any story I tell with characters would be about 2-3 years later. So either NSR starting to collapse or a new revolution would take place then, and not directly after the failed revolution. That would mean, depending on what happens, 5 years after the failed revolution there are different outcomes.

If no new revolution takes place, NSR slowly crumbles from the inside with the current Megastars. DJ definitely gets fired, Eve might get demoted from second in command (in case Yinu/Mama would become second in command), and Neon would either have been fired and separated from 1010 or would be slowly drinking himself to death while 1010 stay the same in the public eye but get more dysfunctional behind closed doors. Sayu's crew would be the only ones who prosper because they would finally be old enough to get away from their families and live true to who they are (but still with a lot of trauma and unhealthy habits to unlearn). Tatiana keeps her control and power over NSR with no real change taking place. She just keeps replacing artists when she can hoping a new EDM artist would fix things but it never does.

If a new revolution does take place and succeeds, then NSR goes under a lot of internal reconstruction and fixes a lot of problems that were going on. Robotic fears and musical monopolies fade away. DJ, Neon J, and 1010 are able to quit and live their lives away from the public. Eve gets therapy and comes back better than ever after a small leave of absence. Yinu and Mama work through their problems with each other and take a long leave of absence (but Yinu probably come back around the 7 year mark with a new passion while Mama retires fully, just being there to support Yinu). Sayu's Crew get help earlier from their families which allows them to start healing sooner than if no revolution happened. There are also more charters, not just new ones to take the place of old charters, but also extra ones in each district (so like Dream Fever has Eve and like 2 other megastars that have different genres). Tatiana takes a small leave of absence while Mystery Man takes her spot, she works trough some stuff and comes back willing to change and hear people's complaints. She now actively works to make things better and tries her best to correct the wrongs she did in the past, to the city, the people, and her employees.

And if a new revolution occurs but it fails again, then NSR will probably be dead by the time the 5 year mark hits. The company would not be able to fully survive the reputation they now have as controlling and inefficient. Slowly a new company (or companies) would pop up and take over NSR's position. Or a whole new city would take the title of "Musical Capital of the World" leaving NSR old news. Yinu and Eve would probably go to one of these new companies (Yinu probably without her mother, she would get a new agent that could get her away from Mama). 1010 probably don't survive, either being destroyed or sold by NSR as a way to make a profit, which leads Neon to have nothing in life to fight for and he goes back to live with his parents or drinks himself to death. DJ tries had been fired for a while and tried to be there for Neon but just couldn't. He would try to get back into teaching but probably fail and live a miserable life with nothing to motivate him to actually work or get better.

Sayu's Crew are either forced to resign (before NSR dies) because their parents don't think their job is worth it considering revolutions seem to take place every few years (which makes it hard for the Crew to survive living under their parents rule with no outlet, and even makes adulthood hard because they all get kicked out with no warning once they are old enough), or they are forced to take a new job at one of the new companies so their families can still get money from them. If they go to another company they would have a better chance of surviving and will even cut contacts with all their families once they get old enough and can finally strive and make Sayu how they want with no repercussions. Tatiana would have tried to keep even stricter control on everything, letting her paranoia and pride get in the way of her judgement. She refuses to step down and ends up running NSR into the ground trying to keep order. After NSR officially dissolves she vanishes into the world, probably changing her name again and tries to start over somewhere new.

[Safe to say, a new revolution that succeeds is the best option for a happy ending to occur. Otherwise there is a lot more tragedy than happiness that happens.]

[lygma-nygma]

Being a batfam fan is funny because people will make a post like “here’s my headcanon-“ and it’s just something that’s directly canon to the story then post about major canon events and get everything wrong.

[afterthelambs]

i adore Maruki as a character because he's simultaneously the most relatable depressing character that will make you cry with empathy, and the goofiest wettest cat loser in the game like what do you mean youre a licensed therapist and your first response to trauma is to brainwash a girl, project ur relationship issues onto a 17 yr old boy, and then rule the world in a golden leotard? bro went from 0 to 100 so fast??? anyway he's like 30% of the reason why p5r works as well as it does

[fatedroses]

I know I design him with the intention that he becomes an evasion tank, but there's an irony I find very amusing in making his new magitek armor lighter than his original.

[hephaestuscrew]

In Ep55 A Place for Everything, when Minkowski thinks Kepler is doubting the likelihood of Eiffel still being alive after he's floated towards the star in his spacesuit, Minkowski says "Eiffel had plenty of air left, and let's not forget he survived for -" It seems pretty likely that she was about to say that Eiffel survived nearly 200 days stranded in deep space on Lovelace's shuttle. It's interesting to me that Minkowski uses that incident as evidence that Eiffel will survive this time too, because that's not really how situations like that work.

We don't know exactly how much Minkowski knows about Eiffel's time on Lovelace's shuttle, but the reality is that he survived for those 193 days due to an extremely specific combination of impressive ingenuity, incredible perseverance, access to the right resources, a fair dose of stupidity, and an extraordinary amount of sheer luck. Without just one of those ingredients, he would never have made back to the Hephaestus alive. The ingenuity and perseverance could serve him well in this situation too, but the other factors don't exactly apply in the same way.

In my view, it isn't really that Eiffel's survival on that shuttle serves as evidence of any specific attributes that will guarantee his survival this time. I think it's more that the events with Lovelace's shuttle - Minkowski thinking Eiffel was gone forever but then being miraculously reunited with him - have given Minkowski a non-specific sense of Eiffel as a person who survives, a person who ends up in nearly inescapable peril and yet somehow always escapes, a person who makes it back alive against all the odds. It's not a piece of logical practical evidence. It's just an emotional instinct that allows her to believe that she's not going to lose him, allowing her to focus on what she can do to try and find him.

Minkowski's 'Goddamn it Eiffel' when he floats towards the star in Ep53 is so much less dramatic than the way she yells his name as the shuttle drifts away in Ep28. And that's partly about what the story calls for in those moments. And it's partly about the specific situations and the agency Eiffel has had in them. But it's also that in Ep53 she already believes that he will be okay, that he'll come back. He's done it before. He'll do it again.

[random-lil-illing]

so, i have a new movie/fictional guy to obsess over - in my defense, my friend dragged me into this fandom

[raycatz]

I'm not including a situation where someone might be injured because in that case I'm thinking the bed goes to them by default or they are nominated for it. anyone who wants to be chatty goes to join the living room floor gang.

What are your thoughts and headcanons? Do you have thoughts on how the boys tend to approach assigning beds in inns? Who do the chain choose to sleep near when camping and why? What are their dynamics like when settling down for the night and getting ready for the day?

In "Mirror Vs Open Closet Door: Fight!" by Gintrinsic (here) Four refers to the chain's decision on how to split up between inn rooms as the "Link-per-room ratio" which I find very funny. He, Sky, and Time also talk about their thought process behind why they do or don't want to sleep in a room with some of the others which I find fun and interesting.

So! If you have thoughts and want to share them! *gestures to the post!*

[nientedal]

Usually I just save stuff like this to my drafts until I calm down but you know what, fuck it, I'm done.

Any so-called leftist who refuses to recognize that our options right now are "genocide abroad, progress at home" and "genocide abroad AND genocide at home" and that there is a significant difference between those two options is cordially invited to eat shit and die. We do not have time to entertain your anti-voting hopeless nonsense. A future in which we are able to move towards less death will always be preferable to the one in which we can't, and if you smug, sneering little clowns sacrifice that future on the altar of your own self-righteousness because you're too high on your own farts to realize how far up your own ass you are, I genuinely hope you fucking drown. Specifically, I hope you drown in the blood of the people who will die all over the world as a result of your bizarre refusal to work towards a future that doesn't include ethnic cleansing.

This is the United States. We sell war, here. I don't know how so many of you are only just now figuring that out, but you better get over your shock like yesterday because we are out of fucking time. We ran out of time when Reagan took office if not long before. You think not voting will improve any of this?

Keep calling, keep writing, keep screaming. Governments everywhere are (slowly) beginning to listen. Democrats are (slowly) beginning to listen. But Republicans never will, and if they seize power again next year (which they will absolutely do their damned to attempt), everything will be so, so much worse for everyone, everywhere. The work is slow and painful and imperfect but it will only get done if we show up and do the work, so keep calling, keep writing, keep screaming-- and when the time comes, you show up and vote for the future that lets us build a better tomorrow instead of just choking to death in the steaming shitpile of today.

[thepersonperson]

I think JJK going on break after the last chapter is a bit cruel. This is nerve-wracking. We still have 3 chapters left and so many things can happen there. 268 feels too good to be true and the title is weird.

I'm not sure what is the right translation and I don't have access to raws. Right now, it's 268 title is "Finale" or "Conclusion" but I heard from someone that it can be also be read as "Curtains".

If it can be read as "Curtains", then it could be a reference to "final curtains". The problem is JJK has its own version of "Curtains", right? Idk what to think.

Gosh I wish it was “Curtains”. The chapter title is 決着 (Kecchaku) which means settlement/conclusion/end.

For example, at the end of an extremely brutal fight in Jojo's Bizarre Adventure, Jolyne screams “Kechakuuuuuuu!” (決着ゥゥーーーッ!!) (It's actually a small Jojo meme in the JP fandom.) This got translated as "Game set!"

I love the localization they used for this since that entire battle was like struggling in arcade mode for a fighting game.

Anyways, in the context of JJK, especially since this has been a literal Sukuna Gauntlet and the previous chapter had the “Ringing the bell on a long fight.” editor’s comment, I don’t think there’s an ambiguous way to read Kecchaku. The Curtain/Veil kanji in JJK is 帳 (Tobari). (Though if there’s some fancy wordplay I’m missing please let me know.)

However…I would kneel before Gege if this was an elaborate trick by Sukuna—him giving Yuji delusions of a happy ending only to yank it away last second. It’s very hard to make characters feel familiar but slightly off on purpose for misdirection. That kind of tonal control is something I praise Umineko for. (Dungeon Meshi does it excellently for the shapeshifter scene.)

But that is pure copium I think. Sometimes otherwise good media just fumbles the endings. (Not an example of good media, but I was around for the Secret BBC Sherlock Season 4 Ending meltdown so I’m not too hopeful about a turnaround.) I personally blame the JP work culture/crunch since a lot of modern mangas have rushed endings due to burnout/unfair contracts.

I think the most heartbreaking examples of this phenomenon for me are The Owl House and Moral Orel. Those shows still stick the landing imo, but the creators are very open about how studio interference forced them to condense everything. You can feel that suffocation in the final episodes. Everything is just slightly off and you know it would be better if the creators were allowed their breathing room.

[frogaroundandfindout]

Nightwing tells Batman he’s going to be a cop and Batman wonders what more he can do as Bruce Wayne (Detective Comics #725)

[deus-ex-mona]

did aizo really switch the hand with which he was holding his microphone just to hold hands with yujiro like that?

[hidingoutbackstage]

Decided to watch a “found footage horror film” posted to youtube called Milk & Serial and i’m not even 3 minutes in and it’s so bad bro i actually burst out laughing at how bad it is i can’t wait to watch this

[buddiebitch]

opinions on Tommy

sorry i just like posting polls

[hauntingblue]

Gear 5 luffy's laugh is so contagious I just hear the drums and go insane how does this work. What did he do to me

[greenishness]

You can’t force people to be honest with you. If you’re an up-front person who doesn’t have a problem asking for what you need, it can be easy to interpret wishy-washiness as cowardly and manipulative. It obviously sucks to be in emotional limbo, and I don’t blame you for interpreting their silence as a punishment. But have you considered it might also be a form of self-protection?

“Why won’t X tell me what’s wrong? I’m not a mind reader!” is a common complaint. But the question which often occurs to me is, who does that clarity benefit? Does the teller have reasonable grounds to believe expressing their anger is a safe or productive thing to do? Is it going to lead to deeper understanding, or just another argument? Is the person demanding an explanation going to listen, or use the teller’s complaint to retaliate, linguistically outmanoeuvre them, or adopt a position of victimhood? Often a request for clarity is disingenuous. We know what we’ve done and just don’t want to have to be the one to bring it up, because we feel guilty, and it’s easier to take a defensive posture than proactively apologise.

Not to mention that when we’re upset, the last thing we want is to give the person who offended us an opportunity to relitigate the situation. Especially if there’s wounded pride involved. It can be humiliating to confess the depth of your hurt feelings. That kind of honesty is an act of generosity, not emotional obligation. 

Help Me Hera: Our Couple BFF's Won't Forgive Us

[emoreooo]

doomed valentines 🥀

aka what if kel and aubrey took over sweetheart’s castle ?

this is an au where if you interact with the keeper of sweethearts castle as anyone but omori, it unlocks a whole new optional level. you wake up in the picnic area with hero but no kel or aubrey. sweethearts castle is different and basil joins you for this level

the castle's main towers seem to have split into two, but the main building remains one, and smaller from the outside. but it turns out to be unnaturally spacious at times, as if the building was a psychological maze trying to separate... certain people apart

you find aubrey. she looks different, but happier. “it's like a princess' dream come true. it’s everything i could ever want and more.” she says, smiling at you. “now... all i need left is my lovely prince charming—”

“hey, guys !!”

enter kel.

“ugh.”

kel also looks different, if not for the fact hes wearing an obnoxious shade of pink, head to toe. he is happy to see you all. “everyone here LOVES me ! they respect me and trust me and all that kinda stuff. man, i feel so powerful ! im never leaving this place !”

that didnt seem to sit right, so hero intervened. “but.. if you stayed here, wouldn’t you miss everyone else ? omori, basil, me... mari ?”

“well, duh ! that’s why you guys will be staying with me too !”

that broke a new fight between kel and aubrey, but for the wrong reasons

it ends with aubrey dragging basil along with her, hero with kel, and you alone on the bridge connecting the two towers. you have a choice to follow one of them first. lets say, kel.

you head for kels tower and find hero talking with kel, trying to convince his brother.

“didja know ?? the sprout moles here love me so much they made me offerings, like, im a god or something ! pretty cool huh ?”

“..offerings ?”

“yeah ! oh man.. hero, youre not jealous, right ?”

“wh— no. its just.. a bit ridiculous.”

“...ridiculous ?” kels confused expression contorts into a smile, that of understanding. “i see whats going on. its okay, hero, i know its gotta be tough to be put to the side. and overlooked. bet its weird not being in the spotlight for once.”

you caught a quick flash of horror written on heros face. “kel.. are you saying this because—”

“but its ok ! as long as were here, neither of us will ever have to feel that way !”

remaining determined, hero put his foot down. “thats enough, kel. you cant stay here.”

“yea, thats a good one, bro.”

“im... serious. were leaving, kel.”

the younger boy stops laughing. ”...oh. youre— why ?”

“i dont think this place is anything like it seems. i think its a sham.”

kel barks with laughter.

“oh so when it benefits ME is it a sham. man, how selfish can you be ?”

“...what ?”

“you really cant stand it when its not all about you, huh ? but what about me ? what about kel ?”

“i-i think this place is affecting you. please, kel, listen to me.”

“no. if you wanna leave so bad, fine ! the sprout moles can send you out. but im not leaving. im happy here anyway, and you wont get it.”

with that, kel leaves you two in his tower. hero seems distracted, before suggesting you both go find basil

you head for aubreys tower, only to find a scared basil locked in a cell. upon freeing him, he stares over your shoulder.

“o-omori.” he whispers. “...behind you.”

“well, well.. well !”

enter aubrey.

“aubrey! why was basil locked in?” hero asks, perplexed.

“hm? well, he kept trying to leave! i couldnt let that happen, not when i was sharing my happiness with him.” aubrey frowns. “i thought he was my friend.”

basil looks terrified. “aubrey.. i am your friend.”

“hmhm, of course you are. friends dont leave each other behind, right omori?”

hero once again steps in. “aubrey, i think youre taking this too far. of course we want you to be happy, but kidnapping your friends isnt the way. this place is messing with your heads, so we should leave before it gets worse.”

but your path is blocked by kel in the doorway.

“that wont do.” aubrey hums behind you, brandishing her shiny pink bat. “no.. not at all. what do you think, kel ?”

“i think its rude to leave in the middle of a party. right, hero? you taught me that one!”

“kel..”

he then takes a bow as aubrey joins him. “so, friends, may we have this dance?”

“let us sweep the floor !”

boss battle mechanics !

you can not change aubrey or kels emotions even at the start of the battle. the only ones who can change their emotions are each other, so the best strategy is to adapt with your own party’s emotion play

there are 4 phases to this battle. a neutral state, tier one emotion, tier two, and lastly tier three, much like most emotion based bosses. between each phases, aubrey will make kel happier, while kel makes aubrey angrier. they are not made to have the sad emotion, however,

if you end third phase with an attack from hero, kel will start fourth phase with a depressed emotion instead of manic, giving your team good advantage on winning since he relies on speed. aubrey will still be furious, but its still one enemy disadvantaged

once you defeat them they will go snork mimi in your arms and you must carry them out of the castle and back to mari.

“aww, i guess its past their royal nap time !”