#well you got my impression of what I thought his character arc and motivation was

[cjrae]

Tragedy of the Jade Nightingale. Or: My thoughts on Vol. 11 of the Apothecary Diaries.

Given that this volume just came out in English a few days ago, spoilers under the cut!

I usually think of the Apothecary Diaries volumes as pairs - usually two volumes make up an arc. If so, Volume 11 will be the first half of the arc with 12, but it also functions beautifully as a tragedy in it's own right.

** I will be only discussing information appearing officially through Vol. 11. Yes, I have read the fan translations of the web novels, but given that details can change, until it appears in official English translation, I won't yet be including it here.

The Hero

Gyoku-ou. Talk about someone who thinks he's smarter than he actually is. We knew this guy was a threat all the way back in Vol. 8, with how Gyokuyou reacted to her brother's letter and his veiled insult of sending a younger version of herself to catch either her husband's attention or the Imperial Brother's. Now we get to see him in action and he's scary - right up until he's not.

This man is charismatic as anything - he understands what makes people tick on both an individual level as well as a social level. His ability to wield a mob effectively makes him extremely dangerous, but I'm oddly put in mind of Lakan's initial impression of Fengxian. "This woman is strong, but she only knows how to fight in her own, small world."

The world Gyoku-ou inhabits is a very small, petty one. You can see it in his conspiracy theory about Jinshi's birth.

Jinshi is one of two people Gyoku-ou fails to read. When he brings Lakan and Jinshi to his puppet council to gauge support for attacking Shaoh, he thinks he's got a young malcontent in his hands, someone who wants power and is prone to the flashes of temper and insult that often drive young men. Someone who is easily manipulated. Instead, Jinshi mops the floor with him in that meeting, cutting Lakan's support out from under Gyoku-ou and making it clear that his priority is peace above war.

This doesn't take away from Gyoku-ou's political genius - this meeting teaches him that Jinshi has to be maneuvered around, rather than maneuvered directly. If the Imperial Brother doesn't want to play his part, then too bad. Gyoku-ou will see to it that Jinshi is hedged in all directions except where he wants him to go - which is to war. And even then, he's got a fight on his hands as Jinshi fully takes advantage of Empress Gyokuyou's information to undercut Gyoku-ou's support within his own family.

It's a mark of Jinshi's political skill that Gyoku-ou's move in that family council is to flirt with treason. If he can't maneuver the Imperial family through Jinshi, then he shifts tactics to turn Jinshi (and the rest of the Imperial Family) into the villain of his piece - a prince born and raised into utter depravity.

Let's just sit with what Gyoku-ou suggests to the rest of his siblings (minus the Empress) in that meeting. He implies that the Emperor impregnated his own mother in order to produce an heir. A son that he loves so dearly (and unnaturally) that he would willingly look the other way while Jinshi murders his other children in order to make sure that his brother-son-lover succeeds the throne.

This is a brilliant examination of how the bare facts of the situation can be construed by people with very different motivations to fit whatever worldview is most convenient for them. I'm a fan of the palace politics in this series because they feel very real.

Gyoku-ou doesn't lie once. But boy does he create a narrative that suits his purposes and dares anyone (namely Rikuson) to tell Jinshi. He is escalating the situation and he's doing it fast, while also challenging the legitimacy of the Imperial Family. A fact which, if it does get back to Jinshi (or the Emperor), could get the entire new You Clan wiped out just as fast as the Yi Clan was. This scene functions as a microcosm of Gyoku-ou's two fundamental character flaws; his short term thinking and his utter self-absorption.

Becoming The Wind

Since Rikuson was introduced in Vol. 5, he's been a mirror for Jinshi. He's a "pretty boy," calm under pressure, fundamentally kind and decent to other people while also being extremely competent at his job. Unlike Jinshi, he's also a bit older and more mature. He also clearly admires Maomao and sees the qualities that make her exceptional, despite her various masks.

As it turns out, Rikuson mirrors Jinshi in another important sense too - he also has a secret identity. The Yi Clan were the de facto royalty of the Western Capital and Rikuson is one of the direct survivors of the clan. He was never in the line of succession given the Yi Clan's matrilineal structure. But they were quick enough to save some of the children, namely Rikuson and Empress Gyokuyou's three ladies in waiting, Haku'u, Koku'u and Seki'u.

Rikuson, who was Gyoku-ou's excuse to trick His Former Majesty into giving him the authorization to destroy the Yi Clan. Rather than truly being an bastard Imperial prince, he's a young pawn in Gyoku-ou's hands to whip up an armed mob to hunt Rikuson down - and his mother and sister give their lives to ensure his survival - not for vengeance, but so that the Yi Clan's mission of protecting the west will live on even if the named clan itself dies. So, like Jinshi, he is dedicated to the welfare of the people above all else.

The trouble with relying on an unruly mob is that it's sloppy. Gyoku-ou left multiple survivors and they have absolutely no love for him. He's left weapons at his back.

Rikuson is the other person Gyoku-ou utterly fails to read. He spends well over a year back in his homeland, working for Gyoku-ou as an aide ostensibly from the central region, patiently waiting for an opening - even as Gyoku-ou, who knows that Rikuson has to be assigned to the west with some kind of ulterior motive, is so blind that he thinks he must be a secret member of the La Clan, rather than the Yi boy he tried to kill seventeen years earlier.

Rikuson represents the culmination Gyoku-ou's short term thinking in that he doesn't bother to think about the threat of any surviving Yi clan might pose to him.

He will not insult his mother's memory, or his sister's. But if his mission of protecting the west coincides with vengeance for his family? Sure enough, Gyoku-ou's insistence on going to war (and dragging the Imperial family's legitimacy into his motivations) gives Rikuson his opening; especially because he isn't a vigilante.

He is acting under orders.

The New You

Rikuson's point about Gyoku-ou's life being a tragedy hits home when you consider Gyokuyou's thoughts of how she knows her father loves her - but would also abandon her in a heartbeat if she is no longer valuable to him. Unlike her older brother, she has a very clear-eyed view of how their father operates and focuses on making sure that her value never drops in his eyes.

Gyoku-ou's value to Gyoku'en plummeted the day he destroyed the Yi Clan - Gyoku'en's family. He was given a second chance to show that he could still perform the single function of the men of the Yi Clan - to protect the west. When he endangered it instead, Gyoku'en sent the weapon he'd spent seventeen years preparing (Rikuson) with an execution order.

By first destroying the Yi Clan and then following it up with a proposed invasion of Shaoh, Gyoku-ou proved to Gyoku'en that he was no son of his. Given how desperate he was to be his father's son, this whole book is a tragedy in the classic sense. The Jade Nightingale was so desperate to reinvent himself as a Jade Eagle that he destroyed himself in pursuit of the one thing he never lost - his father's love. But, to be his father's heir, what he needed was Gyoku'en's trust and respect, not his love.

And he killed that seventeen years ago along with the Yi Clan.

Ironically, the foreign born girl that he despised and attempted to undermine at every opportunity, emerges as their father's true heir and mother of the nation, with the rest of the surviving Yi clan as part of her loyal retinue.

In her triumph, the Yi Clan is reborn as the You Clan as Gyoku'en, a Yi man, is given a clan name on the strength of Gyokuyou's role as Empress. So much of their history has been lost, down to the matrilineal succession and family records, but their mission lives on through the Yi men who will continue to protect the west, no matter the personal cost to themselves. There is no room for self-absorption here, therefore Gyoku-ou has no place in their new clan.

Also, a parallel to pay attention to is how the destruction of the Yi Clan and the Shi Clan are mirroring each other with the children being saved. The Yi Clan is reborn with a new name, which leads one to wonder what the consequences of saving those Shi children will be long term.

A Dagger In The Dark

Gyoku-ou sucks up a lot of air in Vol. 11 because he is driving the action - Jinshi, Maomao and their party are all stuck reacting to him, except for one character; Chue.

We see Chue attach herself to Maomao starting with the ship and it's not difficult to guess that just as Lihaku is serving as a discreet bodyguard for Maomao on Jinshi's orders, Chue is also there as protection. Chue doesn't try to conceal that she is clearly trained in espionage either.

Rikuson's proposal to Maomao is not a serious bid for her hand, but nor is it a joke - it's a message to Chue that Jinshi needs to tighten security around Maomao. As he puts it, he knows the "hyper protective" elements around her will close ranks. Because he's foreseen a strategy that may not have yet occurred to Gyoku-ou (who tends not to pay attention to the bit parts of the play), but if it does would almost certainly push the country into war.

Maomao is the lever that could move both Lakan and Jinshi.

All he has to do is kill her and make it look like a foreign attack. Lakan's instinctive ability to read a situation and Jinshi's formidable investigative skills would likely be dulled in the face of their rage and grief. Especially since they are technically Gyoku-ou's guests and don't have freedom of movement to push the issue.

Rikuson seizes his opportunity before Gyoku-ou can continue to escalate, but he realizes quickly that Chue arranged the stage and was there as both spy and backup assassin. (I think it's safe to say that Gyoku-ou's conspiracy theory AND that Yi family ledger will be reported, given that we know there were ladies-in-waiting at the meeting and that's how Chue was disguised - and she didn't actually promise to dispose of it).

Gyoku-ou doesn't bother to think that while the Emperor may be far away and the Imperial Brother is a manageable threat, that the people surrounding Jinshi may not be bound by his strictures. Hence, Chue was on standby. No matter what, Gyoku-ou was never going to make it to that ritual. He was never smart enough to realize that his crossing the line would be never be forgiven.

While Jinshi would order an execution if necessary (and has in the past), he would never order an assassination. Therefore, it's evident that Chue reports to someone else. Who that someone is, we don't know, but there's only one person further up the Imperial tree than Jinshi, so it would be reasonable for Rikuson to assume that the Emperor has placed additional protection around not just Jinshi, but Maomao.

Exclusive: Baby Swap!

Jinshi's birth is not a secret to the audience and while Maomao doesn't have confirmation, she's pretty certain of her suspicion. This volume made it patently obvious that there are others out there who are perfectly capable of putting the pieces together, even if the details are twisted.

Let's return to Gyoku-ou's conspiracy theory.

He's put together all the correct pieces. The Emperor's attitude toward Jinshi makes no sense in a traditional palace setting - a much younger, handsome, charismatic and competent brother? That's a threat to the Emperor and his direct line. But Jinshi is never treated that way - instead he's indulged on many fronts.

He's allowed to duck most of his official duties as Ka Zuigetsu (except for a few he can't, where he appears masked).

He's allowed to pretend to be a eunuch for six years and run the Rear Palace.

When he finally reveals himself to the court to put down the Shi Rebellion, he's described as "hale" and "just as proficient in the military arts as the administrative." (More proof that Jinshi is NOT the best judge of his own abilities). He emerges fully formed into court politics - a perfectly trained Crown Prince - only to have a newborn given the title instead.

Gyoku-ou deliberately put the worst possible spin on these facts. I suspect the rest of the You siblings are going to keep their mouths shut about Gyoku-ou's ugly theory, but if he could think of it, if Maomao could think of it with just seeing Jinshi standing next to Lady Ah-Duo, then so can others.

Maomao can be mad about Jinshi branding himself all she wants, but it's currently looking like an absolutely BRILLIANT move on Jinshi's part. Whatever doubts Gyoku-ou managed to plant about Jinshi and the Emperor's motives with the rest of the You clan siblings, Empress Gyokuyou is not likely to entertain it.

Also, it got the Emperor to essentially "banish" Jinshi to the edges of the Empire shortly after his new Crown Prince was born, which makes it look to other members of the court like the Emperor is taking steps to rein in his younger brother and balances the factions that have to be forming back in the capital.

This is not a secret that can be kept forever. No matter how careful Ah-Duo and Anshi were, the information is starting to leak out around the edges, as we see that the Empress' ladies in waiting that were dismissed clearly had eyes and ears - and in at least one case, a loose tongue.

The next arc is being seeded and Jinshi is inching closer and closer to that throne. He ran the Rear Palace for years (essentially managing the nation in microcosm) and as of the end of Vol. 11, he's now stepping up to govern a province and gain actual ruling experience while also having suppressed a war.

I've said before that Jinshi ascending the throne is the bad ending - if there is a single person who is more trapped by the palace than the prince, it's the emperor. We'll see what happens!

[burningcheese-merchant]

Abt burning spice's kingdom interaction with nutmeg tiger when he says "this place it reminds me of the first kingdom i..." do you think he destroyed that kingdom? Or built it?

The fact that he shows regret and hesitation in that line is interesting...

Do you think he became what he is because he doesn't have anything left to lose?

This can perfectly foils Golden cheese's story, even after her kingdom got destroyed she eventually embraces that fact and process that emotions healthily

Sorry im just yapping here, i love me two character that perfectly foils each other while being more similiar than enyone else and form a weird ahh relationship balancing between romantic or wanting to kill each other

-🌾anon

I'm going to go ahead and say both. I think he built it AND destroyed it. In fact, I'm going to go a step further and specify that he accidentally destroyed it while trying to defend it from some invading force, thus making this the first real step down that dark path. Think of it: in a mad frenzy to protect something he loved, he destroyed it instead. He unwittingly became what he was fighting against, if only for a moment - and that moment would set many things in motion, each more terrible than the last, for not only has Burning Spice now come to truly know the bitter taste of loss and history's seemingly futile nature, it came to him in perhaps the worst way possible, and so left the most lasting impression. (Idk if what I tried to cook here came out of the oven right, but there was an attempt lol)

I 100% agree with the idea that Spice became who and what he is after succumbing to despair in the face of seemingly unending loss (I go into detail about it here, this is how I personally headcanon his descent into villainy), and that there is still a lingering sense of regret somewhere inside of his heart, even if small and not strong enough to influence him anymore. That dialogue he has with Nutmeg Tiger is what pushed me to want to analyze him and construct a possible background and motive for him, and later what inspired me to want to redeem not only him, but all five of the Beasts. The fact that he might have regrets is very interesting and very promising to me, and lends itself to the idea that, with time and the right guidance, he could perhaps... change (to keep with the theme haha).

And I also agree with you on him and Golden Cheese being perfect foils for one another (it's part of why I ship them so hard lol). They mirror each other SO well in my eyes. And in the face of the same exact loss, one folded while the other stood strong (although you can say that GC folded as well, at least for a while, before she realized the folly in her delusional grief and collected herself). Nothing lasts forever, that's true, but that doesn't make it meaningless - quite the opposite. It is the ephemeral nature of life that makes it beautiful and worthwhile. It's alright to be upset when something ends, but you can't let that define you. Everything ends eventually. Focus less on what's far ahead or what's far behind and focus more on what's in front of you right now. That's the lesson GC more or less learns, and it's the lesson BS needs to learn too, in my opinion. And I honestly think GC is the right one to help teach him that.

Sorry, I sort of spoiled the "Change" arc in my Reformed Beasts AU a little bit here lol. You really hit the nail on the head with your thoughts here and it prompted me to puke this word salad. Great minds lol

[lucyandherlunacy]

before i start episode 5 of minecraft story mode i thought i'd put my serious first impressions of the "wither storm arc" here

first the positives: surprisingly, i find it really entertaining how everyone talks. the little pg curse words forced into every conversation, like 'crap' and 'hell' etc.? absolute time capsule. it works for me because i can 100% believe that these are people who live in a minecraft server in the 2010s. the wither storm was an excellent threat for the first 4 episodes. genuinely one of the best monster-villains i've seen in a video game. the conflict surrounding its creation and how it spiralled out of hand mean that it can motivate meaningful character tension despite being a monster, and the way it works is honestly really cool. a regenerating, nigh-unkillable mass of destruction that drags everything around it to its death and only multiplies once it's seemingly dead for good? plus the wither sickness and amnesia it spreads and the fate of the people who get absorbed into it? love it. genuinely threatening and spooky the arc had me invested to the point that i wasn't willing to really make any kind of 'evil/mean for the hell of it' decisions in my playthrough. it felt really nice playing jesse as someone who is just earnestly a nice and caring person who tries her best and keeps her gang together. it helps that the voice actress playing femjesse sounds absolutely heavenly she killed it in this role honestly i liked jesse's character a lot more than i expected too! their inexperienced and kinda bumbling yet optimistic outlook compared to say, the kind of stoic hardened adventurer you see in petra was really fun. combined with me missing a qte or two on occasion i definitely bought into jesse as this unlikely hero that came from nothing soren, ivor, lukas and olivia were the standout characters to me in that order. idk what else to really say they're great. i liked the rest of the cast well enough even if i thought some of them were slightly underdeveloped or just didn't appeal to me personally, the former of which i'll get into in the next section. reuben the pig i can't really speak on since i have a personal bad experience with his name that made me wince every time it was said. he was cute i guess ----------------------------------------------------------------- a few criticisms: i did redstonia, and idk if this an issue unique to that area but i found it to be too short. i just kept thinking there would be more to this society or at least more buildup to meeting ellegaard. most of what you see is just people's attempts to win her favor. i especially would've liked to see more of it since it ends up getting destroyed there was only really one time that the character drama felt forced to me, and that was the start of episode 3 where lukas tries to pull the amulet off you and petra scolds you for not saving axel and reuben. it was all uphill from there but that was the only moment i really was like "yeah this is shoehorned lol" mobs are handled kind of weirdly in this game. it's a nitpick at best and not something super serious but i guess it's weird to see zombies and skeletons just kind of being treated as a given in a populous world of various humans. i dunno, i just felt that not taking advantage of the fact that half the generic monsters are the undead or even really mentioning it was a weird move i kind of wish we just had one more episode in this arc. certain moments like ellegaard's death didn't hit as hard as they should have just because i hadn't spent enough time with her to get attached. and generally i think characters like axel and petra could've done with just a little more time in the spotlight for their characters to grow. i think they needed the kind of treatment olivia got in her moment with jesse in the farlands. even having done redstonia over axel's path it really wasn't long enough to add to her character the way that moment did for me ------------------------------------------------------------------ regardless, i genuinely really liked my experience with this game despite all the silly moments. if anything they enhance the experience for me and i can't wait to play more :)

[beurkivol]

JORGE CANT HURT US MORE ISNT ? [WISDOM SAGA EDITION | SPOILERS]

at the end of the thunder saga I was crying my eyes out. But hey, I said to myself, as an unquestioning optimist. Now that all the crew are dead, no one's going to die, so no more emotional damage, it's DONE, and he can't do the pancake thing again, Jay! Ahhhh. I was optimistic and naive. I'd forgotten that Mr Jay was as crazy as I was. Or worse. So here we go, rewinding the traumas!

Legendary :

legendary spared us quite a bit at the beginning, at least all the sweet stuff with Telemachus playing Disney princesses. Only argos got me, but then argos is ‘only’ in the animatics. well, I'm going to count the animatics because I was at the livestream.

And then antinous. It's not so much the trauma as the distress of telemachus that was touching. And I jumped up when I heard antinous' words. I was expecting threats, vulgarity, in short, for him to be hurtful, but I wasn't expecting that.

little wolf

Little Wolf was also quite calm. What I mean by that is that the trio of songs shared by Athena and Telemachus can be touching, that Antinous is worrying, the songs aren't bathed in the same dark, worrying and pessimistic atmosphere as those in Thunder Saga. Athena brings light and hope to Telemachus and you think ‘that's it, a goddess against all this rubbish, it'll be over in no time’. Even if telemachus takes a beating against antinous, he's got an impressive level up and with just a little more help from athena he'll be able to beat everyone.

We'il be fine

when we'il be fine, i screamed, because ATHENA CHARACTER ARC. Because she calls odysseus her friend, she calls telemachus good kid, because you feel the chemistry between the two and it's incredible. you feel all the hope in this song, and telemachus is definitely the reincarnation of polites. And the reference to your light is sublime.

Love in paradise

the little recap at the beginning of love in paradise is nice, especially in animatic, I was riveted. I have to admit that for Love in Paradise I was really waiting for a slightly comic song where Calypso acts like a 2 year old fangirl. I totally underestimated Jay. Already. 1. the music grabbed me right in the heart. And…. sorry but the depressive part of the song? ‘ody, get away from the lenge’. I thought polites couldn't fool me any more. LOST. JUST LET ME CLOSE MY EYES, MY OPENS ARMS. odysseus's howl at the end broke my heart. You could really feel his despair. I couldn't even see ‘im a monster now’ (not the raw raw raw version the edgy version), I just saw a depressed, borderline suicidal guy. heartbreaking.

God games

god games. i was expecting a punchy, catchy, song. A great song. But i was not expecting the end. (i do a little post about, and 2 other about athena)

in other words, ZEUS STAGGERING HIS OWN DAUGHTER, HIS FAVORITE DAUGHTER. AND HER, WALKING IN THE LIGHTNING, MOTIVED BY A VISION OF THE FAMILY SHE IS FIGHTING FOR, FALLING ON THE FLOOR IN HER OWN BLOOD AND BEGGING HIS FATHER (WHO TRIED TO KILL HER) TO LET GO HIS FRIEND AND PASSED OUT OR DYING WE DONT KNOW.

do i really need to said more ? NO.

but im going to analyse all that more i swear...

Jorge, im watching you. If athena dies, im going to do something bad.

[umbrellalavender]

Umbrella Academy spoilers:

I’ve just finished the show.

I’m balling my eyes out on my sofa. Yet at the same time I feel so emotionally numb.

I enjoyed this season so much!

I don’t know if the ending was satisfying or not. I just don’t know. It made me feel something.

I was singing along to I Think We’re Alone Now just crying at the end. And I was screaming seeing all the characters back. And when Gabriel Bà was in it! (It might have been better if I watched it yesterday, considering that’s the day Pogo said?)

There were some moments that just really hit! Lila sending her family off to another timeline knowing that she’s going to have to sacrifice herself. Her and Allison knowing that their children aren’t going to have parents. And just seeing them on the field all happy made me cry so much.

I hate to admit that I wasn’t satisfied with Ben’s ending. I thought it would be a bit more emotional, but it just kind of sucked that he didn’t get that time with the others at the end. The effects when he was turning just made me laugh as well. Ben’s my favourite so I’m annoyed he didn’t get that time.

Also, I do kind of ship Ben and Jennifer. I’m not that familiar with MCR lore, but they remind me of the demolition lovers. When I think about them, I think about the ending of I Never Told You What I Do for a Living, “And never again, and never again, they gave us to shots to the back of the head and we’re all dead now.”

Umbrella Ben’s death hit me so hard! I was expecting this really emotional moment, but the lack of emotions in it really made it.

One: Ben was sent on this mission despite not wanting to go.

Two: They were made to blow up something with a living being inside. Ben didn’t want to blow up someone.

Three: Reginald shot Jennifer and his own son with no remorse what so ever. In front of his siblings!

Four: Ben and Jennifer’s body being the title card felt so brutal!

Five: Reginald wiped their minds so they wouldn’t remember what even happened to their own brother.

Six: He put the blame on his siblings! And gave that utterly shit eulogy! Somehow, that funeral scene found a way to become even more shitty, which is quite impressive!

Honestly, I think this was the best way to do it. There are so many questions around it too. Was Pogo aware of what happened? Was Ben? I get the idea that Umbrella Ben remembers being shot, but he probably wouldn’t know who killed him. Ben wouldn’t know that his siblings didn’t know?

I love Abigail and Reginald! It took me by surprise that Abigail was responsible for this and that she wanted the opposite to what Reggie wanted. Reggie had done all this to bring her back and she wanted to end it all. In a way, Reginald is quite similar to the children with his motivations and it really shines through this season. Colm Feore plays him so well! He’s funny and detestable at the same time.

I also really enjoy the subway system! I think it was a really cool way to show them travelling through timelines.

This might be controversial, but I enjoyed the Five and Lila situation. I’ve seen quite a lot of hate for it. But it made an interesting dynamic when they got back. And it also makes sense for the characters. They had been stuck jumping through timelines for 7 years.

I love that there are quite a lot of comic references in here. A small one is that I recognised who Jennifer was before her name was revealed because her name badge was the same design as the comics. Pretty proud of myself for that one!

But mostly that Klaus got to have his Hotel Oblivion story arc (it is Hotel Oblivion, right).

I have calmed down a little bit after writing this. It really feels like the end, you know? There’s no easy way to just bring the characters back in my mind and I don’t like that. I feel like after every season, I just feel smaller and smaller because of how many timelines they introduce. And this one is the same. It does a much better job at making me feel small. I still feel like there are many mysteries, which would be fun to delve into fanfiction for!

So, yeah. Long ramble about season 4. I enjoyed this season so much. And this show has meant a lot to me over the years. I can’t believe it’s over.

[hopefull-mindset]

Lately I've been thinking about the current progression of the story, obviously we are nowhere near the ending, however, what are your thoughts towards how the main story is going to end?

Based on what we know so far how do you think what do you think the climax and the resolution the story is going to be? Because so far it seems like it's going to be something related to the book, but there's so many plot points and characters that we haven't even really touched on yet and I'm wondering if we ever will (for example the order of the clock tower was this just a one and done thing or are we getting more on that Asagiri????)

I am SO sorry. I got sick on the weekend I was thinking of answering this. Then I got completely stuck on what I wanted to say because honestly I have no idea where this series is going besides a few things I know Kafka Asagiri wouldn't leave behind. I have faith in him and I feel like him pulling along Nathaniel Hawthorn for this long into the story and knowing when Fitzgerald would have involvement proves he doesn't forget about his previous storylines.

I see complaints sometimes about how Steinback’s side plot with the Guild is never touched on again and it's like?? Because there's already so much going on already?? I'm personally impressed with how Asagiri handles this bunch of characters and that's why I'm not impressed with complaints about the female characters getting “no” screentime. I think some of you really need to reread the manga because, of course, it would feel that way if you needed to split it between all these characters and have a smaller amount of female characters compared to guys.

It's an ongoing story so treat it like an ongoing story. Some criticisms I see of BSD really feel like they're in bad faith and don't give it any grace. To me, that's really depressing. I don't know what some of you even want from him. I'll move on now to your actual question.

This is a character-driven story with hmm, well I shouldn't say it doesn’t have a clear plotline because the antagonists have a clear goal for The Book, but it's not a story where the protagonist is driven to do anything besides overcome himself. I have ideas on what future plotlines would look like, but not all of them.

There are things that are absolutely going to be followed up on. Like how 55 Minutes’s story was left on a mystery to be explored in a future arc. 55 Minutes was very involved in the Great War and Europe, so I’m guessing some of that will be explored in due time. I’m not very good at guessing so I’m not the best to be asked on theorizing that far into the future.

How about I just speak on the present arc? I think that will be easier and it's good to work with the pieces we have. The ending is much too far into the future for me to come up with anything, really. This series is much too technical with its reference and motivations to say anything other than, “We should expect this stuff in the light novels to play into the story later.”

Since I gave myself some time to think this over, there are some things I am completely sure of having a critical role in the present and future of this story—besides the obvious lasting effects of the Great War and the storm Verlaine mentioned waiting for very much having to do with the Clock Tower’s eventual involvement.

I’ve been thinking about them a lot and I hadn’t realized this was my chance until now! So exciting! I mean these two tend to cross over for me.

55 Minutes is the 4th light novel in this series. Anyone who has read it loves it because of the focus on world building and getting to follow Atsushi for once in novel form. I went into it thinking that it was going to be a quick, self-contained story that happens a bit after the guild arc, but I was shocked to see that there were so many questions unanswered! On purpose obviously to set up a plot line for the future, but man.

While I am excited for many things from the light novels to be answered in the main story, I want to bring attention to the main antagonist. The living ability of Jules Gabriel Verne AKA Gab. Verne was a part of The Seven Traitors, a group that committed itself to stopping the war by any means necessary. They were what the Armed Detective Agency is to Atsushi for him. His ability (The Mysterious Island) absorbed other users’ abilities, so long as they were on an island he claimed as his domain.

By the time the war had ended, he was alone again and the rest of the members were either dead and disappeared. Verne decided to stay and maintain the Standard Island so his friends had a place to come back to. Fourteen years pass and a deadly weapon called Annihilation and it's maker, H.G. Wells, came onto the island. Annihilation had been stolen from her and Verne agreed to help her get it back from the terrorists under the name “Gab”. The terrorist in question being the colonel, not to be confused with the character of the same title who was an executive to the Port Mafia.

This colonel had actually been the former leader of the group who had called themselves Mimic after being abandoned by their country and had heard his men drifted to Yokohama, only to die there in vain. I wonder if that connects to anything that happened in another light novel, wink wink.

It wasn’t hard for Verne to find where it was hidden, but next he had to come up with a way to get it back without using his ability. He decided to join the thieves that had snuck onto the island by turning himself into a teenager and asking to be the pupil of the boss so he could borrow his ability to go through walls. It had worked as planned, until Wells was hit by a stray bullet and died. He was devastated that he couldn't save this one woman.

His solution to save her was to absorb her ability (Time Machine) to go back 55 minutes in time to reverse what had happened. That worked, but then he thought of another thing: if he absorbed her ability again, couldn't he go further back in time to get a better result? Wells’s ability has the condition that it could only send a person back in time once, but by absorbing it again, he can ignore it as if he were using it for the first time. He regretted how many of the colonel's soldiers had died and he never learned his motivations in the end.

He was right, but creating the perfect future is almost impossible because of how someone always gets hurt in the process. Every time he succeeded, there was only the “what if?” hanging over him that this wasn't enough. The more he used the ability, the further he could go into the past. Even larger ideas had come into his head. What if he could reunite with his friends? What if he could prevent the entire war from happening? He hadn't realized just as Wells's ability evolved, something else would too: Gab, the island and the boy he posed as.

It overtook him and left to reside inside his own flesh as an echo of his own self, at the very corner of his mind. He died and Gab had been birthed from it. Gab is an unstable creation and even so, his humanity still urges him to keep living no matter what. So instead of being motivated to repeat time to save others, he keeps living to save himself so he doesn't fall back into the darkness of an unknown waiting for him.

I could keep going and talk about how he's pretty much the embodiment of the themes present in BSD, his resemblance to Atsushi that the narrative points out so graciously, and the nature of what he is supposed to be in the grand scheme of BSD, but this isn't why I brought him up.

55 Minutes has aspects that have appeared in the main story ever since the Decay of Angels have taken their place in the manga as antagonists. Dazai’s ability to control his heartbeat, time travel, Akutagawa calling Atsushi his “trial” and fighting out at sea, and the Great War being the source of the conflict. Now what if I propose my idea of what had happened to Fukuchi to be similar to what had happened to Verne when he had used Wells’s ability?

This is Fukuchi’s corpse reanimated, I think we all know it. While it’s possible Fyodor must've put a safeguard to put the condition for this to have happened or that this is a Fukuchi from another universe, I think what had happened altogether, in the end, was the consequence of using Amenogozen so freely to the point he was messing with the state of the timeline and creating paradoxes. The backlash of this divine blade had either created a divine being or let one reside in him.

It's not only 55 Minutes that has parallels/foreshadows what's to come, but Untold Origins as well. I do like noticing how Kafka Asagiri adds things so they fit more snuggly into what's to come later in the season or make the connection more obvious, like Fukuchi having a feature when Fukuzawa is visiting Oda behind bars and Fyodor appearing on the roof when Fukuzawa monologues about “V”.

I think I've been seeing some people notice this too, but I think the play featured is incredibly important. Like really, really important. I mean beyond any resemblance people saw in the visuals used in the anime background that looked like Fyodor being crucified. I feel unprepared to talk about it, so I hope I make some sort of sense.

“The Living World Is a Dream. The Nocturnal Dream is Reality” is a real quote from Ranpo Edogawa and is used as the name for this play. Twelve fallen angels gather in an old theater to earn god’s forgiveness. They had disobeyed god in the past by wanting to coexist with human beings and were shunned after the fact. During this, they are killed off one by one without the killer ever being seen. The killer, as the script follows, is a supposed angel of judgment, but it's hard to tell for the others if it really was an angel imparting their judgment or a serial killer because of how common the methods seemed to be. That is their mystery to be solved.

One of the fallen angels claims that an angel would use a divine blade to purge them and not methods like these, while another begs the question of why a fellow sinner would go after them and that an angel would have a real motive to have them killed. Their reason to going to this old theater is because they were searching for an ability user. In this fictionalized story, ability users are angels who had fallen but were able to atone and given a portion of their power back. Their hope is that when they encounter the ability user, they will gain atonement as well.

Suddenly, Murakami (the lead performer) is stabbed by a blade that came from nowhere. Completing the promised threat of an organization named “V”:

“An angel shall bring death, in the truest sense of the word, to the performer.”

So, what happened?

As he takes his newfound identity as an “ability user” in pride on stage and claims himself to be the savior of all, Ranpo explains that the angel that the play refers to is the audience watching it. A metaphor to how the audience is invisible to the characters on stage and knew almost every that had happened, but Ranpo also says that because the audience couldn't have laid a finger on the them, it means the angel couldn't have been the killer.

The “angel” was more the victim than anything and the so-called judgment imposed was the show of what was originally regarded as another victim. The switching of roles. The same thing has also applied to this murder. While Murakami was regarded the victim, the accused killer the police suspected was a man under a fake name who has randomly disappeared. Tied up behind the currents, the man had been here all along. The true victim of this case.

Which makes Murakami the real culprit of his own “murder”, but he's only a piece of the picture. After getting arrested, he speaks about how he had planned with the playwright about this but has no clue what capturing the older man was for. Not even after saying this, a detective rushes in saying that the playwright had been impaled with no weapon to be found.

Again, after an officer who had worked for the mysterious group “V” and tried to kill Ranpo after refusing to join them had been arrested, he was also killed the same way as the playwright. I feel like I don't even need to say that this “V” group is obviously the Decay of Angels after laying that out. The same motivations as Fyodor (”rid all evil of this world”) and the sword business is Fukuchi silencing people.

What was the purpose of the play though?

Besides capturing Natsume Soseki (if you haven't read it), it was foreshadowing for what was to come. Let's abandon the idea that skill users are redeemed angels for a second. Just a second, I promise. Have you ever looked up what Kaumi (神威) even means?

While one of the first results you get will refer you to gods themselves, you should be focusing on a more literal translation. That being “God’s Authority” or greater divine power, making Fukuchi function basically as Fyodor’s own angel of judgment. Let's say that ability users are the sinners and Fukuchi (or Fyodor) is the one imposing their judgment, even if they should've been in the same boat.

Just like the play, they swap the victim (Armed Detective Agency) and the killer (The Decay of Angels) for the public‘s unknowing view. This play is filled with Fyodor’s personal bias and I think the irony of their searching for the “ability user” in the play is that to Fyodor, there's no such thing as a redeemed ability user. There is only salvation of death for this great evil and that is exactly what happens to the characters from the play.

Ranpo filps this narrative on its head and forcefully changes the ending of the fallen angel. He wasn't a part of the story, he forcefully shoved through its bullcrap to create something much more ideal. Something much less miserable. It's a little fun that two people he goes out of his way to help out (Yosano & Mushitaro) both have the title of “angel of death/murder” as that's how the angel of the play is also referred to. Save the killer that was actually a victim…

With that, I really shouldn't abandon how ability users get referred to with titles like angel and demon right? Chuuya had an angelic allusion in Storm Bringer when he activated corruption for the first time, and hell, look at my buddy Gab and his mechanical wings. The further they transcend themselves of their humanity, the more angelic or demonic they become. There really is no true difference between them though.

This should've been about the trajectory of bsd…. Then it became me wanting to talk about DOA crap….

Well, I really don't know much. I connected dots that were there for me, but nothing to say for the future of BSD. I understand what is happening, but not enough to be psychic haha. I mostly went on about that because I didn't want our conversation about what is currently happening to be pushed aside because there's always more to say. Maybe if I read more of the authors involved, maybe I'd know.

If this is disappointing, oh well! It has taken me so long to think of something to say that the new chapter has already come out. Kafka Assgiri always leaves me with more questions than answers.

What even are abilities anyway?

[iwritenarrativesandstuff]

Hello! Hope you don't mind the random ask 🥺 You said after the newest episode that Mushitarou is one of your favorite BSD characters; could you talk a little about your thoughts on him/why you love him/his arc? He's one of my favorites too, and it makes me so so sad how underrated he is, because imo he's one of the most well-written and tragic characters in the entire series, despite how little screentime (pagetime?) he gets :' ) I wish more people would talk about him. Really hope that changes after the next episode 💚

I honestly almost screamed when I got this ask YES I CAN TALK ABOUT MUSHITARO. I CAN TALK ABOUT HIM ALL DAY.

Ok well first of all he is the poor little meow meow. Pathetic scrunkly man. I'm sorry but you can't deny that it's true. Even in-universe, it's like he's the BSD world's chew toy. He keeps getting kidnapped by different organizations with like. No breathing room in between. Give him a BREAK. Funnily enough, I enjoy and usually like to poke fun at these kinds of characters, but they're not typically my favourites. Mushitaro is, by far, an exception to my usual favourite character types.

Second, I am a lover of bittersweet tragic storylines. Yeah. Honestly, the way the storyline built to the slow reveal - I knew immediately after Poe mentioned the water droplets that they were his tears, and I was starting to suspect what was really going on, but the way it was unraveled was so, so painful and beautifully done. Even knowing it was coming today when I watched the episode, it still hurt.

Thirdly, Mushitaro's circumstances raise some intriguing questions we still don't have answered. He was captured by the Seventh Agency and made to work for them with his ability - he considers them a worse alternative to Dostoevsky and refers to them as tyrants. (We also know of another shadowy organization that takes on ability users with useful skills for nefarious purposes, V. V also somehow managed to not be discovered by either the government or Ranpo in 13 years. I'm not saying there's a connection there but... but... there might be. 👀) Anyways, point is, there's stuff goin' on there. And I wanna know. (Also I like the motivation parallels with Ango very much.)

But most of all, I fully agree with you - he is very well-written. What I love most about his character is actually the way his narrative showcases what I believe to be some of the series' character writing's biggest strengths - to excellent (and heartbreaking) effect.

Characters are often revealed to be quite different than what their initial introductions would suggest. Later revelations serve to recontextualize earlier character cues - these early cues are often misleading but not outright lies.

To be clear, this isn't a hard or particularly unique thing in character writing - in fact, this is... kind of a minimum requirement. Your audience should be able to go back after the fact and notice new things about characters that you only get on re-read. But I find BSD is interesting for this because these initial impressions don't frequently tell you what these characters actually value - the "establishing moments" are often incredibly misleading. Mushitaro is an excellent example of this.

The best part of the perfect murder arc is the way it slowly unravels piece by piece - and as it unravels, more and more, we get to see the real Mushitaro. He starts off with these terrifying facial expressions, bragging and boasting about how he is the "detective killer" and how none stand in his way, cackling like a shallow cartoon villain. There's not much there to suggest a deeper character. Then there's the first flash to Yokomizo's murder, and Mushitaro appears to revel in it and the idea that he can't be caught. Another flashback shows him making these arrogant demands of a literal terrorist, like all his tableware being silver and porcelain and having access to a library of occult books for his study. Ok dude. This all paints the picture of a selfish individual, primarily concerned with expensive things and money and image - all things that perfectly fit Ranpo's initial conjecture as to the kind of person behind the Kindaichi murder. And just like Ranpo later says, it's a little too perfect.

The reveal builds slowly but surely, and Mushitaro's built-up image as a dramatic, remorseless murderer crumbles. Because he didn't kill out of hatred at all. He killed Yokomizo because Yokomizo asked him to do so. Because this, and the legacy of a mystery that transcended fiction into reality, was his only friend's dying wish. It was enough for Mushitaro to delay his escape just to fulfill it - what Ranpo refers to as a kind of willing self-destruction.

What Mushitaro ultimately values then is honouring the wishes of those he cares about and repaying those he owes. He will take the secret of Yokomizo's ultimate mystery to his grave. He used what he likely thought were his last moments alive to grab the transceiver and warn Ranpo about the danger the Agency was in. He only decided to trust Ango after Ango admitted his use of the Seventh Agency was to honour Oda's memory and wishes.

So, going back and re-reading his intro again, it becomes more clear that he was suffering from a kind of cognitive dissonance. "But wasn't he just playing the role he was supposed to?" No. He wasn't. The first flashback to Yokomizo's murder is much more violent and ends with Mushitaro cackling and going into a full villain monologue when there is no one else around but him. There's no one to perform this role for - except Mushitaro himself.

Both the killing and the ensuing grief stemmed from the exact same source - Mushitaro loved his friend deeply. But there is, I believe, no small amount of bitterness too, for the way they argued frequently, and the way his friend asked this of him. It's practically irreconcilable in his mind, and so Mushitaro leans into his role as the evil perpetrator who hated Yokomizo to such a degree that I honestly think he started to believe it - Mushitaro, with two narratives in his mind running parallel to each other that are fundamentally conflicting, tried to make a monster of himself. Insisted on being the monster, at least until Ranpo made it impossible for him to deny the true motive behind his actions - protecting his friend's last wish.

Fittingly for the climactic reveal of a mystery storyline that blurs fiction and reality, Mushitaro's real-life grief was his perfect fictional role's undoing.

Is he boastful? Arrogant? A bit of a coward? Absolutely. But Mushitaro is no monstrous villain - he is a man unable to confront his grief over his friend's death, and who, ultimately, doesn't intend any real harm.

Because other than Yokomizo, revealed as an agreed upon assisted suicide - Mushitaro never murdered anyone.

2. Characters are not cured of their pain and trauma. They continue to struggle with it during their development and it actively impacts the way they view and interact with the world around them.

Mushitaro's story is heavily themed around grief and his consistent denial of it's effects on him. At first, he denies by embodying the role Yokomizo wanted him to play - it seems to the point where he legitimately started to lose it. He's slipping when we first meet him. In a weird way, for as much as Ranpo tore his perfect crime apart... I feel like he also saved him, in a sense. The dissonance he was experiencing likely only would've gotten worse if he had not been forced to speak the truth aloud.

After that point... the denial focuses solely on the idea that Mushitaro doesn't miss Yokomizo at all. That he's doing just fine and Yokomizo should be jealous (he's far from fine; he doesn't even see a point in going outside anymore now that he won't be able to see his friend) and that he hated him (he doesn't. he never did. but he has to. he can't deal with it.).

Another thing I really like about his arc is that Mushitaro's grief also clearly stems from the entire thing being traumatic for him - but neither Yokomizo nor Mushitaro are demonized or victimized for this; rather the situation is just shown as it is. It's nice, that the story allows the reader/viewer to draw their own judgements. Both had their reasons for their actions - Yokomizo was already dying and wanted to go out in a way that was meaningful to him, while Mushitaro chose to fulfill this wish in spite of the cost to him. They both mutually self-destructed, in a way.

The narrative doesn't frame either as the villain. It doesn't fully frame either in victimhood either. It's a tragedy all the same.

Mushitaro continues to see and hear Yokomizo wherever he goes, not because he can't get rid of him... but because he never wanted him to be gone in the first place. Stabbing me would hurt less I think. :/

3. Characters often grow and change before they consciously realize it or have any sort of "epiphany".

This ties in a lot with the ongoing theme of uncertainty, and I above all really like this aspect of the series. BSD has characters grow and change and try to be better, do better by themselves and others... without being sure of the outcome. Sometimes before they're ready to consciously admit a change is necessary. There are few epiphanies. The characters are forced to slog through hardship and only then suddenly realize how far they've come - for better or for worse.

Mushitaro does change, even in the short span of time he is a focus character. I love the first little signs of it too - Mushitaro, who doesn't even like mystery novels, uses a trick Yokomizo told him about to help himself, Atsushi and Kyouka escape. Look at him :')

Afterwards, he starts to wonder if he can see Yokomizo whenever he enters a locked room - as in, if connecting to the memory of his friend through what he loved in life will mean that he keeps that memory alive.

And as annoyed as he is with Poe's attempts to get him to write a mystery... a part of him is happy to be around people that he could start to consider his friends. Enough that the Yokomizo he hallucinates wonders if maybe he doesn't need him there anymore. And finally Mushitaro bursts.

But this is actually good. He's finally past that denial phase, the part that had him talking about hate when really he missed him all along. Thing is, he'd already been developing and changing by this point, in that he needed the growth to come to terms with this truth, and it was not the truth that drove the growth.

In a sense, Mushitaro working through his grief and uncertainty led him to a brighter outcome, one where he has more friends and can start anew. He lost the closest person in his life. But his arc continuously asserts that in spite of the fact that he will always miss his friend, Mushitaro himself is still alive. And he should live that life - both moving forward and keeping the memory of his friend with him.

Odasaku believed that writing a novel was to write people. Poe was so insistent on getting him to write because it's a way of seeing the people we want to see anytime we want.

What a beautiful character arc, that began with fiction as an escape from real-life pain, and concluded with fiction as a means to work through it and with it instead.

Plus he's just such a funky little dude.

I. Love. Mushitaro.

[exdraghunt]

Transformers One: a Review/Critique

I just got home from seeing Transformers One, and as usual, I have Thoughts. This means I must subject you to them. Spoilers ahoy

In the first 10 minutes of the movie, my primary thought was "Oh, this movie has a pacing problem", and at the end of the movie, I still thought that was true. When looking at storytelling, an oft-repeated phrase is "Show, don't tell." Which I think is at the core of the problems I had with Transformers One. It was a lot of tell, without a lot of show.

Let's look at the worldbuilding for a moment: there's not a lot of it. So, we are presented with a deeply stratified society with a distinct elite class and sub-class. But how is this actually explained to the audience? The opening scenes give us Orion Pax, a miner without a transformation cog, which makes him lesser. And a bustling city full of, presumably upper-class mecha, who (one assumes) do have transformation cogs. It's never really. .. explained how this works, though. How do some mecha end up sub-class and some not? What do the non-miners do all day? Did they. . . earn cogs somehow? Even after the reveal that all Cybertronians are born with cogs, but some have them removed before coming online, it's never actually explained how or who is dividing the haves from the have-nots. The "upper class" aren't actually shown to be upper class. They're just. Ordinary people, as far as I can tell, living ordinary lives.

In contrast, I want to bring up "Mad Max: Fury Road." This is a brilliant example of world-building a deeply unfair, classist society purely through visuals. We get impressions of how the Citadel works, even without someone telling us. At the top is Immortan Joe, who has the charisma and power to not only rule the community but to actually create a cult of personality with people willing to die for him. We see War Boys, young men of reasonable levels of physical fitness, ready to sacrifice for their leader. We see slaves, chained to cogs and wheels that make the place move. We see the lowly masses, begging and fighting for the barest sips of water. and we see the women, used for their bodies in a variety of ways. It is horrible, and the audiences gets a visceral feeling of how terrible and unfair this place in 10-15 minutes of camera work.

Speaking of charismatic evil leaders: Sentinel Prime. We're told that he's very important and everyone loves him, but I don't think we actually get to feel that. He gives a public announcement, and everyone cheers. I understand that this is intended to show the average mech loves their leader, but I don't actually connect to that emotion as an audience member. I want to feel that motivation too, to see and feel that Sentinel is a leader that everyone admires, even if I, as an audience member, am aware he's going to be a douchebag.

Which is why I thought D-16's character arc was kind of lackluster. I couldn't connect to his feelings of betrayal, because not only did I not feel betrayed myself, but I didn't feel like there was much build-up of D-16 *loving* and *trusting* Sentinel. He seems to admire getting to see/meet Sentinel as any average American might be a little starstruck meeting say, a President or famous Actor. But I don't get the impression that he *worships* Sentinel. The emotion of love should be as strong as the later emotion of hate. D-16's "I'm going to *kill him*" felt a little sudden not because "whoa death's a little much" but because I didn't realize D-16 felt quite that strongly about Sentinel in the first place.

Let's also look at the Prime that D-16 does worship, Megatronus. It's said by a few characters that "Megatronus Prime is the coolest Prime, the strongest, the best" ect. ect. But again, this is telling, not showing. Why is Megatronus the 'coolest Prime' according to several characters. This is treated like common knowledge, but nothing seems to back it up. It just seems to be a *wink wink nudge nudge* to the audience, who is well aware of what D-16 will rename himself, and a source for the Decepticon emblem.

Thinking of it, if the 13 Primes are an extremely important part of Cybertronian mythology and legend, wouldn't their names be common knowledge? The way everyone knows who Megatronus is seems to imply as such. Wouldn't it be obvious that 'Sentinel Prime' is not one of the 13?

Imagine if Sentinel Prime erased Megatronus from history and put his name in that place. If the core cast had met Alpha Trion and, upon being imformed that Sentinel is not a Prime, but was a junior aid to the Primes, asked 'well, if Sentinel isn't one of the 13, then who's the last Prime?' and Alpha Trion could spin a tale of some grand sacrifice of Megatronus to try and fail to stop Sentinel's plan, and of his name being erased from history. of D-16 taking on that name as a reclamation of the dead Megatronus, and reclaiming that betrayal, to create new history.

One of the problems with movies that reboot existing franchises is that they often rely on the audience to make connections with what they already know about characters instead of explaining things in the story. Let's look at the Elite Guard.

So, we meet Starscream, Soundwave, and Shockwave. As audience members, even someone only passingly familiar with Transformers is likely to recognize these characters (some of the most iconic in the franchise, outside of Optimus, Megatron, and Bumblebee), and additionally is probably aware that they are Decepticons. Thus, we know that they are destined to join D-16/Megatron.

There's also kind of a time-scale issue going on. Sentinel very prominently emphasizes that it has been "50 cycles" since the fall of the Primes. We, of course, have no frame of reference for how long a 'cycle' is, and since Cybertronians are mostly immortal, we also can't judge by character age or generations. But it must have been a long ass time, considering they abandoned the entire surface of the planet and built a giant ass city entirely underground, and all above ground structures are either irreparably decayed or just gone. But not so long that Starscream's crew isn't doing just fine, apparently.

The quick infodump that these guys were former guards of the 13 Primes who witnessed Sentinel's betrayal and thus are in hiding is. Sudden, and not even hinted at. No mention in Sentinel's early scenes that there might be "traitors" who are "sabotaging his regime" or anything of the sort. No mention from Alpha Trion that there's a large number of mecha also aware of the truth who maybe. I don't know. Might be willing to help our heroes? They just show up from out of nowhere to be the future Decepticons.

And why do they follow D-16/Megatron? Okay, he beats up Starscream and gives a brief little speech about killing Sentinel. Why do they willing exile themselves at the end after Megatron gets his ass handed to him by the newly minted Optimus Prime. Do they feel no loyalty towards the new Prime who holds the Matrix and was chosen by Primus himself? They are supposedly former Primesguard, and also supposedly follow the strongest victor in battle. So. Why keep following Megatron after he loses a fight? I don't think we are given nearly enough scenes of D-16/Megatron gaining their respect or admiration. (or of Optimus losing it) Instead, they go with Megatron at the end of the film because they have to for the rest of the Transformers story to happen.

(I do appreciate the fruity little portrayal of Starscream. 10/10, no notes)

In terms of pacing, which I mentioned earlier, it doesn't feel like the movie has much time to stop and breathe. Experience its setting, feel its emotions. Much of the film is just joke, joke, joke, action scene, action scene, action scene. Constant hits to the audience to keep their eyes on the screen, which I think also contributes to the complete lack of emotional connection I had with this film. To tell a story of love and betrayal, I want to feel that love and I want to suffer in that betrayal. Sometimes, that means letting the characters just. Slow down, and experience and show those emotions. Show D-16 and Orion trusting and relying on each other, instead of just telling us that they're best friends. Give us D-16 and Orion drifting apart, friction with eachother, as their idealogical differences rip them apart.

Speaking of idealogical differences, I found the entire "Don't kill Sentinel or you'll be just like him!" part very confusing. Killing the tyrant who betrayed and slaughtered the literal gods makes you as bad as him? But also, 2 minutes before that, Bee is killing people repeatedly for laughs. "Knife hands! I can slice this guy in half! Isn't killing people funny?" Yes, he's killing mooks, but there's no reason to believe that Sentinel's guards aren't also sentient Cybertronians. I guess it's okay to kill the bad guys' mooks, just not the bad guy himself? As our main cast gets into fighting for their lives for the first time, shooting guns and weapons for what (I assume) is the first time ever in their existence, maybe they should have had a conversation or a realization about what it means to kill another Cybertronian. But the movie doesn't have time for that. The emotional impact of killing someone only seems to matter when it's Megatron trying to kill Sentinel and not at any other time.

An establishing character moment for Orion/Optimus could've been him throwing himself into danger to save Jazz's life in the mines, but I feel the impact of the danger, the risk, the possible self-sacrifice is destroyed by the witty little quips, humorous dialogue, and lightning-fast pacing. I want to see an Optimus that is willing to possibly die if it means saving even one life. That's an important quality for this character to have. But the scene goes by so fast, it barely has an impact. Nor does it really give us an impression of Orion being a character the other miners respect and look up to (which would later make him returning to inspire the miners to rise up even more impactful)

I kind of wish that this movie had established Primes as literal Gods. (or Demi-Gods.) Imagine seeing people literally worship Sentinel as a God in physical form. The betrayal, to know that not only is Sentinel a false god, but the one who killed the actual gods. The implications of Megatron taking on the name of the most popular God (or, perhaps, taking the name of a betrayed and forgotten God), and of Optimus rising as a new God. I feel it detracts from some of the impact of the story to portray the Primes as some kind of Celebrities.

I think this story would have been improved if it had A. been spread out across a full season of a tv show, allowing for more time to build and develop characters and plots or B. breathed a little more and explored the emotions and motivations of the cast more.

As an aside, what the fuck is happening in all of the other cities on Cybertron? Business as usual? The movie only shows us Iacon, and seems to imply that Iacon is the only city on the planet. The whole planet?

[lesbiancarat]

i finally finished exclusive fairytale and i want to give some thoughts/a review! (contains spoilers)

honestly modern school/coming of age dramas usually aren't my cup of tea, i wouldn't have picked up this type of drama if jun weren't in it. but i was determined to enjoy it for what it was even if it's not the type of story i usually find compelling, and i definitely did

i really appreciated the humor, i'm a sucker for 4th wall breaks and record scratch moments, even if it's kind of cheesy humor i thought it was well done. they didn't overdo it, i think they kept a good balance of humor and sincerity throughout the show

i also REALLY like how realistic most of the relationships felt in the show. a lot of dramas will create over the top/dramatic plots with big misunderstandings or jealousy or these very dramatic romantic moments that just don't happen to most people in real life. and there's nothing wrong with dramas that are like that, dramas are meant to be entertaining and dramatic plots make them so. but especially when it came to xiao tu and ling chao's relationship it felt really refreshing to see a very quiet and gentle romance that develops over the years

like after they got together they didn't dramatically change their personalities or how they acted around each other, even when other's commented how they weren't being "romantic enough". because they were already comfortable with each other from growing up together, and the drama just let them be comfortable in their relationship from the get-go. and how xiao tu kept "forgetting" she and ling chao were together at first when she was making plans, honestly that's a very realistic thing. like moving through the world as a single person is different, and you really do have to adjust your mindset and your habits to accommodate another person when you're in a couple and that switch doesn't flip overnight

and there were misunderstandings and moments of jealousy but they were all handled pretty realistically too. when xiao tu and ling chao had misunderstandings they would just talk about it and resolve it. and even between characters that had a conflict, like liking the same person (eg. ling chao and yin zihan or xiao tu and xu linglong) they were still able to be civil toward each other and even friends rather than treating each other as mortal enemies (and on the topic of xu linglong i won't spoil her character arc but i really appreciated how it ended up)

like there's a thousand other examples i could give but i really was very impressed with how realistic the relationships were. it really felt like the author was writing from experience and not writing an idealized version of a romance or over dramatizing it

the one relationship/plot point i didn't really like was the whole thing with ling chao's father. imo given the fact that ling chao's father as far as they told us had NO contact with him or his mom for like the first ~16 years of his life so he could start a business to support his family makes no sense to me. like why did he need to move out and cut off contact completely if he still cared for them and was doing it for their benefit? it would have made more sense to me if he was still living with them but wasn't a good father when ling chao was a kid bc he was busy with work. or if he was always on business trips, or making some effort to be a dad but failing bc it wasn't his priority. like it was an active choice for him to not contact his son for his entire childhood. or alternatively, the dad could have left when ling chao was a kid bc he fell out of love/separated from ling chao's mom and then have them fall back in love again when ling chao's in highschool. idk the motivation they gave him for being absent but apparently still being a really loving and invested dad just seemed like lazy and unrealistic writing. like i didn't need them to spend longer on that plot and i was fine with ling chao forgiving his dad relatively quickly bc that's not the main point of the show i just wish the logic behind him being an absent father for the first part of ling chao's life made a bit more sense lol

on another note, i've seen some people complaining about the dubbing, but from the perspective of a regular c-drama watcher, it's actually not bad. there were some scenes where the dubbing was more out of sync but it was all pretty standard. it's actually on the better end of dubbing i've seen. of course it's not the same/as ideal compared to not dubbing, but if you watch c-dramas it's just something you have to get used to lol

overall i don't think this show is super groundbreaking, but it is very well done for the coming of age, childhood friends to lovers show that it is. it's a really light and easy show to watch. not something with a lot of excitement but if you want a show that's relaxing and easy to digest then exclusive fairytale's got you covered!

[decarbry]

I'd love to learn your thoughts on the rest of the bnha cast, particularly the main characters! Could you list your top 10 and share why you like them?

THIS WAS SO TOUGH I had to go through a complete character list to make sure I didn't miss anyone and I'm still not satisfied

Honestly BNHA does so well with character variety I love so much of the cast, tho it does fall into the pit of "there are too many characters and story threads to finish them all or even mention them ever again", do not talk to me about Shinsou

Anyway we're ignoring Aizawa, Yamada, and Eri because I think everyone already knows that they're my least favorite characters /s

10. Overhaul - probably one of the worst people in the show tbh but I really loved anytime his character was on screen?? he was such a calm but simmering threat before he was actively violent and honestly his voice acting in the dub imo was REALLY special. the whole organized crime angle is also one of my vibes in storytelling so I really enjoyed his character. plus his character design is *chef's kiss*

9. Tokoyami - he's a bird man with a dark passenger that acts like a puppy sometimes what's NOT to love -- I'm actually going to cheat and tie Tokoyami with Bakugou here because I had second thoughts. Bakugou's pivot in his relationship with Midoriya was one of my favorite character development moments and felt so well-done and earned that he's definitely in my top 10

8. Mirio - BEST BOY! Togata is just so positive and wholesome and selfless, every time I revisit his clash with Overhaul I sob my eyes out. I wasn't on board with his pivot in eye design at first but once I got to know him I fell for him HARD. There's literally no downside to this guy but at the same time that's ALRIGHT! Rather than it being obnoxious it's done in a way that I find flawless. like he still has weaknesses but he's composed so well as a character

7. Amajiki - how can you not love this poor anxious guy?? he's very relatable and anytime he pushes through his head to succeed in his goals I just want to scream and hug him. plus his quirk is amazing and I could NEVER because I'm such a picky eater

6. Kurogiri/Shirakumo - THE POWER OF ANGST no but partly it’s his relationship to our two favorite UA teachers but also Oboro seemed like such a GEM and I want to know him as he was and I have such high hopes for where the story is currently headed… Kurogiri himself is such a cool reflection/twist of his original personality that I find myself trying to read into every appearance he makes. Save him please

5. Shigaraki - kind of more superficial to begin with because his motivations were never SUPER interesting to me but his character arc has been a joy to watch and YES I know villains and heroes alike in this story have great writing that make them sympathetic but. for me Shiggy is one of the most obvious. like he can't be forgiven because he has done SO much damage and taken SO many lives but he really is the perfect hybrid example of when heroes fail those around them, and when villains influence those around them. also his path from childish gamer tantrum child to legitimate terrifying threat was a slow burn that feels earned. I think he was also my favorite early character design, specifically his full-hand costume he wore first at the USJ

4. Shinsou - dude's personality aside he's impressively ambitious and I really feel for his circumstance, I kinda took to him like Aizawa did? i was really invested in his path from the start and really would love to see him achieve his goal. i just want to see what he'll doooo. he was a major part of why I enjoyed season 5. hopefully he makes an appearance in the manga to help with current events but I'm probably just wishfully thinking

3. All Might - i usually never like the "superman" character in most things but Toshinori is imo the best-written of them and he has such a great character arc. i want all the best for this man that gave and is giving so much to the world, all at the cost of himself

2. Dabi - HONESTLY these last two can be interchangable. Dabi's character design is probably my favorite in the entire story. it's simple but iconic and very visually appealing even though it's. dead and burned skin LMAO. i'll be brutally honest, tho Todoroki is a great character and Endeavor is definitely trying, that whole family drama is kinda disinteresting to me (but is getting better)(which I hope continues since it's the opinion of some of the more... vocal readers that it's all that carries the later story and if that's true I want to REALLY enjoy it, y'know?). i'm thankful for Dabi because his existence in the story finally has my ears perked towards that thread and I really appreciate his drive even though the intention is to destroy hero society

1. Hawks - I'm going to repeat myself: CHARACTER DESIGN. the moment I saw Hawks I was like. in love. I really like spy storylines in general but I get easily drawn to characters that are outwardly charming, friendly, a bit obnoxious, confident, and know exactly how to appear in order to communicate their intentions. But then deep down... soooo many secrets. Plus, aside from Hawks' tragic family story, his tie to Endeavor as his idol is an extreme positive for Endeavor's character arc in my eyes. Hawks' tragedy doesn't end there though, because in a world of government-sponsored heroes he is perhaps THE MOST government-sponsored, and though they were the reason he had the resources to get to where he is, it's a weakness that has him kind of leashed, and I find that really sad. then we have his ruthlessness, which no matter how you feel about what happened to Twice, is sometimes necessary when it comes to saving the most amount of people. Hawks being the one to take that final action cemented him in my top 3

Honorable mentions for the rest that fall into the black hole of spots 11-20:

Midoriya, Bakugou, Tsuyu, Nana Shimura, Kaminari (just a dumb, lovable lad), Midnight, Kirishima, Mirko, Ryukyu, Monoma, Honenuki, Fatgum (challenging Mirio for best boy placement), Endeavor

Honorable honorable mentions for character designs I just LOVE:

Thirteen, Snipe, Sero, Kuroiro, Mandalay/all of the Pussycats tbh, Majestic, Mr. Compress, Geten, Moonfish, USJ Nomu, Rappa

Honorable honorable honorable mention for this dude that doesn't appear enough to qualify for the list but still deserves a shout-out:

Yokumiru Mera, please let him sleep

[lavenoon]

As much as I despise this line of thought because "I don't want him hurting!! :((((" my brain needs to know...

what is something that could make Eclipse's relationship with his brothers worse? or even possibly break it?

I can... I can sadly think of many scenarios where it could get worse, but I need to know.

You come into my house of hope, bat of violence raised, and want me to help? smh smh /lh

The thing is - you say you can think of many scenarios, meanwhile my brain is currently drawing blanks. Maybe it's just that I don't want to entertain the idea, because I always want them to get better, so all I can think of would be... severely out of character?

They love each other. Despite everything, their rocky start, the misunderstandings, the tension... None of that ever got to the love they have for each other.

Anything driving that wedge in further would be outside influence, or circumstantial, not intentional or by choice.

Like - I thought perhaps the agency might just outright ban them from contacting each other to prevent data leaks, but... I don't think Sun and Moon would have accepted the job then? A transfer, fine, they need some distance, but not no contact kind of distance. (And that... That actually might make it better. Because Eclipse saw how genuinely enthusiastic his brothers were, but as soon as that condition is dropped on them, they decline immediately? Seems like they do care, after all)

If Sun and Moon were a little more tone deaf, it could have been that once they started sharing stories about Y/N/ Robin they still didn't engage much otherwise (but they do! As soon as activity in the group chat picks up, they all text more, and react more to what the others sent!), giving the impression that they only care about their shiny new friend, and not Eclipse. That would have been a surefire way to push him away - so they only need someone to brag about having friends to, huh?

The promotion arc alt timeline actually would be the closest to canon that involves a direct negative effect on their relationship. Finding out Sun and Moon kept that kind of secret (albeit with good intentions) did not sit well with Eclipse, and that drabble left out the entire conversation between Eclipse and Sun, with Eclipse tearing into him (and Moon) for being stupid, patronizing, and frankly, insulting. And look what happened - because Eclipse immediately started relating to Robin, which just made his anger worse. The boys really fucked up in that one, and it will take/ took (since the drabble ends after a timeskip) a lot of fixing that, not just with Robin, but also Eclipse.

(He knows they have that savings account. He's gotten money from it for repairs often enough - but that it's a savings account specifically for him, and that they accepted a promotion they didn't want to accept for the pay raise but didn't even tell him hurts. Makes him feel like a burden, not a brother.)

As for completely breaking it? I either can't or won't think of anything. Like, nothing just pops up in my mind making me go "Oh yeah that'd fuck them up", but I'm also not particularly motivated to think of something? Even if a fight makes one side completely withdraw, I don't think the other side would ever stop trying to fix things. They're all so stubborn, after all.

Of course in reality it's completely valid to go NC after being hurt, even if the offending party regrets it and tries to apologize/ make amends - you don't owe anyone forgiveness. But my focus is simply hope, and family, and getting better - so that's the story these brothers get, too <3

[borreloadsavagedragon]

for the "send you a character" your beloved onion boy

Onion posting...... my favorite

First impression: Ok so Some Jay lore Deadass I thought I was gonna hate him I was so sure Ryouga was where I was gonna go if I had to pick a favorite and, with a lot of the bits I got before actually watching, Kaito just did not fit the characters I was drawn most towards at the time. I used to stick to more light-hearted, sunshine characters, like token dumbasses with hearts of gold with a few exceptions to which Ryouga was gonna be because I IRL am such an aggressive fan of sharks the animals, plus he was the ~bff~ trope character in my eyes and this was someone who lived breathed and died Takeru Homura and Katsyua Jounouchi And while I love Kaiba and Ryoken, it took some time to find love for them

Impression now: Uh. He's alright. Just ignore my social media, how I took Photon to 2 YCSs despite the very poor matchup conditions(AND WENT 2-2 FOR FOUR ROUNDS WITH IT IN PEAK KASH FORMAT!!! SIMPLY BE BUILT DIFFERENT), and the near 10k and growing character analysis oh and like majority of the fanfiction I've written for the last 1.5 yrs now plus this tweet:

sweats profusely To say he's impacted me quite a bit would be an understatement. Everytime something photon related happens in the tcg, I wake up to 10 different DMs and it's all this twink's fault

Favorite moment: omfg how does one pick a favorite when the character has become your entire life for a minute LOL Uhhhhhhhhh I will say I have the clip of him jumping into the cockpit saved on my phone for chuckles ajgkdlsj I love his duel against Ryouga, it's very showing of his character and his impact, also love how they banter His rematch duel with Yuma at the end of Part 1 is also really good, love to see him encounter his own uncertainty and let himself be inspired by Yuma I love that he stares at the footage of Mizael in the monitors in his lab like a freak after their first duel His duel with Shun in Arc V is always a rewatchable one

Idea for a story: Every story you could imagine!!!!! The one I'm currently most actively working on between upcoming ship week work is a semi-complicated post canon AU that has a past life subplot to it because lord I'm just gonna fill in the wasted potential subplots for Kaito myself at this rate ALLEGEDLY Have an OC I'm working on that ties back to him too, that's also lowkey in that lore also Stay tuned :)

Unpopular opinion: UH, the one I wanna say I'll wait for another ask that's currently in my inbox gjdsal So here is another from the analysis from another take I saw awhile ago:

I also think one of the long forgotten truths of Zexal is Yuma rarely sees anyone as a true villain. There are a few exceptions to this of course, Don Thousand and Mr. Heartland both come to mind, but Yuma manages to find compassion in just about everyone he faces and uses dueling as a way to bridge the gap between him and them, even ones who arguably don’t deserve it like Faker, Tron, and… well, beloved mothman Vector. If Kaito was ever supposed to look like a terrible person when he’s at the height of his crime spree, we would have seen that from Yuma’s perspective. Instead we see Yuma's fear, his intrigue, and ultimately, his motivation. Motivation to protect Astral from what’s to come, and then following the conclusion of the Kaito vs Zexal duel, motivation to help Kaito, and finally, the motivation to get to his level. Instead of the same treatment we get for other unforgivable types, we get to see Kaito for what he is beneath the snark, the beatdown strategies, and the unconditional love for his brother: he's lonely, he's incredibly desperate, and he's dangerously selfless for those who are the most important to him, so much so he initially struggled to find his next purpose.

I'm also on record for considering Kaito the strongest of all of the rivals lmao

Favorite relationship: Honestly all of them, family, ships, friends, I love how Kaito is written with others both in the shows(Zexal and Arc V both), the manga, and even Duel Links gives some of his lesser shown rivalries and connections more depth Kaito and Ryouga's rivalry is proooobably my favorite though? Especially including Duel Links moments, they've got so much in common but just will not connect unless it's to show the other up, but you know it's game over when they can find a strong reason to remain on the same page Also the card Photon Emperor exists, which is one, named very suspiciously, two, has a similar cape design to Nasch with the shoulder gems and the cape being attached by those pieces, and 3, very notably resurrects itself when it's sent to GY from hand, deck, or when it's detached as material from an XYZ At the same time, I LOVE Kaito and Mizael's entire story too, both as a rivalry and a relationship, god they're so good and it's truly so hard to put into words how much I love their dynamic, the parallels, how they match each other's crazy, they have my longest ship playlist gjkldadas For Arc V, I'm also a sucker for Kaito and Shun as well as Kaito and Edo Shun went back for him and wasn't going to quit until he convinced him,,, and Edo and Kaito have such strong chemistry for no reason, it's not unwelcome at all-- they just threw men at him for some reason and I'm all for it

Favorite headcanon:

I ALWAYS write him as both touch repulsed and touch starved because he's almost never shown without his jacket during canon except for a handful of flashbacks and exactly that one examination scene, and even in the flashbacks, all you get is his forearms from his one collared shirt

He'd rather die than sacrifice his aesthetic, an icon

[sho-dan]

Hello and welcome to this wild crackship!

In this pinned post I'm going to explain the reason for the name, the reason for the ship, and what I plan to do with this blog.

Why Sho-Dan?

I decided to call it Sho-Dan because it's a play on the name Chō-Han, a Japanese dice game that was a favorite of Zatoichi's, the character that was the inspiration for Issho. It's not hard to imagine Dadan might be a gambler as well, albeit probably not a successful one.

Why did I start shipping them?

Issho has been my favorite One Piece character for years now. It's impossible to know at this point what kind of man Issho was before becoming Fujitora, but I get the impression that he hasn't let his new status in the world change how he views it. Despite being an Admiral, he doesn't follow Sakazuki's orders, nor does he seem to give a damn about the opinions of celestial dragons or whatever punishment they might want to inflict on him. He does what he thinks is right, including letting a certain pirate alliance save a kingdom. He sees the nuance of life.

I always wanted to ship him with someone that would make sense, but he canonically seems like a loner to me. (This isn't meant to be disrespectful to any other ships, this is just how I feel.) I got into the Zatoichi movies because of him, and Ichi always fell in love but always left them behind because his life was too dangerous (he was always on the yakuza's radar) and had to stay on the move. It made sense in my mind that Issho could be similar, making enemies when he acted on his sense of justice, being a wanderer before and after being drafted into the Marines. That he could have left a love behind to keep them safe.

I am fond of Curly Dadan because she's a big, loud woman who swears and smokes, is a coward who makes mistakes, but will be brave when it counts. The characters she interacts with (obviously excluding ASL) treat her like a daughter (Garp saying "I'm leaving these kids with you, raise them well" gives toxic dad vibes) or older sister (her underlings respect her but fear her wrath.) I couldn't help but think she might be lonely, too.

My first thought was shipping her with a woman, but the only woman she's canonically interacted with is Makino. Makino is nice, but I see her dating either a normal person or a great adventurer, not a cowardly mountain bandit.

In 2020 I became part of the Women! Wanted Zine. We had to pick a woman from One Piece and create fanworks for her, so I picked Dadan. This was also during the midst of my Zatoichi movie spree.

It started with a prompt. We were making flash art to spark interest in the zine, and the prompts were based on arcs and movies.

That week's prompt was One Piece Film: Gold.

I drew Dadan. To be honest, hadn't seen Film Gold yet. I looked up character references from the movie, and settled on an outfit I thought was appropriately cool.

This movie had casinos and gambling, though, and of course I had to draw Issho- It's how we're first introduced to him!

Suddenly, things fell into place.

What kind man would love Dadan? What fierce woman would love Issho? What lover would Issho abandon to protect, and what in Dadan's past made her so embittered?

In my mind, it made sense that Issho could've been a wandering swordsman in his youth, maybe catching rides from island to island. He could have met Dadan on Dawn Island, well before the arrival of Ace, Sabo and Luffy into her life. Knowing what we know from SBS 110, maybe he was on the run! Maybe it was before his association with that kingdom!

Now what?

I'm making this blog as a testament to this crackship. I will share art about them, and share things that remind me of them. If I'm ever motivated to continue it, I may share my fanfiction here.

Thanks for reading, hope you liked it 💜🧡

[zetalial]

Roy Mustang - a military man.

Hey, my lovely friend @prettywitchiusaka asked me to do a post all about my interpretation of Roy Mustang so here it is!

This post is all about the Roy presented in the 03 anime for the record. (Roy’s character is quite a bit different in Brotherhood. A little more heroic and a little less broken and a little more consumed by revenge.)

------

Let’s see... Roy is part of the military. That is his most significant characteristic. Yes, the military defines him. The military is a pretty messed-up institution in the world of FMA. The country is always at war and it will slowly be revealed that there’s no good justification for it. Wars have been happening because people want to obtain the forbidden power of the Philosopher’s stone. 

Roy’s arc throughout the story is all about coming to understanding how broken this system he’s dedicated to is even while his life is completely tied up in the military. All his friends and companions are his fellow soldiers and Roy is rarely ever shown wearing anything but his uniform. The military defines his life -he’s been part of it for a long time - and it is hopelessly corrupt. 

The first eye-opener for Roy was the Ishval war. He sees great atrocities committed... and he participates in them, following the orders of his superiors. He’d likely believed all the lies he’d been told about his ‘enemies.’

He hates himself for it but Roy is a dutiful soldier in Ishval. (The only exception we see is helping Dr. Marcoh to escape.) We specifically see him blowing up a young boy with a gun (in a PTSD flashback) and his execution of a pair of (Amestrian) doctors. He confesses to Hughes to killing a lot of people in Ishval.

For his work, he is rapidly promoted through the military and we meet him as Colonel Roy Mustang, the Flame alchemist and hero of Ishval. At first he seems like an arrogant, teasing person with a goofy side around his close subordinates. Towards Ed, he really gets under his skin with his smirking knows-everything attitude.

Secretly, Roy is filled with self-loathing and drinks and even considers killing himself. He makes a promise to himself to fix the military, aided by his closest friend Maes Hughes. Of course, Roy wants to reform the system from the inside and to achieve that he aims to become the Fuhrer - that’s his goal for the series. He feels its the only way he can justify living and making up for his sins. (Also, as he expresses to Winry later, that he wants to be in a position where he’ll never have to follow unjust orders again.)

While he may have done terrible things, he is not a bad person. At least, that’s not how others see him. He has a loyal team surrounding him who want to help him to achieve his goals. Havoc, Breda, Fuery, Falman and, of course, Riza Hawkeye. They all greatly respect him. Riza makes it very clear that she is aware of the things he’s done in Ishval and chooses to follow him anyway. She does not condemn him.  Besides them, there’s also Armstrong and Hughes. 

Roy tries his best to be good, to improve the world even as he’s trapped by his own demons. He’s given up his innocence to get into a high-up, influential Military position. It’s not easy for him, we really see his struggles and we’re slowly shown that, yes, the things he has done are awful and he can’t necessarily expect forgiveness. 

Roy is a people person who can be very charming. He goes on lots of dates with girls and has been very good at becoming a rising threat in the military as he works his way up the chain of command. He is seen as power-hungry by many who don’t know him well. (Sheska views him this way for much of the series given his inability to open up to her when she wants to help.) These relationships are fleeting things compared to the trust of his team however. 

That brings us to Edward and Alphonse. Roy’s relationship with them is quite unlike anyone else - they aren’t Military, they’re still (clever, somewhat jaded) children. While Ed does join the Military on Roy’s suggestion, he keeps it at arms length. Edward never wears a uniform and makes it very obvious that he sees joining the military as a means to an end - he’s only after the stone. The Elrics have never experienced war and Roy wishes that he could make it so they never will. To that end, he’s protective of them, keeping them in the dark about Liore and about Hughes’ death. While he’s caring, he has the inability to be very effective about it. He’s a soldier who struggles to relate to the boys.

After the Nina tragedy, and facing a crying, distraught Ed in an alley, Roy is harsh and tells Ed to just get over it and move on. This disconnect resulting from alternating between being overprotective and treating Edward like one of his men is partially why the two have a rather strained relationship throughout the series. (And why I don’t much care for a parental!Roy. It’s not that he doesn’t care but that he doesn’t care successfully.)

Their relationship is further complicated by how they’re both basically using the other for their own goals. Ed only motivation is fixing his brother and he’s joined the military for its resources so he can search for the Philosopher’s stone. Roy is sympathetic, of coursem but his discovery of the prodigy Fullmetal alchemist for the military definitely earns him some points in the eyes of the higher ups. Additionally, Ed is reporting to Mustang - he can find all about the Philosopher’s stone through Ed; he knows it is somehow connected to the military as he used an incomplete stone in Ishval. The information that Ed is seeking out is valuable to Mustang. Later, it will be Ed and Al who will tell him that the Fuhrer and his secretary are both Homunculi and that they have been causing wars purely because they have been after the stone this whole time.  

In the first half of the series, Roy is motivated by guilt over his actions in Ishval. He believed he could fix things by gaining power. But things change with the death of his dearest friend Maes Hughes. It’s at that point he begins to realise how deep the corruption in the Military goes. Hughes’ research into the Ishval war led to his death. Working to slowly reform the military from the inside is starting to look more and more like a hopeless dream when it’s hiding so much evil - such as the fifth laboratory and their special ops soldiers they turned into chimeras after they started a war. (The Ishval war, naturally.)

The Fuhrer’s genial demeanour had fooled many soldiers into maybe thinking he might be what he appears to be - a kind grandfatherly sort of man who cares about the military. It’s only a closer look that shows that he’d been constantly throwing the country into pointless wars in order to gather ingredients for the stone and to cause people to lose everything and become desperate enough to seek it out. (Mustang and his team talk about it in episode 44). It is at this point that they are growing aware that the Fuhrer who they have been serving is their true enemy.

In the above scene, Riza describes how Mustang can use his destructive flame alchemy to prevent a riot breaking out. Despite Mustang’s best efforts to be a soldier who can keep the peace and protect others though, he isn’t able to prevent Liore from turning into another Ishval. He wasn’t able to protect his best friend, Hughes. Ishvalans are still being persecuted by the military. He can’t even protect the Elrics from war.

That’s why he ultimately has to give up his dreams. He wanted to become the Fuhrer to fix the military and prevent all the unjust suffering and the deaths of innocent people but his plans of reforming it from the inside are too slow and they aren’t working. Maybe they’d never work if it’s been the Homunculi ultimately pulling the strings this whole time. Whatever the case, he decides he can no longer justify his position as the dutiful soldier. 

He decides instead to assassinate the Fuhrer. Yes, it’s about avenging Hughes but it’s also about justifying his own existence and doing what’s Right. Standing idly by as more wars are started would be selfish in his mind; even his dream to become the Fuhrer would have become selfish. 

He and Edward cross paths once more. Edward is on his way to fight the Homunculi because he cannot stand by either. His goal of fixing himself and his brother is now secondary to stopping evil. Likewise, Mustang’s new motivation is to stop the evil corruption that plagues the country at the source. 

It is only now that the two of them can come to an understanding. Right as both of them go their own separate ways to potentially face death. I like how in the above scene, Mustang initially thinks to give Ed a military salute but then changes his mind and offers him a handshake instead. A nice little symbol showing how they’re a bit closer and also how their not tied to the military anymore. (Ed goes for a handclap because he’s contrary and it lightens the mood.)

Roy’s loyal men are staging a coup for him, directly waging war against the corrupt military. Meanwhile, he and his closest companion Riza sneak over to the Fuhrer’s home alone. (I like how he’s not in his military uniform in this final fight.)

It is fitting that Roy has to face Pride at the end because he has had to let go of his pride, his dreams, to come here. Ed explicitly states that he’ll never be able to become Fuhrer if he goes through with this. His whole identity as a military man is being thrown away here and he is at peace with the thought. 

The Fuhrer’s last actions involve taking an innocent child down with even as the innocent boy leads to his own defeat. It is not a perfect, bloodless victory.

Interestingly enough, it is Archer who takes out one of Mustang’s eyes. Archer operates as a foil to Mustang, a man who was jealous of Mustang’s prestige from Ishval and wanted Liore to be ‘his’ ishval. Archer is cold but clever; most people can’t stand him but he nevertheless rose to power following Hughes’ death. Yeah, a good man like Hughes gets replaced by a power-hungry snake such as Archer. While Mustang is a military man, he does not enjoy and embrace it as Archer does.

Archer was described as the ideal soldier because he is a man who likes war. His most faithful man was Kimblee (who loves to cause chaos and suffering). It’s a pretty good symbol as to how much Mustang messed up in his relationship with Ed when Edward decides to willingly turn himself over to Archer’s command rather than stick with Roy (who was being controlling). By the end of course, Archer has been turned into a crazed half-machine and he’s killed by Riza, who was defending Roy. 

But in the end, when Roy has finally killed the Fuhrer and finally given up on the military that has so long defined him? When’s he severely injured?

Well, they’ve finally reversed the Ishvalan policy and the finally reforming State is actually helping them to rebuild.

Riza is closer to Roy now that they’re both out of uniform. She’s taking care of him and letting her hair down. They were always very close in the military but there was a wall between them. It seems to have dropped.

Things are still imperfect, Roy acknowledges as much. The world is beautiful for it’s imperfections, he says.

Roy? He’s happy now. 

----

And that concludes Roy’s arc in the series and some of my thoughts on his character. Like all characters in the show, he’s pretty defined by past tragedies. He’s one of the most complex characters I think, so I tried to keep this pretty focussed. I see him as the main character after Ed and Al so we see a lot of him in the series. His relationships between the various characters is pretty varied and I didn’t want to go into every one in depth but I hope this works as a good overview. 

[sagurus]

Regarding a Common Misconception of Hakuba Saguru

Lately I've been doing some reflecting on Saguru & the various ways I've seen him portrayed, as well as the ways I've portrayed him in the past. And then I was rereading some MK manga, and had some realizations. I've been feeling like rambling about them! So here I go, rambling.

[Disclaimer: I'm not personally taking issue with anyone's interpretation or impression of Saguru - just sharing my own impressions! This is just for fun <3 ]

Misconception: Saguru is constantly accusing Kaito of being KID

It’s a generally accepted fact in a lot of fics I’ve read (and honestly, maybe some fics I’ve written -- I used to hold this belief too!) that Saguru just unendingly insinuates that Kaito is KID--alone, in front of other people, always.

I won’t cite any here, but I’ve seen nods in fanwork to Aoko feeling a little stressed/frustrated about the fact that Saguru thinks Kaito is KID and makes it known. I’ve also seen fanwork where Saguru explicitly calls Kaito KID, presses Kaito for information, or otherwise makes his beliefs clear, even when others are around.

There are only five scenes in the Magic Kaito manga where Saguru makes direct indication toward his knowledge of KID’s identity.

First, of course, we’ve got chapter 17 - the first chapter where Saguru puts together that Kaito is KID.

For a long time, when I’d consumed more fic than MK canon, I recall an image born in my head of Saguru singling Kaito out in class and making the claim that Kaito is KID in front of everybody. I don’t know if I ever read any such allusion in a fic, or if it’s just an assumption I drew based on portrayals I read, but imagine my surprise when he does nothing of the sort.

Now, to be fair, Saguru is A LOT in this chapter. MK is still heavily in gag manga territory, so his behavior is extra extra played up. But if we take away the visuals, the dialogue between Saguru and Kaito can be summed up thusly:

[First scene where Saguru makes direct indications as to KID’s identity]

Kaito: You look so tired. Haven’t gotten enough sleep after chasing KID for three nights In a row, huh?

Saguru: Hmph. Aren’t you tired as well?

And then, a few beats later in the conversation:

Saguru: I’d like to invite you to the Ochima Art Museum tonight, where KID’s declared his next target. Kaito: Eh? Saguru: Then, you’ll understand why I’m so tired. Or, do you have other plans tonight? Kaito: Okay, I accept your invitation. It’ll be great to see your work in action!

And that’s it, that’s the big class confrontation. Aoko is present for it, but she’s more interested in joining in on the fun, and while I do think Aoko pieces together that Kaito is KID, she prefers to live in willful ignorance of it until it becomes impossible for her to ignore. She’s bright enough to pick up what Saguru’s implying, but because he never brings it past implication, there’s no reason for her to look at it too hard. Anyway, I digress. That’s conjecture and headcanon talking. My point is that Saguru never makes any explicit claims, just invites Kaito along to the heist.

Another neat thing about this scene is that--while certainly not motivated by mercy in this case, Saguru does give Kaito an out: “Or, do you have an excuse not to go tonight?” Of course, if Kaito took it, it would be rather damning, but I do think it would have been enough confirmation for Saguru. I don’t think there would have been any arm-twisting to get Kaito to agree.

But Kaito and Saguru are competitive bastards, so here we are.

Let’s move on to the heist!

Once again, the manga certainly plays up the whole ordeal. Saguru is intense and waiting for his moment, and Kaito’s being, well, Kaito.

At the heist, there are a few points where Saguru has opportunities to make allusions to Kaito being KID in a way others would pick up on, or otherwise make his suspicions known, but he doesn’t.

First of all, is this exchange:

Nakamori: Why are you guys here? Aoko: Hakuba-kun invited us! Nakamori: What’s the meaning of this, Hakuba-kun? Saguru: I thought she might like to see if KID is arrested tonight. Nakamori: You’ll fail if you’re too cocky! Saguru: We’re well-prepared. Besides, who knows… KID may already be here.

Saguru does imply KID could be present, but he makes no indication that he means Kaito. His next opportunity to hint at Kaito being KID or otherwise make accusations is when Nakamori asks him to consult as a magician.

Nakamori: Kaito, since you’re here, do you want to use your magic against KID? Kaito: [laughing sheepishly] Saguru: Oh, I want to see that fight, too. If you really can do it.

Needling, yes. Saguru knows what he’s saying and so does Kaito. Accusations, no. This is well within the realm of something Saguru would have said even if he didn’t suspect Kaito, considering their dynamic up until this point.

And then, the most explicit Saguru ever gets in terms of literally calling Kaito out as being KID, beginning when Kaito excuses himself to go to the bathroom right before the heist:

[Second scene where Saguru makes direct indications as to KID’s identity]

Saguru: [handcuffs himself to Kaito] Kaito: Huh? Saguru: I won’t let you do that, Kuroba. Kaito: What do you think you’re doing?! Saguru: I got the report back from the lab. The hair I got from KID indicated that he’s a high school student. After I compared KID’s data with other high school students’ data in the database… Kuroba Kaito came up in the final list. Kaito: That’s a coincidence. Saguru: Really? We’ll see soon enough. Let’s wait until the time KID is stated to come. [Some heist hubbub occurs as officers get into position even though KID hasn’t arrived at the heist time] Aoko: What? KID’s not coming? Saguru: Ha! It looks like I win! You’d better confess who you really are.

And from there, of course, ‘KID’ (Akako in disguise) swoops in and takes care of the heist. That more or less wraps up chapter 17, the first chapter where Saguru understands that Kaito is KID. And I would argue this is the most aggressive Saguru ever is. In fact, rather than persist in trying to accuse/capture/implicate Kaito as KID, he straight up vanishes from the narrative for several chapters.

Saguru doesn’t show up again until the Chat Noir heist, in chapter 25, when he calls from France.

It’s also important to note that at this point, Magic Kaito’s narrative has experienced a slight tonal shift. At the very least, while still often comedic, it reads less like a gag manga. Between the last time we saw Saguru and now, we’ve learned the apparent motivation behind Toichi’s murder, we’ve met Snake (an albeit rather incompetent villain) and Kaito has faced down gunfire and the danger posed by Snake and his men.

The way Saguru is portrayed has also shifted to reflect the shift too. Instead of a hulking antagonist-like character in a Holmes cosplay, he’s dressed primly and presents more as a cheeky but polite character. He’s also more effectively emulating the charm that the story tried to imply he had early on (“Hakuba Saguru, at your service!”, the girls in class fawning over him, the newspaper calling him out as a famous detective making a long-awaited return to Japan).

The interaction is entirely less antagonistic, too. For reference, I’ll paste the exchange (sans Saguru’s massive info dump) below.

[Third scene where Saguru makes direct indications as to KID’s identity]

[At the heist for the golden eye] Kaito: [Hiding in a bathroom stall while putting on a disguise] [His phone starts ringing] Hello…? Saguru: Hi, it’s been a while. Are you still alive? Kaito: [Thinking] This sugary yet obnoxious tone of voice is... Hakuba?! Saguru: You’ve made quite the stir in Paris. They’re all talking about how France’s Chat Noir is going to go up against you in Japan. Kaito: Idiot! It’s not me. It’s Kaitou KID! Saguru: Ha… it doesn’t really matter. I’ll share some information that I gathered over here. [Info dump cut from dialogue] Well! That’s about all I have to say. Do your best. I don’t want to see you lose to anyone until I capture you myself. Kaito: Like I’ve been saying, I’m not KID! Saguru: Oops, it’s almost time for the Paris Fashion Week. See you! Kaito: H-hey…

The only part of this conversation that I could consider to fall into the territory of antagonistic is when Saguru says “I don’t want to see you lose to anyone until I capture you myself.” And more than anything, I think this is less reflective of a real desire to capture Kaito, and more reflective of his competitive nature. Not to mention, within the context of the conversation, it feels much more like teasing than anything.

Saguru’s motivation for making the call is clear: He doesn’t want Kaito to lose, and he wants to help ensure Kaito’s success.

And most interestingly (although I’d like to see the raw manga to confirm this, or otherwise a more literal translation) he never explicitly calls Kaito KID either. Outside of alluding to KID’s actions, Saguru doesn’t explicitly say Kaito is KID or mention KID at all. It’s Kaito who does that.

When Kaito points out that he is not, in fact, KID, Saguru doesn’t argue. He simply brushes off the denial and shares the information he’s collected.

So, to summarize what we’ve covered so far: after Saguru failed to arrest Kaito during chapter 17, he stopped troubling Kaito so thoroughly that the next time he features in the story isn’t until he’s calling from overseas to try to lend Kaito some helpful information. He’s not even playing a part in trying to capture this thief he allegedly wants to catch.

And then, Saguru dips back out of the narrative, although for a shorter period this time. The next arc he appears in is a few chapters later--the Nightmare Heist which he arrives in the middle of. But, there’s not any interaction between him and Kaito, nor any allusions made by Saguru about KID’s identity, so we’ll move on.

The fourth time Saguru makes any indication that Kaito is KID is during the Corbeau arc, when KID is being challenged by a clad-in-black KID lookalike.

Before jumping into that specific scene, though, there’s another interaction I’d like to call attention to--between Saguru and Nakamori. Not because of something Saguru says, but because of what he doesn’t say.

Nakamori: Hahaha! Looks like you let your guard down because you thought I was at home with a cold! Saguru: Our plan succeeded, it seems. Nakamori: But I only told Aoko I had a cold, so how does KID know…? Saguru: Hm...

If Saguru were wanting to make some kind of accusation, even a non-explicit one, he would have made some remark. Instead, he doesn’t say anything at all, which continues to speak to the fact that he isn’t really interested in implicating Kaito.

Anyway, the next time Saguru makes any sort of implication that Kaito is KID he is, once again, trying to help. Last time it was over the phone, so the conversation was private. This time, the conversation is in a classroom, although based on the panels, it seems like Saguru and Kaito are alone at the beginning--or at least, no attention is being paid to them.

[Fourth scene where Saguru makes direct indications as to KID’s identity]

Kaito: [Talking to himself] It must be the case, there’s no other way. There must have been some trick with the case.

Saguru: [Eavesdropping, apparently alone in the room with him] The case didn’t contain any hidden mechanisms. Kaito: Eh? Saguru: No hidden doors or things like that, as are often used in magic tricks. Kaito: W-what on earth are you talking about? Saguru: A new notice from Corbeau arrived this morning. ‘I’ll come and take the real Midnight Crow tonight.’ My name is Hakuba--so I don’t want a ‘white’ person to lose to some ominous black crow. [From here, Akako and then Aoko jump into the conversation.]

Surely a classroom is a risky place to have a conversation about KID, but the nice thing is that Saguru--once again--doesn’t bring up KID at all beyond saying that he doesn’t want the ‘white[-clad] person’ to lose to the black crow. From the outside looking in, all he’s doing is sharing information about the case with Kaito. It may also seem unwarranted from that perspective, but not at all implicating.

Also, another thing I’d like to call attention to is that when Akako joins the conversation (and seemingly blindsides Saguru, as if he wasn’t expecting anyone else to join), Saguru stops talking. He continues to be quiet when Aoko chimes in, and he doesn’t have any relevant dialogue for the rest of the scene.

Once again, Saguru’s clearly motivated to share information in the interest of helping Kaito. He has to share with Kaito’s civilian identity, since he can’t exactly arrange a conversation with KID, and this is likely the easiest way for him to do it. He makes no accusations, and this time he doesn’t even imply he wants KID caught.

So--Saguru is a part of the narrative again, but since rejoining the narrative he seems less interested in actually catching KID and far more interested in helping Kaito. And no accusations or incriminating allusions have been made since chapter 17, before Saguru’s first hiatus from the story.

The final time Saguru nods to Kaito being KID is from the Sun Halo arc. This is probably the interaction that’s closest to what fanon tends to depict when it comes to Saguru making subtle accusations that Kaito is KID. And even then, I tend to take this arc with a grain of salt if only because it felt less like Gosho was trying to add to the story and more like he was just trying to make a Magic Kaito addition that hit various fan expectations while still being wildly disappointing, lmao.

[Fifth scene where Saguru makes direct indications as to KID’s identity]

Saguru: [approaching and commenting on Kaito’s motorcycle] I see, a Suzuki GSX 250R. Akako: Ah, Hakuba-kun… Saguru: You’ve shown me something interesting. Perhaps this might help the police tonight. And could it be that you’ve forgotten… that the only motorised bikes we’re allowed to ride to school are scooters? Kaito: Eh?! For real?!

Once again, Saguru doesn’t explicitly mention KID at all--and segues from his mention of the police to pointing out that Kaito is breaking the rules right now, actually, which helps blend this teasing comment into the conversation.

Yes, later in the chapter Saguru does show up with a team of motorcycle experts. But that also means there’s more disguise opportunities for KID and more factors to account for, thus complicating things for, well, everyone--not just KID.

Also, I tend to dismiss that as Gosho throwing in some comedy, and as less to do with Saguru’s character. Call it cherrypicking if you like :P

To recount--there are five times where Saguru implies Kaito is KID.

The first two are in chapter 17, when Saguru first puts it together, and it is during this chapter that he gets the most explicit about calling Kaito out as KID, as well as the most aggressively he behaves about it. And he backs off so hard after that doesn’t work, that we don’t see him for several chapters.

The next two times he implies Kaito is KID are both in order to help him. No aggression or accusations, just the sharing of information. Even when teasing or suggesting he’s interested in catching KID, he’s good-natured about it, and when he realizes there are potentially people witnessing the conversation, he stops participating.

The final time he implies Kaito is KID is a tiny comment about finding something Kaito has shown him ‘interesting’ and ‘helpful for the police’ before smoothing into gently teasing Kaito for bringing an illegal vehicle to school.

In conclusion, Saguru may start off apparently aggressive in part thanks to early Magic Kaito’s overall tone, but rather than persevering in trying to catch Kaito after cornering him in chapter 17, he actually seems to back off. Once he’s playing a part in the narrative again, when he interacts with Kaito it’s almost exclusively to help him. Yes, he is on the task force and participating at heists, but where it matters, he’s less interested in catching the thief and far more interested in those the thief is opposing (excluding the police force).

[eponymous-rose]

Talks Machina Highlights - Critical Role C2E131 (March 30, 2021)

Tonight’s guests are Liam O’Brien and Sam Riegel!

Brian points out that a lot of Caleb’s greatest fears have come to pass. Liam: “It’s funny, because he’d kind of believed for a while that those things weren’t going to happen. After a while, he got complacent.” He notes that it was extra wild because everything with Trent popped up again in the midst of that complacency. And how did it feel to be defiant toward Trent? “I think Trent successfully made Caleb question if Caleb really was in control“ at the dinner party. “I feel like anything that I do is part of his plans for me, or is that just gaslighting? I’m legitimately scared of that dude.” Sam: “Of Matt?” Liam: “Sure.” He highlights the disconnect between knowing that the M9 is mechanically powerful and could possibly defeat Trent in a dice-and-stats battle, versus fearing him in a story sense and being convinced he can do almost anything.

Sam, on Luc’s death: “That was brutal, man. Matt Mercer is a-- he hates children! Clearly. He actively sought to kill a child in the campaign in as brutal a way as possible. He hates children and wants them dead. Canon. No, but to RP, that was horrible.” He highlights that so much of Veth’s arc has been about trying to get back to her family. “We had to choose something and we thought we were making the right choice. It was all Veth’s fault, and it was pretty rotten. My heart was beating pretty fast, and I certainly didn’t want to have my son die live on the stream. I don’t know what Veth would have done. That’s the end, that’s over. It’s almost worse than when your own character would die. This is something that would also kill Veth.” After the episode was over: “just shaken. I also didn’t know what to do next! That felt like a turning-point moment for my character, weirdly so close to what we assume to be the end arc of this campaign. I texted Matt later that night and was like, that’s it, Veth’s out, I’m tapping out.”

There’s an interlude in which Sam discovers a new dream to record an episode of this show from his Peloton. Dani informs him that she will not be inviting him back.

On Astrid, Liam: “I literally don’t know what she’s doing. I know that she’s dangerous, she always was ambitious, and there’s not been a moment where Caleb let his guard down with her. He’s not trying to reestablish what they had. He cares for the both of them, for Astrid and Eodwulf. He thinks about it a lot, still. He can’t tell how much she buys into everything that she experienced and is now living as a full-grown adult. He suspects that she’s bought in and is not going to change things, because she believes in the system, as much as he’d like to peel her away. He does believe that they want what’s best for the Empire, and stopping whatever wants to come vomiting out of a hole in the frozen north is good for everyone. And they’re powerful. They’re not trustworthy, obviously. But there’s enough at stake to make it worth it. He could imagine a situation where they fight each other to the death.” He was convinced Astrid was going to stop them when they left the tower and was really shocked when she held back. Sam: “Not me! I’ve trusted Astrid since day one. She’s the greatest! I sent a letter to her, she’s very nice, I think you guys would be a nice couple. I believe every word she says.”

On having to decide on Veth deciding to go off and save the world after Luc’s death. “Like I said, I was ready to be done. And then I decided somewhere in there that that’s not very D&D. So I thought I’d leave it up to somebody else, so I asked Caduceus to decide for me, essentially. She knows she’s putting her other family in danger if she doesn’t go. It’s an impossible choice, you know?” Liam: “I love watching you grapple with it, because you’re a lovely father and love your kids.”

On the Sanatorium, Sam: “That was brutal, man. Matt lulls you into a sense of complacency. We’d forgotten that Caleb was a stone-cold killer! It had been a while since he went on a murder spree. Still got it!” Liam: “I never meant for this character to be perfect sunshine.” Brian: “You don’t say.” Liam: “He’s very not-perfect, and I think in his brain, he was going in with the impression that they needed to get in and get out as soon as possible. The place is crawling with people with magic ability, and I didn’t have faith that we wouldn’t be sussed out or something wasn’t going to blow an illusion.” Everything was about getting out of there as fast as possible.

Did the conversation with Yeza help with Veth’s decision? “First of all, every conversation with Yeza is a beautiful one. Every time she talks to Yeza, it makes her feel good. In some ways, she’s gotten to the point now where she knows Yeza’s going to be supportive, she knows he’s going to allow her to do what she wants, but maybe that’s too much. Maybe she needs to not listen to him, basically, and be like, no, you need to be selfish now, dude, you need to say ‘come home, I’m sick of you leaving’. At a certain point, being supportive can turn into being enabling.”

Cosplay of the Week: Jester in the snow! (liljerbear47, photography by kairiceleste on Instagram)

On Trent’s motivations for chasing Caleb: “I really don’t know. The simplest explanation is to just hammer down the nail that’s sticking up. It has crossed his mind that all high-level wizards are in danger of their own ambition and egos, so it’s occurred to him that Trent might have the same kind of ideas that Halas had in the past, and maybe Caleb was always meant to be another body to jump into. Maybe in some sick, disgusting, twisted way, he wants him to be his successor. I am thinking of the next campaign, without getting too deep in, trying to do something that is much more ride-along. Caleb is very, very specific, and I thought long and hard about all the different pieces on the chessboard for him. For campaign three, I’m looking forward to seeing what happens.”

Dani: “Do I need to be keeping lore on your fucking ads?”

On the cursed dagger: “It was a tricky one, because in campaign one, one of the characters was under the influence of a cursed weapon, but it interacted with him and he knew what it was and what it did. And it affected his gameplay as a character. For me, Veth didn’t know what it was, ever. I as a player knew what it was doing, but Veth didn’t know at all. So it was kind of like my dirty, dark secret for many months. I knew this thing was coming perilously close to killing me, but my character didn’t know enough to bring it up to her friends. Nobody ever asked! So I was like, well, I guess this thing’s just going to kill me one day, and it’s kind of going to be a surprise.” Liam: “Sam, you love danger and self-destruction so much, you might as well be Mollymauk.”

On the fight in Yasha’s sequence, Sam: “You gotta put a character in your storm giant creature. It was so fun! It was so great of Matt to involve us in this encounter. It would’ve been fun just to watch, because Matt would have made it amazing and Ashley was sweating bullets, which is always fun to watch.” Sam notes he felt guilty, but Liam was going for the kill. Liam: “Matt’s gotta be careful about giving me that kind of story beat. I do not fucking care, I just fucking flip, I’m like, well, I’m going to destroy you, and I have no qualms about it. It’s too much fun!”

The Beau/Yasha tower date was in part inspired by not being able to give gifts as easily this last year. “This thing that we do together is a gift, but I love finding these moments, like the book for Jester and the tower for Yasha and for Beau. I really just wanted to give both of them a little magic for a night. I wanted them to leave this-- we’re trying to be as entertaining as possible, but shit is having an effect on all of us too, and I wanted them to have an escape, a great place to escape to.”

Fan Art of the Week: an amazing group shot, plus Marion, Yeza, and Luc! (vocaz on Twitter)

On choosing Essek over Trent, Liam: “It would have been so interesting and awful and great! Essek and Astrid and Eodwulf are everything that Bren used to be attracted to that are terrible for him. Essek, hopefully he can with time find a way out of the hole that he dug himself into, but it was only two months ago where he was found out and his ambitions came crashing down around him. Long-term, I have high hopes for him, but I think it’s going to be hard.” In contrast, Astrid and Eodwulf are still “deep in the shit. It would have been really hard to navigate, but fun to play at the table. We made the right choice with what we went with. Essek’s just getting started, and Caleb doesn’t trust him entirely, because he was burned so hard not too long ago. He’s still more trustworthy than the other three. So it’s the better choice. While Caleb has all these ties on the other side, they’re really fucking dangerous. So if you have to choose, you choose Essek. But fuck that die.” Sam: “Veth, much like Sam Riegel, makes instant decisions about whether to trust someone or not and sticks to it forever. Astrid, 100% trust. Eodwulf, 100% distrust. Essek, completely distrust. I still don’t think he’s a good guy. Ikithon? Trust. 100%. Because you know where he’s coming forward, you know what he wants. I still want him dead, but I trust him.”

On Veth’s post-adventuring plans: “Veth is probably still too in it right now to think about what comes next. I, Sam Riegel, have a good idea of what I want Veth to do post-campaign.” Brian: “Maybe you shouldn’t tell us. Save it for the show!” Sam: “All she knows is she can’t do this anymore. It’s very unhealthy to be battle-wounded every other day. It’s fun for a while, but college has to end at some point, and she’s gotta go home.”

On Frumpkin changing appearance and returning to the Feywild: “I don’t know what I’m going to do, but the way it feels now for Caleb is that he feels too enmeshed in everything that has happened, and too much good has happened, and too much needs to happened, that that really narcissistic, selfish goal has the risk of harming everything else, which is more important. And that’s how he looks at it now. So he’s gearing towards letting everything from the beginning of the campaign, and where he started, go, and trying to figure out what use he’s going to be now and what he’s going to do if they’re not all dead. If Matt throws that shit down, I don’t know what I will do, I think about it a lot. But turning Frumpkin white and saying you’re free either way is him preparing to let go of everything he’s been holding on to for a really long time. He’s addicted to that idea that he can fix himself, and we’ll see if that hard choice gets presented, what he might do. But where he stands now, he doesn’t think that’s going to be reality, and he sees a way that he can be of use that he never really anticipated before, so he’s slowly shifting gears towards living with the pain he was trying to remove.”

On the last request scene and confidence heading into Aeor, Sam: “I feel like that’s a good request. I think all of us realized that if we die, that probably bodes badly for the world. I feel like all of us are at a point now as characters and as friends, that the first order of business would be to take care of everybody else’s shit, although we probably have different ideas of how to do that.” Liam: “I want the Empire to be healed, Caleb has all these memories of his parents and what they wanted for the world, and he wants that too. It’s clearly not in place now, the system needs to be broken and replaced. That could be a part of Caleb’s sunset. I don’t want Caleb to die, so maybe he can work on that after. As everything starts to shake out and we start heading towards our destiny, Caleb’s just free-floating. He’s not even going after the same thing he started for. So he’s looking at Veth’s family, and Luc specifically, and seeing that’s me, that’s a little boy in the Empire.”