#what a Narrative can change; what it can't....

[verushkak70]

I understand what you're trying to do but in my experience it doesn't work

I've debunked literally hundreds of insane, factually & scientifically wrong crap a friend has been sending me off social media since the FIRST orange asshole campaign

It has not made a difference & I recently realized why (aside from, y'know, tens of thousands of Chinese & Russian social media bots gaming algorithms to inject false narratives into the mainstream to influence elections & democracy in multiple countries...)

It's because facts do not matter to him anymore

This is a belief system very much like religion - it might as well be religion

It is impervious to facts & science

Yet this is someone who I once considered highly intelligent & I still cannot understand how he's fallen for all of this except that, deep down, he must have either a hollow core, or a core of hate, that wants everyone else in the world to be as secretly miserable as he is (which I only know because I've known him for decades - since high school - casual observers would never say "this guy is miserable & self-loathing")

Objectively, on paper, he is intelligent or at least was intelligent & high scoring enough to get into Ivy League universities when we were graduating high school (he did not go to any tho; neither of us could afford such universities; we went to the state university that would take literally anyone, at the time, & from which you had to work at getting kicked out)

This was formerly a pro-choice, pro-porn, pro-drug guy who has drunk the Kool-aid - he's still pro-porn & pro-drug but suddenly in the past 2 years, as "throw it back to the states" became the propaganda on X (his favorite social media, ugh), he started saying it should be thrown back to the states

This from a guy who used to say - in his 20s, 30s, 40s - that abortion should be available on demand at drive thrus (which was hyperbole ofc; obvs you can't get one at an actual drive thru; it was the concept of fast & easy access he was championing)

As these right wing evangelical positions have trended on X, they have come up in his speech the past couple of years (really the past decade, but it accelerated like the speed of light once he moved from FB to the post-Musk Twitter/X)

Because I've known him for so long, I've been able to say, "Huh, you never used to say/believe that over the last 40 years... Why the change, & why now?"

& even that does not get him to realize his opinions are being deliberately shaped by propaganda

He will deny it or say "well I always kind of thought that way" & when I say "dude, you've never been shy of sharing your opinions, whether people wanted to hear them or not, especially if not! so why haven't you mentioned this change of opinion until after X became your main source of 'news'?"

That gets evasions & subject changes because the idea that he didn't come up with these ideas on his own is unacceptable

He will share literally fake news from X & when I ask, "OK, I get that you don't trust mainstream media, with good reason; or the government, with good reason; or the medical/scientific establishment, not without good reason; but you'll just believe anything some clown you don't know on the Internet - who could be anywhere in the world despite his "US Navy Vet" trucker hat - says, without question?"

& his response is always subject changes & attacks on mainstream media/government/politicians/parties but never an answer to the actual question because there is no rational explanation & he knows it

& if I call him on the subject changes, he just ratchets up the subject changes & attack rhetoric as if I'm one of those easily offended wilting liberal flowers he can steamroll, which I'm not & never have been, so it's interesting (if sad) that he thinks what works on other people will work on me

Or maybe he just doubles down because there IS no rational explanation, idk

This is seriously depressing me because this guy was my BFF for like the first 30 of our 40 year friendship - my older sisters would call him "our adopted little brother" - & I don't recognize him anymore

The only reason I continue to talk to him, really, is my oldest sister, who passed away a year ago in February, & was a big activist & organizer/coordinator of various (large) protests here, said "don't give up on him, don't fight or argue - just keep listening & questioning" because "he's a good egg"

& honestly he is, underneath all the sourball curmudgeon thorny exterior - the man has never not been there when I needed him & lots & lots of times when I didn't, just for fun

But this is becoming exhausting & I'm stressed out from not literally screaming "WHAT THE FUCK IS WRONG WITH YOU!? WHERE IS MY FRIEND, YOU CRAZY POD PERSON WHO TOOK HIS PLACE??"

I'm sorry - I'm just venting, I guess

But please tell me how someone can maintain the cognitive dissonance of a high index of suspicion for the mainstream media, the government, & medicine/science, but not some Joe Blow clown on the Internet - as if somehow that guy (who's probably actually a Chinese or Russian bot) is telling the gospel truth & has a hidden mainline to the secrets of the universe

Because I can't understand it

I can understand it in people who've not had the privilege of university education (my friend has)

or international travel (my friend has, multiple times, with me & others)

or who never left the neighborhood or town where they grew up (my friend did as soon as he could)

I cannot understand it in my formerly skeptical & always shrewd friend

I honestly do not get it 😞

So many people do not understand the relationship between climate change and cold weather.

[leviathan-supersystem]

how do you get good at debating? how do you put on a cruel stage show? how do you get practice identifying the buckling points in someone’s argument as it happens?

the first and most important part is to read some currently occurring debates on the topic so you know what current talking points are in circulation. this is the absolute most important part, if you don't do this nothing else matters, even if you're smart and well-read in general if you don't know what people are saying in the discourse about that specific topic Right Now then you're going to be playing catch-up and being caught off guard.

at any given time The Discourse on any given topic is mostly composed of like, 12 talking points just getting churned around and repeated back and forth. learn what the best arguments are for the side you agree with, learn what the rebuttals are to the arguments from the opposing side, and if any arguments from the opposing side don't already have ready-made rebuttals, try to see if you can craft a rebuttal of your own to that point from scratch. that way you'll go into every debate basically already knowing what they're going to say and having a ready-to go rebuttal for every point. you can even just copy-paste your rebuttals if you highlight that you're doing that, i do that with my rebuttal against the ancap "achktually, the REAL definition of capitalism is-" argument, and the fact that i'm copy-pasting the same block of text and it works flawlessly every single time just makes their argument look even worse.

If an opponent makes any given claim, don't just assume it's true. look it up. especially if they don't have a source, but even if they do have a source, look up other sources on that topic and see if their source has already be debunked. so often i see someone just outright lie in a debate, and the other person just continues the debate assuming their lie was true.

i'm not immune to this myself, i was arguing with that guy who said "ahaha well palestinians are majority shia and yemenis are majority sunnis and sunnis HATE shi'ites, so yemenis don't even actually care about palestinians, they just hate jews!" and i wrote a whole rebuttal assuming the claim about sunni/shia demographics in those regions was true and then i looked up the statistics on shia/sunni demographics in palestine and yemen, not even trying to debunk or fact-check him, only to find that palestine and yemen are both majority sunni! palestine has a *larger* sunni majority even! so i had to go back and delete my whole response and replace it with "palestine is majority sunni you cretin." just assuming an opponent's factual claims are true without checking them is one of the most rookie mistakes out there, but no matter how much experience you have you can still fall into it if you don't check yourself.

since no ideology can ever perfectly capture reality, every single ideology has certain facts that they can't address adequately. figure out which facts these are for your opponent's ideology and repeat them as often as possible, demand your opponent address them and don't let them try to change the subject when they can't.

for example, there is no way for the conventional anti-communist narrative of "marxism-leninism was bad for everybody, it's fundamentally a failure as an economic system" to account for the fact that the majority of russians consistently say in polls that socialism was better than capitalism and that the soviet union was the greatest time in the history of russia. if you just keep coming back to this fact they'll just keep getting more stressed out and trying to dodge that topic in more desperate ways.

ideologies will also oftentimes have internal inconsistencies, you can also just keep bringing the conversation back to these and watch your opponent squirm. also, conversely, if there are any inconsistencies in your own views, correct these so your opponent can't do this to you. there are plenty of right-wingers who get a lot of mileage by pointing to the dissonance between gun control and other popular progressive positions ("how are you going to condemn the police and then say only cops should have guns?" etc) and by simply being adamantly pro-gun and against gun-control i can basically become impervious to those arguments. they keep using those arguments and i just say "well i'm against gun control" and it shuts them down completely.

similarly a lot of these arguments that hinge on pointing out hypocrisy/incongruity on the other side are directly mirrored by an inverted hypocrisy/incongruity on their own. while the right-wingers are correct to point to an incongruity in the popular progressive "anti-cop, pro-gun control" position, this incongruity is mirrored by an equal incongruity in the "pro-cop, anti-gun control" position which is popular among right-wingers ("if you think we need guns to overthrow the government, why do you want the agents of that government better armed and equipped? who do you think enforces the gun control laws you decry?" etc)- if you jump into the fray of this discourse with an "anti-cop, anti-gun control" position, you can hammer the right-winger on their inconsistency while remaining invulnerable to attempts to do the same to you. similarly if any more mainstream liberals want to try to start shit with you you can also point to the incongruity/hypocrisy of their position while remaining impervious to retaliation.

i'm using gun control as an example, but you can apply this sort of tactic to basically any discourse where two sides are mutually accusing each other of hypocrisy/incongruity. they're probably both right to a degree, and you can get a lot of mileage by crafting a position more internally consistent than either side of the debate.

also, anyone who tries to convince you you should only argue in a vacuum is dumb as hell, your opponents previously stated opinions are completely relevant to the conversation, especially if they suggest that their currently stated positions in the debate are insincere or hypocritical. if someone is debating israel/palestine with you, and they say "the hamasniks don't represent the interests of the palestinian people- it is israel, ultimately, who does, and the hamas extremists are just disrupting this peace and making things worse for everyone." it's absolutely relevant if a week ago they were posting "all arabs are subhuman dogs who must be exterminated, islam is an inherently violent religion which no society should tolerate" and so on and so forth.

if you're arguing about a topic with someone, search that topic on their blog and see what else they've had to say about it. people will whine about "poisoning the well fallacy" but that's obviously just a fake "fallacy" attempting to ban an entirely legitimate debate tactic. yes, if someone is insincere in making an argument, that absolutely reflects badly on their argument, and their previous track record absolutely can demonstrate if they're insincere, it's stupid for them to go "uh uh uh poisoning the well fallacy, you can't point out that i'm a lying little shit, you have to pretend i'm not" and everyone who sees the debate will know it's stupid for them to do this. if you've effectively revealed someone as a liar, they won't be able to redeem their reputation in anyone's eyes by saying "well you're not allowed to prove i'm a liar" no matter how hard they try.

idk thats the stuff i can think of off the top of my head, i'll try to add more if i can think of anything.

[miraculouslbcnreactions]

I haven't seen the London special—and I don't want to—but I've read the plot and something just occurred to me.

Why did Bunnyx need Ladybug's help? Why couldn't Bunnyx have figured things out and fixed the timeline herself? I know only the 14-year-old Bunnyx was left, but that gives her ample time to do SOMETHING.

According to Marinette, she believes that the Rabbit Miraculous is actually the most powerful of all the miraculouses. That means a whole lot of responsibility, which she gave to Alix when she let her keep the Rabbit Miraculous PERMANENTLY.

So, why didn't Alix just fix the timelines herself? She was the Present Alix, which means nothing has happened to her at the moment. She could've brainstormed her way into figuring out what happened, who it is, and stopped them herself.

I don't know. Maybe it's just me, but I feel like if you give someone a miraculous that YOU YOURSELF BELIEVE IS THE MOST POWERFUL MIRACULOUS, YOU'D GIVE IT TO SOMEONE WHO CAN ACTUALLY WORK BY THEMSELVES???

And it's not like I'm saying Alix can't ask for help, but it just feels like her first thought was: "I gotta get Ladybug!" And not "Oh my God, the timelines are changing, I have to figure out who it is!"

If Alix is going to run to Ladybug every time the timeline changes, why give her the responsibility of making sure nothing happens to the timeline in the first place??? If it's going to be like that, Ladybug might as well have just kept the Rabbit Miraculous herself, since it seems like she'll be the one shouldering the job anyway.

The show's obsession with making Marinette do everything herself has created massive flaws in the narrative and makes a ton of characters look bad - or at least poorly suited to their hero role - because they generally default to only doing what Marinette tells them to do. The show will even go out of its way to punish characters when they take initiative. If your name isn't Marinette, then initiative is always, always punished. And if your name is Marinette? Then it depends on the writers' mercurial whims and not anything even remotely resembling logic.

Alya suffers the the initiative = bad curse all the time like in Optigami where she decides to take the turtle to the day's fight even though she was only told to take the fox and the bee:

Rena Rouge: Mirage! (an illusion of Ladybug is created) And voila! A cool little Ladybug illusion to keep Style Queen busy while I'll… (Rena Rouge looks at the Turtle Miraculous container on the Miracle Box and takes the Miraculous) Longg: Did the guardian ask you to do that? Rena Rouge: Just a precaution.

This should have been Alya's moment to shine. A moment where she took initiative and it paid off, showing Marinette that she could trust others to make their own calls. Instead, this choice is painted as Alya being blinded by her love for Nino and leads to Shadow Moth almost getting the turtle because he just so happened to make a perfect clone of Nino and Alya unknowingly gave the clone the turtle. (Why does this show love evil twins so much? This is basically a the same plot as the season four final. Get a new gimmick! This one is just dumb.)

Even more annoyingly, the one who unmasks sentiNino isn't his girlfriend, it's Ladybug even though the thing that exposes sentiNino is something unique to Nino and Alya:

Ladybug: I guess it was only here to help repair everything. (looks confused when she sees her compact mirror) (Sentinino gives Alya a simple hi-five) (Ladybug remembers Alya and Nino's special hi-five in a flashback) Ladybug: (looks at both of them with curious look) We're gonna have to be a lot more careful now. Shadow Moth knows the identities of some of the people I have given a miraculous and apparently he's decided to use this information. (looks at Sentinino) Isn't that right, Shadow Moth? (Alya becomes shocked, and Sentinino panicks as he got exposed) Ladybug: I'm sorry Alya, you better move away from him. This isn't Nino, it's a Sentimonster. Alya: Huh? (gasps)

It's Alya and Nino's special handshake!!! Alya should be the one to figure it out, not Ladybug!!! Writers, stop this! Let Marinette have competent allies! She's not suddenly less cool if other people are useful! Also, stop making love a bad thing! Alya and Marinette both suffer every time they're open with their love interest and I hate it. Whatever happened to romantic love being a good thing?

Anyway, all of the Optigami nonsense leads to an ending that makes zero sense:

Alya: Shadow Moth almost unmasked you because of me. I should have never taken the Turtle Miraculous. Marinette: It's true, you did make a mistake, and that's why I'm gonna have to make a difficult decision. The most important thing is to learn from our mistakes. And today, I learned that I need an ally who can replace me in case something happens to me one day. (hands Alya the Fox Miraculous) From now on, you will keep the Miraculous of the Fox with you, and I'm gonna tell you everything I know.

This ending does not fit the episode in the slightest. Why does Alya's failure make her promotion material? How was the turtle even a failure when it would have been fine if that was really Nino? How was anyone supposed to tell that wasn't Nino when the peacock is so stupidly overpowered? It's so dumb!

This episode should have been Alya earning her promotion by being awesome, taking initiative, and noticing things Marinette didn't. What is the point of having a reporter who never notices things? Why does Marinette decide to give Alya secret knowledge and a full-time miraculous in an episode that was all about Shadow Moth almost winning because he knows the temp heroes' identities? Why does nothing about this show make sense? Writers, what are you doing???

The saddest thing about this Marinette-first approach is that it's not even making Marinette look good. This goes beyond the asinine "Marinette must always be wrong" rule. The problem here is that the narrative has made many of the secondary characters feel incredibly important. As a result, the audience naturally expects those characters to have important roles. When those character are then denied the roles that they should have, the audience gets angry and the anger usually gets directed at Marinette. For many viewers, it feels like she's hogging the spotlight and denying herself help even thought those things are poorly thought-out choices made by the writers and not intentional flaws that are meant to be part of Marinette's character.

I know one person whose favorite character is Alix, Alya is one of mine, and a huge portion of the fandom loves Adrien. All characters who should have been allowed to shine, but who got shoved to the side in favor of Marinette. The casual watcher is not going to blame the writing for that. They're going to get mad at Marinette because she's basically the avatar of the bad writing, forced to do the most asinine things so that she maintains the spotlight even if it's slowly killing her character while making every other character look pathetic and/or ineffectual.

[deusvervewrites]

I would say it is weird that people think Midoriya is childishly naive when his very first phrase of the story is "not all men are created equal", when the first chapter has Midoriya going about how he was deluding himself, when he talks again and again how lucky and blessed he is, but we have already concluded Horikoshi needs some sledgehammers.

But yeah, people seem to look down in a way at empathy, when having empathy despite everything Midoriya has gone through shows his strength. He could have easily just have given up, but that isn't who Midoriya is.

I've touched on it before, and others have gone into far more detail about it, both in other media and in general, but there's a deceptively cruel undercurrent throughout an alarmingly vast percentage of media. A single, insidious idea that has been reused and recycled and repeated.

THE VILLAIN MUST DIE

Think about that for a moment. Really, think about it. Why does the villain have to die? Think about all the works out there about the cycle of revenge. Think about all the works out there about how you should be kind to one another. Hell, just pick a Disney film. No matter how Heroic the hero. No matter how central mercy is to the theme. And yet.

THE VILLAIN MUST DIE

Sometimes they dress it up fancy. A Villain rejects the offered hand only to accidentally kill themselves, as in Tarzan or countless others. Or their own scheme ends up killing them without the Hero doing it. Sometimes it is the hero, by some accident.

And it makes sense, right? The villains do horrible, awful things, and many of them show no signs of remorse or even stopping. Taking them out is for the best, right?

THE VILLAIN MUST DIE

Why.

How can they not choke on the hypocrisy. How can they stand there and tell us that love and compassion and understanding will lead Darth Vader from the Dark Side but the Emperor needs a one-way trip down the reactor chute?

THE VILLAIN MUST DIE

It's much cleaner, as a narrative. When the noble hero slays the evil king, there's never any depiction of the inevitable succession crisis that would ensue. Imagine having to... reform? From the worst possible version of yourself, a character in blood stepped in so far that, should they wade no more, returning were as tedious as go o'er? Having to try and do better? Even if they could never atone? Even if it could never be made right? But yet. But yet. You still have to live and do better?

THE VILLAIN MUST DIE

Why?

I know. Help us all do I know that there are people out there that will not change. Are staunchly against changing. Would die before they ever had a second thought about their actions. But. But. They are still, first and foremost, people.

And yet.

THE VILLAIN MUST DIE

WHY?

This world has no end of fools who mistake weakness for strength and boast their foolishness from the rooftops. People who think that kindness is a weakness and compassion a curse.

I can't help but wonder what this world could be if we all held each other with a bit more empathy.

Since recorded history began, people have sold their hearts for power. This weakness should not be celebrated. Power means nothing.

Midoriya's empathy is his greatest strength. It's the thing that makes him a Hero.

And I'm glad that there's been a trend lately in Shonen Jump towards empathic protagonists. The Promised Neverland. Demon Slayer. Dr. Stone. My Hero Academia. All of these works can't help but wonder what this world could be.

How are we meant to make the world better if we can't imagine a better world? How are we meant to dedicate our lives, knowing that perhaps that kind world is far away from here, that we may have to miss it because it's far beyond our years, if we think it's impossible?

WHY DOES THE VILLAIN HAVE TO DIE?

WHY IS IT EASIER TO SEE THE ENEMY THAN A PERSON?

WHO ARE YOU LETTING CONVINCE YOU THAT DEATH CAN BE DESERVED?

People act this way about Midoriya because that's how we are trained to experience media. He is, by the nature of his kindness, a subversion of expectations. The idea of treating the enemy like a person, understanding why they act the way they do, why they want to hurt, that's... difficult. It can be hard to remember in the face of human cruelty and depravity. But you must. If you can't understand then you can't prevent it. Yes, there are people who must be stopped. Yes, characters in fiction reflect this fact.

Even so.

To say that the villain must die, that is a justification of violence that has been used by real humans to cause real harm.

But it doesn't have to be that way.

As I said above, media has shifted recently. It's small, and I doubt it will be mainstream anytime soon, but the shift is there. Not just in shonen, but other places as well.

"We have a saying, my people. Don’t kill if you can wound, don’t wound if you can subdue, don’t subdue if you can pacify, and don’t raise your hand at all until you’ve first extended it."

-Wonder Woman, Gail Simone

[just-watch-and-calculate]

ooh writing that is related to time loops but not conventional time loop narrative is interesting. the idea I have now is a bit of a different direction in terms of the underlying concept though

TW/CW: death (mentioned in the 2nd person, implied ending) (also a slight warning: the following is fiction written in the second person and is about being disoriented in spacetime, and about the existential dread from that; also I don't know how much other people get out of this without some rather specific physics knowledge)

---------------------------------

The rest of your life is ahead of you.

You get ready to end the day by waking up into the comforting embrace of sleep. This is the end of the day, right? Mind already— or still?— groggy, you are not sure. Faint recollections of today make themselves known in your mind. Recollections of one of the two ends of your life. Just whether it is the celebrated or grieved one you are not sure right now. At least you are headed away from it, right?

Thinking about that, you realize that you might be moving away from the moment you will(?) end he day by waking up. You are awake enough to notice that the phrasing of that sounds… off, somehow. The sun is still a bit away from setting— or is it rising right now? By definition the night ends with the sun rising and starts with it setting, so that is no help in figuring out which way is future and which way is past.

You remember somewhat how today went goes. And you remember a bit less clearly how tomorrow yesterday the closest day one night from now goes. That is a sign that the future is that way, right? That we know little enough about that temporal direction to think we have free will there.

But you know better than to think you truly have free will, don't you? You know that when you learn about it you are shocked. And you know that at some other point in time you are not shocked about it, at that point in time you accept that the universe is deterministic.¹

But will that be in the future, or has that been in the past? You hope that that is your future, because you remember enough to know that one direction is much longer than the other. Something goes went will go goes wrong today.

You realize that you should not have such clear memories of both past and future. Maybe that is why today has been— will be?— so confusing. You do know that it does make sense for it to be possible though: the direction of time is surprisingly ambiguous unless entropy is involved, so those memories do little to help.

Entropy! You remember: you can find out what direction is generally regarded as the future quite easily. You grab an ice cube. As you hold it you remember that you have(?) let it go right as your hand hurts slightly from the cold. It slides across the floor towards/away from you. Your hand is wet and cold from it. You know enough about entropy to know that the cube melted from holding it.

Which means that today is still mostly ahead of you. And then… nothing. Not the faintest recollection.

You feel cold panic. You are clinging on to the irrational, desperate hope that somehow you can change this. But you know that you can't. Shattered, disjointed recollections of today are burnt into you memory so much deeper than anything else.

Has some attempt to go back just reinforced fate instead? But that isn't how causality works. It shouldn't be. You hope you are not doomed already. You know you are.

Maybe— maybe your colleagues can help you. They've been working on this kind of thing for some distance time (but it's a lot less in time than what that length would be in space, isn't it?). Your research group is working with small controlled systems to better understand what time is. Most that you remember coming of that research so far only has potential for some parlor tricks, but that can change, even on such a short notice, right? (Hah! 'Short' notice, as if we all already know that time and space are not that different.)

There it is again, that irrational thought that somehow the universe doesn't work as you know it does. That things you know cannot be changed, things you know you cannot change, could be changed.

You stand at the bus stop. Why would you have to wait there if you know the bus has arrived early at its destination will be late at the bus stop?

You are on the bus. You just look out of the window disinterestedly, watching the world go by, letting distance pass like time. Is the bus driving forwards or backwards? Are you headed towards your end or away from it? In any case, part of what has you so disinterested in the bus ride is that you know it is uneventful. You have already ridden here from one of the stops you got on/off the bus at and remember that part of the drive. You also remember the other part from/to the other stop you will get on/off the bus at.

You arrive at the laboratory. "Good morning!" you respond. "Morning!" is the answer you receive from the only other person currently at the lab. You can't shake the feeling you should've responded with 'bye'.

You look at the current setup: two almost identical experiments that can run simultaneously — except one of them has opposite charges and is mirrored. And most important of all, one of them starts as the other ends — one of them is backwards. And you truly do not know which one that is anymore. (Anymore? Or will you just come to learn it later?)

It looks different from the other times you see it. "Hey, could you check my calculations? Something's not adding up, I've found a configuration where I don't know where some of the energy comes from" your colleague asks. "It's just, trying to figure it out has kept me up all night. I'd really appreciate a second pair of eyes on this."

You consider what she says: 'all night', not 'all day'. That clears up how she perceives time. It does not fix how you do though.

You remember what is written on the piece of paper she hands you as you first read it. And she is right, it should all add up, it just somehow doesn't. It is as if the Formulas just 'know' that something will be there to fix things. And if not, who knows what would happen. You would rather not know. With a sigh you say "Whatever is wrong with that calculation, I can't spot it either."

"It's alright, I already modified our setup to test this. Want to give it a try?" she responds. Not waiting for your answer in her eagerness to learn she fiddles with the controls of the experiment.

You run between her and the experimental setup. You suddenly know where the extra energy is: with you, somehow. The setup is currently powering up/down. You have to do something or you really will risk finding out how the universe deals with mathematical inconsistencies.

She calls your name, voice full of worry. You are in the experiment room. The setup is powered. You know what fate lurks here. You want to leave this room so badly.

It is too late. Your path through spacetime is not exactly subject to causality — it kind of is causality. Your path through spacetime is not something you have carved out. It just is. And here it leads you. And one of its ends is here.

You want just one more day.

The last, or perhaps the first thing you know is just how wrong you still were about how time works.

_____ ¹ I'm too much of a nerd to completely gloss over quantum randomness possibly not being deterministic, but for the purposes of this story it can be ignored.

I love time loop stories. Really, I do.

But I'd love to see a story about what happens after you emerge from the time loop.

When, after months or years of repetition, you have to learn how to live with a choice you can't redo tomorrow.

When you meet someone new for the first time and have to figure out how to navigate this brand new conversation.

When you reach for the same day's clothes and realize that you can't wear them because they got dirty. Your laundry, your dishes, your body, your teeth, all the tasks that reset with the loop are suddenly stacking up and you need to set aside time to do them.

When you reach that first weekend and your schedule radically shifts and you don't know what to do with yourself, which is terrifying but also exhilarating in ways you can't explain.

When you casually drop facts learned from those books you spent a dozen loops reading, and you realize you retained something worth keeping.

How your memory gets weirdly good all of a sudden, despite not having all that repetition to fall back on, because suddenly every experience is fresh and new.

And when the seasons change, and your hair grows long enough that you want to cut it, and when you realize it's shocking because you didn't think you'd ever see something as incredible as the passage of time.

[peliginspeaks]

I think part of the reason horror is so important, especially in dark times, is that it deals with the question: When you can't stop what's coming for you, what do you do instead?

When the horror is cosmic, when the dread is too big to be changed, the things that the characters in a well-written horror do still matter, even if it doesn't change the resolution. We feel in an instinctive narrative way that they matter. Small ways of fighting back, forming relationships in the midst of it all, a character picking a tiny goal like keeping one person safe for as long as they can and throwing their life at it again and again, another finding beauty and pointing it out between one calamity and the next... It matters to them, and it matters to the other characters. The middle part matters, even if it doesn't change the ending.

It's not about hope. You don't have to have hope - you can feel in your bones that everything's fucked, and it can be 100% true, but the middle part still matters. I think, in times when it's hard to reach a bar as high as hope, that's what makes horror more accessible. Sometimes you need hope, but sometimes you just need to know that the middle part matters.

[eta-volantis]

There has been quite a lot of conversations (and discourse but we're ignoring that) around whether Neve/Lucanis ship was well done/well implemented/etc. and I think my conclusion is yes. It is, in fact, a good ship. The problem isn't them.

What I suspect happened is that Neve/Lucanis ship was the intention, but what came later than city choice is the romance blocker. As we have now found, the previous intention is that both Lucanis and Neve is meant to have hardened romance routes through existing (and fully rendered and voiced) game files. I can't remember the source, but there was also dev talks around city choice being a late addition and from the fact that Lucanis hardened romance has cutscenes I'd say the blocker came even later. I'd be surprised if they rendered and voiced them and have them in game if the block was the original intention. And what I also suspect is that when Neve/Lucanis ship was written, Rook and Neve like every other companion/NPC ship were very much on equal grounds of reconciliation if the relationship were to continued to be pursued. Neither are better for him, they were simply different people that can forge a relationship with him in different ways.

When the city choice and blocker was introduced, it causes a lot of problems with existing content that was not written with that in mind. Which is a lot, actually, Neve/Lucanis ship included. Quite a few things were probably rewritten and added, but many things were also missed because as much as people keep saying there are not enough choices, the effect around just what we have on the game narrative is vast in practice. Especially with Rook having 6 possible backgrounds that all affect in game dialogues quite massively, not even including racial and mage additional dialogues. It's why it feels so jarring on Shadow Dragons Rook choosing Minrathous and why parts of his route feels inconsistent. (Hearing Ivenci talk at Shadow Dragons Rook who saved Minrathous at the final Treviso quests almost actually made me laugh tbh guilt-tripping someone loyal and dedicated to their home by telling them how loyal and dedicated they themself are to their home and how dare Rook isn't loyal to Treviso is... something.) I think they had ideas and intentions around the blocker and it's not just something they added because [insert ridiculous reasons here]. Essentially, the emotional turmoil and conflict with Rook that comes out of that is actually an interesting idea to explore but because dev hell and time, it is likely left as it is, which is unfinished in terms of the dev's vision and what they want to do with it.

The Neve/Lucanis ship isn't bad and/or preferred. It's everything around it being changed without going through the rest with a fine tooth comb to iron out kinks like Shadow Dragons Rook having their background entirely ignored so many times when the city choice comes up despite the place they saved is their home and not just some random place that causes the issues. The writers didn't prefer Neve/Lucanis because when it was originally written, it is likely that Rook and Neve were on equal grounds. Stuff like this just goes to show how difficult choice based RPGs are to make imo, any changes that you think are small and little things that you may think are negligible can end up affecting things that are narratively important or player experience. And with EA constantly trying to gut Bioware and firing people mid-production while the studio is developing 2 new games for their biggest IPs, it's a miracle the game is as good as it is.

[unproduciblesmackdown]

also to go "wow this is just like in pentiment" about absolutely anything and/or "wow this is just like iphigenia crash land falls on the neon shell that was once her heart (a rave fable)" about absolutely anything further:

the Narratives within crash land falls where like, in the end iphigenia being Given the story of both "this is going to happen anyways" and "so why don't you see it as a noble sacrifice to accept." the situation happening to Create a story that she was killed, so her father must be tragic, and sympathetic. that iphigenia does take on that Narrative of taking on the Noble Willing Sacrifice, and it kills her, but she also would have been killed anyways, as everyone also knows. that we even get a bit of pentimentesque [other characters observe & assess things] like, the fresa girls as a chorus, and one at the end like yeah She Was No Saint, i saw everything, but being cut off by The News that's like yeah looks like iphigenia was killed, that seguing into her father saying yeah she was killed, god's will was done, She's A Saint now. seguing to the emcee who introduced the play, but that superceded by achilles, and that superceded with iphigenia's extasis monologue as the end of the play. that whether iphigenia's a saint or not, she dies. that [the whole play] tells us as much, like, this isn't a What If kind of retelling where she escapes her fate, this is a retelling examining itself like, she Will die because the story's preset, so what to do with this as the story that has to take her there, what to do with this as iphigenia who has to go there

that iphigenia takes on another narrative in addition to the one offered by like, violeta as guide and oracle telling her she has to die (As A Noble Sacrifice), that again (as per iphigenia in aulis being like uh hey daughter. let's go to aulis so you can uh marry achilles (it is to be sacrificed)) achilles is this bait, but it's only in the ending that there's any Story about being with achilles, and when iphigenia goes to the mercenary soldier who she knows will kill her, she's the one telling him what to tell her about where she's going and why, i want you to tell me achilles is waiting for me....and she still dies, because This Is The Story. as also applied to the reality, iphigenia as another dead and missing girl following & preceding many; any disappeared deaths when consumed as disposable & replaceable, not given part of any narrative about it. while also iphigenia only gets a chorus of fresa girls from there being crosses put on the factory wall with their names, with one girl even remarking like hey they spelled my name right for once. but at the same time they're also like, both mere Apparitions but also like standins for people who are simply alive. real [shades]esque kind of, i suppose, but like they're not Sanctified for dying either, they'll comment on iphigenia but not with any like, divine knowledge, just as this out of place rich girl. whether iphigenia's A Saint or Not A Saint, she's still dead either way. she wants to be a fresa girl, they maybe want to be her, but everyone's doomed anyways thanks to way larger forces and the Stories that have been told and will be told again

but there's also the moment right before the final section wherein, before she's having to say what she wants within the bounds of [she has to die], there's achilles asking "you still want me" and iphigenia answering with "i want everything" and her vision for, like, getting to be alive actually, i'm on the gulf where the sea is gray, and no one wants a piece of me....the whole inciting event here where iphigenia wants to evade her fate however she can, exiting the bounds of her life, the physical bounds and the family unit and walking away from the rank of status / class / wealth, trying for [have her body for herself] and what the body wants, the sensuous indulgences of (a rave fable), let's hear some more about the roman state like "we don't like the examination and challenge and upending of class and convention in a bacchanalia, so only do the official versions we permit;" the Threat of people's desires for themselves, when that's going to be counter to those in power who'd want these people to be resources at their disposal; the burden on the disempowered to suffer [the only way out is through] with the Additional pain & loss that has to be taken on in pursuit of their autonomy, while also of course suffering for the autonomy they lack, that restricted and controlled and mitigated versions of what you might want are deigned to be provided or permitted so that you have Something, but that everyone's actual undeniable personhood will always be spilling past those bounds, the potential power of transgressive pleasure when one's wellbeing and autonomous choices are counter to the power structures that have to constantly try to suppress and preclude this. achilles just as bait, doomed to die like iphigenia is also still doomed, sex was never going to save everyone and the [recognizing connection as these two parallel people / We're The Same] with your lover here is not going to save everyone but it still makes more things possible for them both; iphigenia does know what she wants, and gets some of it because she wants it, same with achilles in turn, while it can't save anyone from their fates still. but it can mean something even if it doesn't transcend, like even a fleeting night of insignificant dancing that doesn't change anything can mean something, and we all die, but that doesn't mean it's Nothing to be killed any more than it's Nothing to have your desires or choices one way or another to be wrung out of your life before you are

anyways, the stories. the Looking and Presenting here. achilles and iphigenia first encountering each other as images put together and presented by someone else for their own purposes. the presence of what's seen through film/camera/recording versus in person; the potential power relations and even violence in framing, presenting, and the intended looking and assessing. repeated language about eyes/looks that burn, while also that connection between iphigenia and achilles, and their finding the least room in what they do have of their lives for more of their own wants and selves and something genuine and not predetermined, is also connected to eyes and looking and being seen and light and burning. while they're also connected to the protection and possibility of night and darkness, getting to exist and be Without being lit up or seen; that with the power that's still in play, it's never like, well then you should have nothing / no reason to hide; the penultimate moment in the play with achilles being one that's in person and fades into darkness, rather than coming in from the light of a projection / video onscreen as the introduction....iphigenia needing to be guided through a crossroads to even get to achilles in person; violeta giving the Advice and Story and Tradition to pray to eleggua, as iphigenia does before getting to encounter achilles for real, who also doesn't get to break out of a role or a fate in full in any way, but their tragedies are like, pointing towards [autonomy, imagine it] in both the ways they manage to find a little bit of it for themselves, in no small part for simply recognizing each other as in the same boat here, and in the ways they still don't have it and still can't get it

and anyways it's also inevitably saying like, telling a story?? this Play is a told story!! looking? assessing? interpreting? you're doing that in the course of experiencing it! and it's really so fucking true.

[chleboryba]

Feel free to ignore this if you don't want to discuss it ofc op, but the way the game ultimately failed to me as a narrative about hard choices is because

1) at the first major choice it just... doesn't let you do it

2) it often just doesn't let you sympathise with characters who were forced to choose between two horrible outcomes.

Reg. 1) Minrathous vs Treviso. As far as I remember Rook did not give the impression of knowing that the dagger could give them any advantage in the fight (correct me if I'm wrong tho) so really we just sent 3 people here, 3 people there. I kinda expected the quest to be just about that, the refusal to make a choice and commit to it. But no, everyone acted like Rook's presence alone determined which city will be saved, which baffled me for the rest of the game.

And 2) I'm mainly getting at Solas' choices in his memories, Ivenci and Isseya (oh boy, Isseya). And I suppose I could acknowledge that basically no characters want to think about those three in any positive light, fine. But I'd appreciate Rook having a chance to be a bit more understanding. Instead we all approach them with an air of such a moral superiority.

Solas kills his agent. Who is blighted. It's the best thing he could do, it's incurable, she would die horribly (and a GW Rook at least should know it), but our companions kinda act like she'd broken a leg and he didn't want to risk carrying her to safety. Then he sacrifices the spirits to get the dagger. A horrible choice, maybe even a betrayal on his part, but I can easily imagine a Rook that believes that he did a necessary thing (also, Felassan being outraged here is interesting, considering how fucking ruthless he was in The Masked Empire; obvs A LOT has happened until the book, he could change completely, so it's not really a criticism I suppose, just - interesting).

Ivenci is made to be a very cartoonish villain. Everyone and their mother said their piece about the Crows and their morality, but even aside from that - what Ivenci did was just that, making an impossible decision with no good outcomes. And again - I would appreciate a possibility to approach from a place of understanding.

And Isseya, oh, Isseya. That one just pisses me off the most, I think, given how the quest hammers in CONSTANTLY what an evil traitor she is. Again, I understand the characters might be bitter and I understand them not wanting to extend her any good will, but as a player and someone who read the books... It just hurts man, you know? Not being able to acknowledge how fucking awful the situation was, and that they supposedly did what they thought was necessary. How they *didn't want to*, how it destroyed them mentally, but how it ultimately saved the world. (The moral superiority hurts the most here, I think. Good god, people, you're Grey Wardens, moral ambiguity is your daily bread. Don't act so high and mighty.)

Again, don't wanna rain on your parade, op. I enjoyed the game, I know it got tons of hate already (valid and not, but it can be exhausting either way), but this is one of my main issues with it and I can't let it go. It really reads as some being privileged and looking down their nose on others who did not have it so lucky.

Me up again metaphorically pacing my room thinking about how datv is a game about hard choices that don't have a right or wrong answer (but the answer you choose still shapes you and your relationships the same way it shaped Solas and his own relationships)

and a game about regret for things you had no choice but to do (the same way Solas had no choice but to struggle against the rule of the evanuris including his best friend/lover/elder sister)

and a game about how even then you ultimately did have a choice (the same way Solas could have refused to make the dagger or could have allowed flemythal to do whatever she had planned or could have not tried to tear the veil back down which he knew would kill everybody before it fixed anything)

and a game about how sometimes you do your best and do things for good reasons and you still fuck up and you can't save everybody and people will still be frustrated with you (the same way the veil was an accident and Solas was only able to save a tiny fragment of mythal and even that fragment seems bitter about him holding her there even though he does it out of love)

and a game about what leadership does to its leaders (the same way Solas killed his blighted allies, the same way he betrayed felassan, the same way he ultimately betrayed the shard of mythal in flemeth)

and a game about GRIEF and how rook is trapped in it and not being allowed to move forward by blood magic, and how grief cages you (the same way Solas feels caged by the loss of mythal and he's just as trapped as rook is but it's of his own free will and how he uses rook as a method of self absolution for what he did to Varric)

and how every character arc and story touches on at least one if not multiple of these points and how it's all layered in with area quests, side quests, main story quests, that do the same thing. I'm tired of feeling like I have to qualify my praise of datv with "it has problems" because it's a fucking dragon age game. They are all, in their own ways, hot messes. Each one has its weak hinges and its stress points but the level of sheer thematic cohesion and thought in datv is absolutely fucking unparalleled and I don't think I'm wrong to say so

[juniemunie]

[Abandoned by the Lightners, his heart became cracked with hatred.]

Hitting a lil' too close to home?

[sskk-manifesto]

Bungou Stray Dogs: Dead Apple and how “ability users” (opposite to “normal people”) learning to accept themselves through the acceptance of their own abilities is a queer metaphor of acceptance of own's sexual orientation and gender: an essay by me

[danwhobrowses]

Okay I've had a sleep, I've seen a lot of what the fandom has to say and I'm gonna just talk about my thoughts on the episode 118 stuff in more detail too.

Spoilers under the cut and it's a little bit (5 paras and a tl/dr at the bottom) long

I have never liked the Release Predathos option, but it had been very apparent - since probably as far back as the vorbing - that Matt had been pushing the narrative towards that option whether Bells Hells wanted it or not. The lack of alternatives provided meant that yes, the Hells had little choice but to deal with Predathos themselves; Ludinus was likely not dead, they were low on strength and resources even after a short rest to fight another full-strength Ludinus, and even if they caved in the core and killed Ludinus again someone else would've tried to come and release Predathos. On that I can't really fault the cast for playing ball with the DM and I can't say what the characters are doing is out of character or with bad intentions, it simply annoys me how close we were to entertaining the idea that should've been discussed earlier of putting Predathos somewhere nobody can get to. Objectively it was still a terrible idea, one that even in delivery could've been better prepared with Imogen not in range of the two saving throw buffs or having any Inspiration as she took on Predathos knowing from previous experience that a wisdom save is likely to be involved. But again, the alternatives offered up to them are sparse, nothing else in the narrative had offered a clear solution and if something did suddenly come up it would've felt too much like a deus ex machina. The Hells are not doing this because they want to do Ludinus' plan, but doing so is by proxy doing Ludinus' plan, and thus the problem as of current lies in the Plot.

Right now, they're at a very high risk of the plot not justifying a story, because why did we have this campaign if the outcome is gonna be the same? If the plan is to reset Exandria why didn't we have C3 in the post-reset era and trickle in what happened as lore? Bells Hells have often lacked agency when it came to the Predathos portions of the campaign, but even when they took agency to try and be more than what they were made to be they found themselves punished or being withheld the catharsis they needed to grow. Regardless, the plot is currently failing the characters, and thus the characters are failing the audience - to the point where some in the fandom now want them all to die or for Braius to betray them all - because we the audience don't see the appeal of the direction.

There is a caveat though: it's not yet over. We expect that there will be a fight between the Hells and Predathos!Imogen (we need a name for that) and possibly Ludinus swooping in with the harness to try and steal a victory, but that does mean that the theatre of imagination can come into play in dealing with Predathos itself. There is of course uncertainty whether Predathos can die, since Vecna at 0hp would've just discorporated them for a bit, but there are a lot more options for the Hells to entertain now than there was at 118, including having to kill the vessel - be it Imogen or transferring it to another like Ludinus or Liliana, being able to expel Predathos from Imogen and entrapping/banishing/killing it with the knowledge that yeah that was a terrible idea, or somehow having Imogen suppress it and remain control over herself (and hope that the same rule doesn't apply to her as it does with Delilah being free when Laudna dies), which all can involve exciting twists and turns and creative solutions befitting of a conclusion. In that hope is the opening for a more exciting and satisfying end, and while the plot has had rightful criticisms a good ending can make up for them just as much as a bad ending can ruin a good plot.

So in short; I don't like that Imogen did that, but I know why she did it. And why she did it is more the plot's fault because we never saw it as a good idea, just the only decision that was pushed to be made. There's hope though, and all is not lost, but the plot as well as the characters are gonna have to earn it.

[khutsydoh]

Reading the secretary as the product of the source's effort to have children with iris has such strong narrative weight. The occupant's want to learn more about humans, harvest memories from them. That is the intent with which they leave the source behind on earth, and that is the purpose for which it produces secretaries. But what exactly is the process of their birth? The occupants reach out to iris in order to harvest her memories. But it's also indicated that they want something more from her. They choose her to remain after every other human is dead. Iris and the occupants are brought up in a sexual context atleast twice. Once when fixer says we aren't supposed to "fuck" them. And then when youngest asks iris if that's what she is doing with the occupants when she's telling her what boyfriends did to which iris's response is to grow cold and question her on who told her that. It's indicated she is protecting the ancient sisters from something

The source reaches out to iris right after her abuse at the hands of the 50. An abuse that included not only experimentation, cloning but also grooming and sexual abuse by mimi. Who talks about the possibility of "inseminating her". One of her clones being in it's "third trimester" is also brought up. It is iris's mental state after this abuse that leads to her falling into the hands of another abuser that is the source. Iris's abuse by the 50 is a direct parallel to the abuse by the source. We know that the secretary was born on earth. The source talks about how "we reached an understanding with iris. I branched myself into you and you and you" specifically connecting it's communions with iris to the birth of the secretaries. It talks about how "she had a gift and she kept giving" about how "more and more was etched into her genetic code" And if that wasn't enough, the secretary says to the source "to think, the allmother had a family before us" specifically refering to her clones, himself and the source as iris's "family". There is a red secretary, a yellow secretary and a blue secretary just as there is a blue sister, a pink sister, a purple sister etc. The secretary talks to us in a prepubescent voice as soon as we start chap 1. When iris left youngest behind, she also left the secretaries including the yellow one. Who is, according to it's colour coding, believed to be the secretary intended for iris. Which leads me to believe she was trying to protect her children. All of them.

We have, until the ending, exclusively followed the perspective of iris clones. Who are all that remains and remains of iris. So why, at the end, would we change perspective to that of the secretary's if he wasn't also a child of iris. When he merges with the source, the scene is cut to watcher killing the allmother, over and over. And he says "you have enough capacity? For me and me and me and me?" The watcher and the secretary both represent all of the allmother's children. This is their final act of ending the cycle of abuse and trauma by killing their parents. Both of them. This is their act of freeing both iris and themselves from that cycle. Finally freeing iris from the hands of her abuser. Letting the memory of iris go. Letting themselves move on from their own abuse. Create a better future that does not carry it with them. But doesn't entirely forget it either. Afterall, you can't forgive your parents, but maybe you can carry what they made of you into a better future

watched through the playthrough of 1000xresist with a growing sense of "was iris groomed? am i the only one getting these vibes at all?" wondering if i was just making shit up but then in the last two chapters they drop all the stuff about mimi having a "special relationship with her" and having alone time with her while talking casually to the commander about having her inseminated, and then later we learned that iris stabbed mimi before calling forth the source to wipe out all other humans on the ship?

and already i was like OH yeah that tracks, sounds like she wasn't just experimented upon but was being sexually abused

and then it went on with my own uncomfortable feelings re the alien/the source itself and how the clones and others referred to iris's relationship to the occupants--fucking them, fraternizing, comparing it to a past boyfriend; and then i realized the jiao picture was a secretary from the source and it still acted enamoured of her and offered her massages; and then i thought of all the glimpses we get of iris's exhaustion and dissociation and lost time after every communion with the source and how closely it mirrors victims of csa's own dissociation. and how even as she abused her daughters she refused the source access to them (much to its chagrin)

and THEN secretary and the source got to talk directly and the way the source talks about iris. flat out having isolated her, targeting her bc she was an alienated and unpleasant teenage girl, calling her "my iris", practically slobbering at the thought of using her, and then secretary says "you communed with her" with the same horror one would say when they heard of a rape; and the source continues on about how iris is always going to belong to it, same as secretary and other clones--because iris's children and the source's children, by default, belong to the source

because iris was groomed and abused, first abused by her mom who herself suffered trauma and was rejected by her own mother, then her peers in a racist environment, and then experimented upon and used by the soldiers and very likely groomed and sexually abused by mimi, and then the source comes in and swoops her up, a flower ready to be plucked. it keeps asking her to get access to her own children, her sisters--"to the very end, she was so protective of her sisters. she never allowed me to listen in."

and she was still. ALLMO. she was still horrific to youngest/principal. she was forever emotionally and physically frozen in the limbo of being 17-18 and traumatized while being groomed by both an older scientist with absolute power over her, and then by an eldritch alien force who saw her emotions and trauma as something to consume and preserve in itself, that demanded more and more to the point that she began to lose sleep and time and sense of reality. when principal comes to her, she acts like they last spoke a month ago instead of a millennia. did she know? did she know her act of rage and lashing out would create a monster? was she so lost in the communion and abuse by the source that she didn't even notice the time pass? did the simulacre of jiao the source made to assuage her guilt and ptsd lie to her? i'm obsessed. iris kwan jesus christ

[moongothic]

You know I realize I forgot to mention this before in the Crocodile Power Level Speculation Post/Ask (btw I did go back to edit it so it's actually legible and has a point now lmao)

I really wanna know if Croc has any new tricks with his hook

Like in Alabasta the dude had a poison hook under his regular hook, which was also hiding a tiny blade beneath it as well. This is all fine and dandy, absolutely iconic etc etc

And then we never see him reuse either feature again.

Now to be fair, the only other time we could've seen Crocodile use them would've been in Marineford, but the dude just escaped from prison. Although people are quick to meme about the Marines being 'kind enough' to let Crocodile keep his gigantic fucking hook in prison-- If we're being realistic here, they probably let him keep the base of the hook simply because without a hand any shackle would just slide off his wrist and fall off. Of course he wouldn't still be able to escape or anything since he'd still have the Seastone cuff on his right, but if they wanted to keep him properly shackled then letting him keep even just the hook base would just be the easiest option for the Marines.

It's the fact that the Marines went out of their way to retrieve his missing hook attachment and gave it back to him that's a bit wild

But let's keep in mind that Luffy did break the poison hook back in Alabasta. Even if the Marines let Croc keep the hook attachment, I find it extremely unlikely they would've gone out of their way to fix/replaced the poison hook when the guy's going to jail anyways. If anything it'd make far more sense if they got rid of whatever poison might've still been left in the base and confiscated the blade. Like there's an argument to be made for the Marines letting Crocodile keep his hook due to disability reasons, but the poison and the purely stabby weapon? Not so much

So really, it's very likely the reason Crocodile never used his other weapons in Marineford might've just been that he literally didn't have them on him at the time, just the basic hook

But hey, it's been two whole whooping years. That would be plenty of time for him to replace the broken hook and blade and get some new poison into the hook base too while he's at it

Or

Are there any new weapons Crocodile could've gotten inserted into his hook base that he could whip out

Like just because he could get a new poison hook it doesn't mean he has to get a poison hook, same for the blade as well, right

To be fair, dude feels very old fashioned so I'm not expecting any Inspector Gadget kinda tech from him. Like I don't think Crocodile's knowledgeable about stuff like that himself, at least not enough to install any technically advanced weaponry into the hook on his own, and IDK if he'd trust his hook with anyone to "upgrade it" either for an extended period of time either

But could you imagine if Croc had gotten access to a busted ass Pacifista and stole a laser and had it built into his hook base. He just pulls of the hook and starts blasting people with the laser. How fucking funny would that be. Franky eat your heart out

[lgbtlunaverse]

I've talked before about how I think Jgy's specific attitude to defending his actions comes less from a genuine conviction that he's in the right or holds no responsibility and more from a knowledge that any punishment he'd be given would be more because of who his mother was than anything he actually did, and a person with more power of a "cleaner" background wouldn't be punished the same way. Why accept "consequences" for his actions when that's just a smokescreen for what people really want to punish him for. Daring to stand before them instead of knowing his place.

And if I do envision a socratic dialogue with an imaginary nie mingjue in my head, a counterpoint might be that, well yeah at first, sure. But there's a point where punishment doesn't get worse than, y'know, death. And surely at some point in canon jgy passes the threshold where, even if he wasn't the son of a sex worker, he would... "deserve to die" isn't right here because I personally don't believe in the death penalty but basically that, within the moral framework of the world of mdzs where the death penalty is universally accepted, characters would, regadless of his background, rationally agree that the just punishment was death. The moment jgy crosses this threshold, then- and I have no interest in debating when this would be- it wouldn't matter that in reality his punishment was really for something else, because it'd be virtually the same as the "just" consequences of his actions.

And what I like is that the story FORCES you to ask that question, to entertain that argument, and perhaps see the flaws in it. Because it expicitly kills jgy for something he didn't do. Huaisang couldn't have said anything, and jgy would still have been taken prisoner, and the cultivation world would still have demanded his head. He'd have been tried for his crimes and executed. The story could have done that, and everything i said above would still have been true, but you could very easily wash your hands of it and say that justice was served.

Instead Huaisang lies, and Jin Guangyao is killed for something he never did. And the story asks: does that change things? Does it matter, that he died for something he didn't do when all of his actual actions were already enough to doom him? And if it does, what else does that change? Because that has always been the case. That was always going to be the case.

[potionwine]

Oooh, you’ve also seen Nirvana in Fire?!? That was SO good. And as inspiration for PF?? That, explains some things, dang! It works

My friend. My dear. My lovely Cimi—

WHAT in the world—

Have I seen the drama that bloody changed my life; my favourite comfort c-drama; the series that I rewatch yearly the way I rewatch lotr every Christmastime; that exquisite story with the most incredible breadth and variety of characters with impeccable character work and amazing themes and an ending that respects its viewers which however tragic is thoroughly earned and identity porn and politics and pride and grief, god, so much grief—and an Emperor who is shakespearean in his tragedy and—

Okay. Okay, no, you could not have known, tis a failure of my part if I have not spoken enough about it—I probably mostly reply to other people's posts as they liveblog their watching but. BUT. God when I saw your ask it felt like you came up to me to remark "hey wow so you also ship PF?" that's how gobsmacked I was lol!!!

I have dragged everyone in my life into watching this show! I have mutuals on here who can testify to my introducing them to it omg. I just checked and the earliest NIF post I reblogged was in 2016 so I have been watching it every year since 2016 hahaha!!! Although it's pretty complex chinese, and since so much of the show is made up of characters sitting around talking the intricate plot into existence, it's not really a beginner-friendly c-drama either!!!

NOW I DIDN'T KNOW YOU'VE WATCHED IT TOO???!!!

I. have. been. going. UTTERLY MENTAL. at the lack of anyone with whom I could talk about it? OR SO I THOUGHT. So many times I thought of going into our discord to be like "has anyone ever heard of NIF because hhhhhhh the phoenixflare resonance" or like "so is anyone into TGCF perhaps perchance mayhap???"——because heh. hehehehe. heheheh??? My fic is practically a NIF/TGCF mashup, it's a Lin Shu+Xie Lian!Joshua Rosfield & Jingyan+Hua Cheng!Dion Lesage——and I CANNOT TELL YOU HOW MANY TIMES I wanted to ask god please does anyone else see my vision please god does anyone?? but no one would even understand the references, and I couldn't even ask in areas (asian fandom) where there would be a higher chance of people knowing what crack I'm on because asian fandom is all about that...you know...that I loathe—and I have been in pain and I thought right well fine I'm writing the fic anyway it's fine if I have no one to scream about it with because I'm writing it and then I'll find fellow competence porn+politics enjoyers if they find my fic and—and.

God. What an earth-shattering message to receive in my askbox! You are some sort of miracle <3

Do you see it??? Do you see it? A boy who burned to death in an inferno as an innocent betrayed youth in a catastrophic event caused by his own family, his father slain, his entire clan (and all the troops under his banner) wiped out or scattered. A boy reborn after extensive and horrific injuries after an agonisingly long period of recovery: a ghost who crawled his way out of the gates of hell, the last of his broken once-noble house.

That boy's transformation into his new identity of Mei Changsu/Margrace. His off-screen discovery of the truth that led to Meiling/Phoenix Gate and his continued on-screen quest to learn more. His determination to hold the true culprits accountable at immense personal cost and suffering. His dogged persistence despite incredible odds and visibly failing health. Being surrounded by people who love him and want to protect him, and himself constantly undermining their efforts because his goals are more important than his health. (Because in truth he knows perfectly well that he won't survive, but he can make a difference while he is alive.)

Something that amuses me hugely is how Lin Shu and Joshua literally both come back as 宗主? I love it so much! They come back with the same title! Both of them come back as clan leaders of an organisation that obeys their every command! Margrace is the 不死鳥教団の宗主(=leader of the cult of the undying bird) and Mei Changsu is 江左盟的宗主(=leader of the Jiangzuo alliance).

AND. Hooooo yea this PF fic is just JingSu at this point because oh, a handsome, principled, prideful, and stubborn prince who is a decorated warrior famed for his numerous military accomplishments and the man who is essential to the success of Lin Shu's/Joshua's plans? The resurrected boy barging into his prince's life: no matter how insane it is to choose your side, still "I choose you, Your Highness Prince Jing"??? The fact that the undervalued prince has a history with our secretive ghost protagonist? And (arguably) frequently thought about and missed the bright boy he knew once upon a time in happier days—"I know you," says Dion Lesage without a shadow of a doubt, extremely normal of him to instantly recognise a dead boy he met 20 years ago?

Mutual admiration of each other's integrity and capabilities? Reciprocal faith and remembrance? The foundation of deep respect and enduring friendship, their shared goals and shared family??? I froth at the mouth. JingSu are cousins, PF are stepsiblings by their parents' marriage. Each pair is bound by destiny and by choice—other people have made choices that permanently entangled each pair's lives together forevermore (Joshua+Dion and Jingyan+Xiaoshu), and the choice they themselves personally made to choose each other—

DO YOU SEE THE VISION.

How difficult it is to pursue justice when everyone involved is family and how impossible it is for Lin Shu the nigh-extinguished Chiyan fire for Joshua, the guttering flame, to indict Jingyan's father the Emperor of Liang Dion's father the Emperor of Sanbreque of his crimes against Joshua's family without opening old wounds and hurting many loved ones in the process including Dion himself. The people directly responsible for the tragedies are related to the protagonists in one way or another! If Lin Shu Joshua ever wants resolution for his grief unending, he has to strike at his beloved's father, and plot meticulously to avoid all of the dangers of attacking such a powerful enemy.

(Of course, I acknowledge the critical difference in Jingyan's versus Dion's feelings about their respective fathers.)

Now if only Joshua had done the famous blizzard scene with Dion instead of letting him go off to carry out his ill-advised coup—"Xiao Jingyan! You stand where you are! If I don't stop you today, what are you going to do? What do you think you can possibly accomplish if you charge in to challenge imperial power like this? Do you think you can simply force the Emperor [to do what you want/change his mind about Anabella Wei Zheng]? You have honour and valour but why do you just not have brains! How many more people must be hurt, you tell me!"

Anyway Joshy doesn't have the insufferable smugness of Xiaoshu but he does absolutely have Xiaoshu's pride, the sort of pride that is not just personal pride but familial pride too (after all Joshua comes from extremely prestigious lineage)—just look at how he speaks to Ultima in every scene, his lordly manner. Joshua I think has more Consort Jing to him, and Consort Jing is only my favourite character in all of NIF, in a drama where I love every character to bits—steel in softness, ever gentle ever polite yet not to be bullied and not to be underestimated and also extremely perceptive and learned and patient. Extra sweet bonus that Consort Jing is also a healer. Elegant, restrained, and very repressed. Who knows the depths of Joshua's Consort Jing's grief and loss?

But you know, Jingyan, near the end he is completely in charge—the prince who was always a great and respected general on the battlefield is now more than that, he's directly taking responsibility for all of his people as their future ruler—that means thinking on multiple fronts and exerting control over all of the key governing officials, not merely his military officers. He's leading with confidence, and there's that little scene where he apologises to Xiaoshu for taking action on several plans without consulting him, and Xiaoshu says no, this is the way it should be, this is the correct state of affairs: you are the crown prince, and this is rightfully your arena. You lead, you decide, you command.

Jingyan now sees clearly, he's found out and accepted the truths of his father's role in the atrocity at Meiling and everything that happened back then. He rightly perceives the failings of his family and seeks to redress past wrongs and avoid repetition of past mistakes, he weeds his court of the corrupt and the cowardly, he's become the best possible version of himself: stronger than ever, not just a powerful wartime commander-in-chief but an inspiring leader in the imperial court, careful, thoughtful and politically up-to-speed, finally stable in his sense of self instead of being permanently stuck as that angry and lost and hurting child. He has renewed purpose, he possesses hope for the future, he is able to dedicate himself fully to what he truly believes to be right and act in furtherance of righteous causes—

Critically, this is the man he becomes only because Xiaoshu came back into his life to shake it up. Without Xiaoshu he wouldn't even have the opportunity or means or knowledge. The radiant and fiery boy who Jingyan missed all his life came back to save him. From the outsider prince without contacts or support within the imperial court->to the crown prince who has the court subdued within the palm of his hand. From his pitiful existence as a neglected, unfavoured prince, his lowkey constant simmering resentment, his half-dutiful half-forced obedience of paternal orders that chafe at his conscience->into the steadfast and self-assured prince who is capable of fighting for the betterment of his country and the rallying point for virtuous officials who share those aspirations. The drama shows the audience that Jingyan is unquestionably ready to assume rulership, and together with the person he loves most, they achieve their goals, they save each other and their country (by arresting its downward slide due to the rotten state of its governance).

It's just a strong headcanon of mine (albeit one that I can absolutely present extensive arguments for) but to me Joshua Rosfield is the one and only character able to perform that same abovementioned function for Dion Lesage. Catalyst, turning point, spark that ignites the fire—whatever you call it, this is salvation. It is beautifully poetic that both Lin Shu and Joshua are characterised by fire. They are the fires of change that burn away the old life: before their arrival, the two war princes exist in a state of wearying routine, long-suffering and almost hopeless. Both Jingyan and Dion are shackled by their stations and duties, both are unloved sons with virtually no chance of their circumstances improving without drastic action, and both are trapped in precarious situations where they are subject to the whims of their father (if their imperial fathers turn on them, it will result in irrevocable loss of their status).

Dion's position is weak in the Oriflamme imperial court—pretty sure this point isn't up for debate, since no one ever speaks up in support of him despite the obvious injustice of his ill-treatment. His degree of influence in the court is much, much, so much less than any reasonable person might expect someone who is literally Bahamut and crown prince to have. The Council of Elders and other officials stand by haplessly while he is progressively stripped of power in favour of Olivier. Nobody defends him, nobody objects. (Or maybe some did, and were eliminated.) Even Dion himself submits to the abuse despite inherently superior abilities. Career politicians know which direction the winds blow—they don't defy their Empress, meaning they are either her cronies or too fearful of her to make themselves a target by any raising any opposition. Added to that is the implication that Dion was often away for long periods—and as Xiaoshu explicitly tells Jingyan in the drama, the crown prince cannot leave the imperial capital untended because that is the surest way to lose power. Dion may be Sanbreque's mightiest weapon and revered by the populace, but in practice his political sway is almost negligible. He is not able to leverage himself effectively.

Don't get me wrong, for these reasons I extra extra love the canon portrayal of J*** obeying Joshua against her wishes and T****** obeying Dion against his wishes—I absolutely think their obedience is, to them, the truest and highest and final demonstration of their love and understanding of their respective masters. And both Joshua and Dion expected no less from them. [I've not typed the names out just in case the search function ends up capturing the post and putting it in their tags, not because I hate those characters; I just don't want to be uncivil within fandom.]

But the very point here is that, you know, sometimes you aren't supposed to leave someone just because they say so. Sometimes it is the worst possible course of action to obey someone just because they command it. Sometimes it is undesirable at best and disastrous at worst to support someone's every decision out of unchanging (if uncharitable, one might even say unthinking) loyalty. That is a fundamentally unequal relationship, and while beautiful in its own way, is also uniquely doomed. The truth is, Joshua was always going to pull that trigger, and Dion was always going to pull that trigger: the master was always going to sever the relationship. Those pairs were doomed as soon as they began, because one party can only ever say yes, and yes means the end, you see? That is The End, that is the final break. By their very subordinate nature and by their established personalities within the game, "yes" is the one and only answer J*** and T****** can ever or will ever give. Their master will say, "Leave me", meaning it is over, and they will reply, "Yes, I obey". Because this is the only answer that proves their devotion, leaving them totally incapable of changing the script. Both J*** and T****** knew it and played their parts to perfection, and my heart hurts for them.

In NIF terms, I reckon J*** is Gong Yu, and T****** is Lie Zhanying. Zhanying will follow Jingyan to the end, whatever it may be—in fact in one episode he explicitly says so, and his loyalty is never in doubt. He will go to his death if Jingyan orders it. He will always support Jingyan's decisions. He and the rest of Jingyan's men have been following Jingyan even when the prince was out of favour and cold-shouldered and constantly dispatched to safeguard the country's frontiers—inconvenient places where comfort is low and the environment harsh. Jingyan's favoured brothers live in the lap of luxury within their palaces (like Olivier), while Jingyan himself (like Dion) has always been at war. And as with Zhanying, T****** will never be able to change this status quo on behalf of Jingyan (Dion). For all his boundless dedication to his lord, Zhanying will never be able to improve his prince's standing in the court, never be able to secure more political power for his prince (unless his prince decides to revolt/coup), never be able to make his prince's father love or prize his prince.

It is not a problem of character or willpower or desire. It is, simply put, a problem of power. It is a problem of class. The servant rises as their master rises, and falls as their master falls. In other words, the servant's status is determined by their master's status. Zhanying is Jingyan's deputy. When Jingyan's status was elevated, Zhanying naturally also assumed commandership over more troop divisions because those were allocated to the prince by the Liang Emperor. (There is no doubt in my mind that T******'s status as second-in-command is because of Prince Dion. He's too young to have earned that position by gradual promotion through meritorious accomplishment. Unless you're telling me that the knights dragoon don't have a single officer above age 30.) Zhanying is invaluable to Prince Jing in security, in warcraft, and in a variety of generic daily tasks. However, he is part of the rigid imperial system and lower in the hierarchy. He may persuade his lord, but he cannot order him. He may disagree, but he cannot defy. He may privately despise the Emperor/Empress, but he cannot show it and cannot act on it (literally treason). His role is to follow and obey. If he does not perform that role for whatever reason, he fundamentally negates his utility to his lord.

Ergo, endgame Jingyan is only possible because his true equal and soulmate, his real zhiji, came back to challenge the status quo. In fact, came back to challenge him. It is not merely the fact that this person understands him above all, it is also the fact that this person has the ability to act on that understanding. Jingyan is technically also Xiaoshu's prince, master, and eventual Emperor—so where is the difference?

The difference is, Lin Shu is comparable in nobility. Lin Shu is the cousin of princes and the incumbent Emperor's nephew, Lin Shu was raised amongst the imperial household, and played and studied and fought and hung out with them as peers of roughly equal rank. In this respect Joshua actually outstrips Lin Shu: Joshua is a prince by blood, and had Rosaria not fallen (especially if Sylvestre had not risen to the throne), would have been higher status than Dion. It's a massive pet peeve of mine that so many fans in XVI fandom don't seem to realise that Joshua was crown prince? Everybody knows Dion is crown prince, but do they realise Joshua is the original? In the English version prologue, the knights do call him "prince" and "your highness". The Rosarian throne is Joshua's by right of birth. At the time of their meeting as children, Joshua outranked Dion. They were equals as Dominants of their nation, but Dion back then was the child of a Cardinal and not the child of Sanbreque's ruler at that time; i.e. he was not a prince and not in line for the Sanbrequois throne.

The other wonderful similarity is Lin Shu's and Joshua's statuses as outsiders to the system when they reintroduce themselves to Jingyan/Dion. As Jingyan's strategist, Lin Shu has more leeway with regards to making his prince listen to him and take his advice. But importantly, he is now Mei Changsu, and that means he is able to play outside of the system. The imperial system effectively cast him out when it killed him. The strict codes of imperial conduct no longer chain him as they chain those confined within its structure. As a free agent unlike Zhanying, he has the right and privilege of choosing his own master. That includes the right to leave or to change his mind. And although the prince's strategist is supposed to be subordinate too, Xiaoshu would never truly be subordinate in the same fashion no matter how many times he bows his head, because at his core he is still high nobility and it still shines through despite everything. His manners are still perfect. He still navigates life with the easy expectation that people will serve him. He grabs the Duchess' hand and yells at Prince Jing and gloats at Marquis Ning. It's all the little ways that remind the audience, over and over, that this man was raised as a posh lordling. You can remove the boy from the upper class but you can't remove the upper class from the boy. It's the same with Joshua. His manners are still court-perfect. He still moves through life accepting that he will be served. He may bow his head to Dion and call him "your highness" but he also takes the liberty of throwing himself at Dion for a hug. Because to him, the prince is not some lofty and untouchable figure to be addressed with unfailing deference, he's just a friend.

(I know T****** is minor nobility, to be honest Zhanying definitely is too. The deputies of high level royals aren't going to be commoners. But I don't think I have to explain the gulf between ruling class/a close blood relative of the monarch versus lower nobility.)

Joshua too is an outsider that isn't beholden to Sanbreque's Emperor in the way that all of Dion and his knights owe their fealty. Again in this respect Joshua has it better than Xiaoshu—Joshua is his own sovereign master, and that should impact his perspective, his sense of self, and therefore his behaviour with others and how he navigates the world.

Gong Yu... I think anyone who's watched NIF will know exactly why I say that J***'s counterpart is Gong Yu lol. I think the s/h/u/a/t/e/s want her counterpart to be Princess (Duchess) Nihuang and they certainly produce fanwork in that vein, and I respect them for it because fans be doing what they love and hooray for that. But..... she's Gong Yu.

For all these reasons I am utterly obsessed with a Joshua that pushes back at Dion. The person able to challenge the status quo and challenge Dion. An equal who listens to Dion's absurd speech in the palace at Twinside and calls utter bullshit, who says, "A matter for the imperial family? are you joking? that's my mother, that's my younger brother. an imperial matter for you to resolve? say rather, our family, OUR problem to resolve. You don't get to go off half-cooked to arrest or kill my mother without actual political strategies, notwithstanding your military capability to launch a coup. And also, what about your dad? However much I love you, my darling Dion, we have to talk about the way that you insist on poor little meow meowing your awful father because my dear old mum didn't do Phoenix Gate alone and she for sure didn't immaculately conceive Olivier."

Endgame Dion isn't satisfactory in several glaring ways and it annoys me hugely that even unto the end he never grapples with and confronts the truth of his father instead of the idealised version that lives in his head. It's a little bizarre how Dion's arc is often praised by fans, since it feels very incomplete to me. Or, well, fine, perhaps just unsatisfying (since XVI simply isn't his story). His deep-seated need to be loved by his father prevents him from seeing anything clearly, which is so ironic for the only character to possess a third eye in canon? His honour and his might have been squandered in service to a selfish, uncaring, and objectively bad monarch, yet despite how earnestly Dion wants to be a good prince to his people he seems wholly incapable of recognising this fact? His mind repeatedly shies away from his father's shortcomings. In one scene he calls his father out for words befitting a tyrant, yet ultimately he persists in the belief that his father simply needs to be saved from Anabella's evil influence as if Sylvestre Lesage isn't a 50-year-old adult man who schemed his way to the throne and killed a woman's whole family and happily married that woman to beget legitimate offspring with her.

Soooo....... I've just spoiled the whole plot of my fic but it's really just NIF nonsense as usual and that is actually extremely predictable of me. But honestly the spoiling is not a big deal, because as with NIF, fundamentally my story is not meant to be plot-twisty and suspenseful—the real storytelling skill of the NIF drama is that the audience should be able to quickly grasp the overarching plot with no difficulty because the pleasure of this particular type of story is to watch the protagonist achieve their heart's desire, step by delicious step. The objective of this type of story is to properly pay off what it promises. NIF=the wronged protagonist seeks justice. We already know Lin Shu will obtain justice by the end of the tale, what we are here to enjoy is the journey! Same really for IEM I reckon; by the end of chapter 1 Joshua's goals should be really obvious, and since my little fic will have the happy ending tag because I only ever write happy endings, the audience basically knows he'll succeed—it's very much a journey not destination kind of story.

Ooof the post is crazy long and took me 3 nights to compose an answer and I haven't even managed to go into any TGCF elements but that work mainly contributes to characterisation instead of plot. One of the craziest XVI scenes was the Hideaway's sickbay after Twinside, the genuine regret Joshua expressed and how he blamed himself for not reaching out to Dion sooner; now the Empire and her prince lie in ruins etc. Surely he remembers this is the country that destroyed his own? Surely??? What kind of person, robbed of home and throne, can find it in himself to respond with so much empathy and kindness? Sanbreque has now experienced pretty much the same tragedy they inflicted on Rosaria two decades ago, and isn't that just the funniest parody of divine retribution? Instead of viewing this as Sanbreque's just deserts, Joshua Rosfield pities them and wishes he could have helped them avert this disaster.

!!!!!!!!!!!!!!!!!!!!!

Wonderfully Xie Lian-coded. Something something someone who has been through the worst and nevertheless chooses goodness and kindness. Someone who intimately understands the ugliest and lowest depths that people sink to, yet refuse to lose themselves in that temptation even when vengeance would seem perfectly justified.

You've known for a long time now that I love a Joshua who is very similar to his mother. This is why lol. It's about that delicious, delicious contrasting foil. It is the difference between Jun Wu & Xie Lian, as it is the difference between Anabella & Joshua. That the indestructible integrity we see from Xie Lian or Joshua didn't come easy, they weren't born perfect, their ethics were tested and forged and earned through suffering the likes of which most people will never know. The person that they have each become is the sum of their choices actively made. In the canon of TGCF and XVI, both of these ex-crown-princes live on in disgrace, in circumstances best described as reduced and humiliating, their respective kingdoms fallen, their wealth and glory spent—but they are better and braver human beings than everyone around them, they are beautiful and noble souls, quiet and unacknowledged, and only Hua Cheng and Dion truly see and fully understand that (and therefore cannot help but love them utterly).

I've a few more thoughts regarding Joshua swirling around as captured in other Xie Lian posts: here, here, here, and here. Not sure if you know TGCF or are into it as well, but just leaving links to those posts here for my own benefit too. I've been gravitating towards phoenixflare comparisons in various hualian meta posts since early 2024 so clearly these concepts have been stewing in my head for some duration, but I haven't fully teased out what it is about these two ships that gives me that niggling sense of connecting similarities.

^ Whereas I clearly know exactly what it is about JingSu that makes me point and holler "THEM!"