#which is the main reason i decided to write this post in case someone is in that situation aswell

[deedeeznoots]

You’re? Correction! I’m Yours 

➺ Characters: Ryomen Sukuna, GN!Reader 

➺ Word Count: 900+ 

➺ Genre: Fluff

➺ Content: Non-Curse!AU, Nerd!Sukuna, Established Relationship (with some pre-relationship sprinkled in), Swearing

➺ A/N: Shout out to my wonderful mutual @heian-era-housewife for this post about Heian Era Sukuna doing poetry. If she’s reading this: I hope you don’t mind the tag but your post seriously inspired a huge chunk of these headcanons 🥹

➺ Synopsis: Headcanons of all the nerdy things Sukuna does because deep down inside that’s all he is and all he wishes to be ❤️

➺ At first glance he doesn’t read as someone who would be super nerdy or all that interested in learning. 

➺ I mean, can you blame anyone? No one really expects the dude constantly looking for a fight to pull up with some textbooks during his free time.

➺ Once you get to know him though, you realize that on the inside he is in fact a giant nerd about basically everything.

➺ It starts off subtly: at first you’d ask him questions and he’d be able to easily come up with answers without even giving it a second thought.

➺It could be a question about anything, regardless of the subject or perceived difficulty, and Sukuna would be able to explain it to you. Not only that, but he’d be able to explain it to you in a way that made it sound like the simplest thing in the world. 

➺ At one point you basically just started playing trivia and just started asking him stuff normal people didn’t know the answers for and he’d answer with ease, albeit he’d get really annoyed with your constant random questions.

➺ Sometimes if he’s really excited about a subject his explanations would turn into full lectures that’d put most college professors to shame.

➺ Although it was shocking at first, it started to make sense when you realized that the main reason why he takes time to learn about stuff is because he’s constantly bored and looking for new things to entertain him.

➺ He’s good at basically everything so long as it piques his curiosity, but his one and only love will forever be literature, mostly because of how infinite the possibilities are with the medium.

➺ He’s well versed in literature of all genres and different cultures, but he is the most drawn toward Japanese works (and let’s be honest, his favorites would probably come from the Heian Period).

➺ Ever since getting with you, he’s been leaning more toward the romance genre. Just in case he needs any inspiration on how to spice up your relationship, you know? 

➺ He’s taught himself multiple languages just for fun and to see how far he could go.

➺ He LOVES poetry, he both writes and reads it a lot and it’s his favorite hobby besides eating.

➺ Other than literature, he also has a huge fascination with art.

➺ He designed his own tattoos because he wanted to play with the idea of turning his body into a canvas. It also just so happened to make him look intimidating as hell which was a plus in his book.

➺ He also has a little journal that he carries around and he sketches a lot whenever he’s bored or sees something interesting.

➺ As for styles, he’s a really big fan of Sumi-e painting because he’s allergic to color but he basically just uses and does whatever he feels like at the moment. 

➺ He’s the type of person who draws what he sees, but he would especially enjoy drawing nature. 

➺ He would go out on hikes whenever he felt the need to draw and would walk until he found something interesting. 

➺ He’s really into meditation while he draws and he uses sketching as a way to keep himself level headed during particularly annoying days.

➺ He isn’t too fond of drawing people, but you’d be the exception. 

➺ He would 1000% draw you while you sleep. It’s the perfect time since you’d be still for most of it. 

➺ Sukuna is able to write really good cursive and also does calligraphy because he got bored one time (shocker) and so decided to see if he was able to do it well and to no one’s surprise, he was eventually able to.

➺ The reason why he leans towards the humanities so much is because they’re both subjects no one can really “master”. With both art and literature, there isn’t a point where someone knows absolutely everything about either subject. Since Sukuna loves a challenge, he wants to be the first person to go “Fuck you, I DO know everything about this”.

➺ One of the little things he does every day includes writing you short little romantic poems on a post it note and leaving them in out random spots for you to find. 

➺ Sometimes they would be in your pocket or other times on the bathroom mirror, wherever it is they would make you smile. 

➺ Though, sometimes he would stick them onto such odd spots that you’d wonder just how he did it?

➺ He has TONS of pride in his writing (to be fair, he’s prideful about basically anything he does) and he always appreciates it when you mention his little notes and complement the work he put into writing them.

➺ Sometimes when the both of you are talking together he’d say some of the most poetic sentences that you’ve ever heard like it’s nothing. 

➺ When you gasp he just goes “What? Why are you staring at me like that?” as if he didn’t randomly drop lines that sounded like they came from straight out of a novel.

➺ He’s a dick when it comes to spelling and grammar, especially during petty arguments.

➺ “How many times do I have to tell you, if your going to the restroom put the damn seat down afterwards” ➺ “It’s YOU’RE*, actually” ➺ “Fine, YOU'RE** a piece of shit Ryomen!”

➺ Don’t fret though, because while Ryomen Sukuna wants to know anything and everything there is to know about the world, he knows deep down inside that the best thing the world could have ever offered him was you.

-

➺ Edit: Okay I made this story quite a while ago but I HAVE ANOTHER HEADCANON TO ADD! I think his observation skills are super on point which is how he’s able to understand things so easily

A/N: Everyone list what you think Sukuna’s favorite book(s) would be 🗣️

A/N: If you enjoyed my thoughts on Sukuna, you’d love this story I also wrote paired with some headcanons! 

[tallerthantale]

Neil and Amanda's Fake Therapist

I originally gathered information relating to Neil's fake therapist in a bit of a messy hyperfocus flurry that included some initial errors, followed by various erratic updates, so I wanted to put the main points together into one coherent place. Some of what I'm putting together here was found by others on the subreddit post.

I once again find myself skirting the edges of my typical rules for myself about analyzing public figures, so disclaimer: this is personal opinion, I'm not scientifically or clinically evaluating anyone based off public appearances / statements, I am commenting on what personal impression I am getting off things, and leaving most speculation about internal states out.

Man does this guy make it hard to stick to that though.

The person I'm talking about here is the supposed 'therapist' that Scarlett interacted with while Neil was (allegedly) pressuring her to say the allegations weren't true. His behavior there (with a paper trail according to Tortoise), and what I was able to gather from Amanda Palmer's podcast made it clear to me that he was not operating within the acceptable behaviour of a therapist, so I decided to see if I could prompt a review of his license. All indications at this time are that he does not have one. But it gets worse.

He claims to be a minister, but like the therapist claim cites no qualifications or organizations in his website's bio. This combination of therapist who isn't a therapist and minister who isn't a minister potentially creates a legal nightmare scenario. I am not a lawyer, this is not legal advice, but I'm going to give you my best estimate of the situation, which has involved looking up the law and reading some cases.

As long as he isn't claiming to be a mental health professional, he may be protected in calling himself a nonspecific 'therapist.' He can probably argue it as some kind of spiritual therapy. But because he isn't actually a mental health care provider, he is not subject to mandatory reporting. Generally therapists have a legal obligation to proactively report when someone is a danger to themselves or others. He does not have that requirement. He isn't bound by professional ethics, since he is not a member of any organizations and has no licenses. Moreover, it seems to be the case in New Mexico that if a person reasonably believes you to be a minister, that kicks in clergy-penitent privilege whether or not you actually are a minister.

The origin concept of clergy-penitent privilege is that the law cannot force a priest to reveal what was said to them in confession. The First Amendment means all religions get it equally and it doesn't have to be part of a specific Catholic ritual. In New Mexico, it covers anything that was not said publicly or intended to be passed on regardless of the surrounding context. That means anything said to or by this guy that is not said in public or explicitly intended to be forwarded cannot be used by the legal system for any purpose, no matter how documented or incriminating it is to the client or to him personally. There is no mechanism to remove that privilege form him for being misused because it is derived from his representation of himself as a minister, not his actual status.

According to his linkdin he received a Bachelors degree in creative writing from the University of Rochester, in New York. He then got a Masters degree in Divinity in Organizations from Harvard Divinity School, 1982-1985. These are the only points of education claimed anywhere we have seen. He lists no psychology or mental health qualification anywhere, and is most known as an author. His bookselling success might be due to a claimed promotional appearance on Oprah.

His personal webpage has a long 'client list' or list of 'collaborators' who have hosted speaking engagements. This list was last updated in 2012. The events on his calendar page have no year. I think I recall seeing a section of his website that was only accessible to those who were 'fully committed,' or something like that, but it doesn't seem to be there now. It's possible I'm misremembering, it's possible it got taken down when the reddit thread got popular, I don't have the right skillset to check. He won an award from the Institute of Noetic Sciences, which looks to be engaging in pseudo scientific spirituality in a manner similar to Scientology.

From what I can gather from the video's I've watched, the advice he 'preaches' is a mish mash of bits and pieces of metaphors and perspectives from a variety of religions and philosophies that he probably didn't fully understand. (My speculation.) There are pieces of genuine insight that are lifted from others and that can give the impression he knows what he is talking about to vulnerable people even if he doesn't really understand them himself. He doesn't seem to have any genuine religious beliefs or connections to any religious congregation or organizations. It is unclear if he is or is not technically ordained, but that is something anyone can just do online, and he doesn't even claim it.

Particularly noticeable in his talks are traces of Jungian psychoanalysis (which is the nonsense Jordan Peterson seems to have got caught up in, and it has antisemitic and fascist origins) some Buddhist resilience concepts that have been misused by westerners a lot, and Christian (I think) concepts about universal love and togetherness. They end up mashed together into a message that I believe will influence most victims who hear it to blame themselves and remain in toxic situations, while making perpetrators feel better about continuing to perpetrate. Not saying that was the goal, but if a person had that goal, this patchwork philosophy is what you would put together to achieve it. I'm not going to be specific because I don't want to be like, putting out a guide for people on how to do this.

Amanda says she met the guy before she had a child, but after she was married. That is somewhere between 2011 and 2015. Amanda says she met him at something resembling a TED conference, where all sorts of people got together to do various (rich people nonsense.) She had a mental breakdown in a horse paddock, and the fake therapist was the guy with the horse, teaching about horse whispering.

"And since then, he’s been my therapist, and he’s also become a true friend, to me, and to my family, and to many other people in my life that he’s taken on, and helped out, in some of their darkest hours of need, and he is my emergency phone call. And in a way, he sort of picked up where Anthony, my old mentor, left off, and I don’t find it a coincidence that Wayne walked into my life right around the time Anthony walked out. "

This is not what a therapist does, this is cult leader behaviour. This is pure speculation on my part, but I wonder if Neil might have known him first and orchestrated their meeting. He is an author with connections to an organization similar to Scientology. It might actually not be a coincidence. Again, pure speculation.

Amanda describes seeking advice from him whenever she was having trouble with Neil, and that talking to him would make her feel like everything was fine again. "Even just to have someone to talk to, to remind me what I’m struggling with, what’s going on, what is home, why does this feel so disorienting, what am I doing? And I can say right now, when I shifted my internal feeling within myself, within my relationship with Neil, around where I was, my feeling in my own house transformed. Because I went, oh, right, none of this fucking matters."

In June 2019 Amanda Palmer has the Portland, OR incident where she tells her fans they need to forgive their r@#ists.

In 2019 the fake therapist did a series of webcasts with The Santa Fe Center for Spiritual Healing over a few months. At times he is titled "Rvrd", and at times he is titled "Dr." there is no reason to believe he is either. In the first one, the host reads a bio she found online, that she says he asked her not to read (she appears to think he was being humble.) This version of the bio claims that he was a Senior Scholar at the Fetzer Institute. When he comes on after she read it, he makes odd comments about whoever might be watching the video online and appears very shaken. The Fetzer Institute has no mention of him on their website. That connection is not listed in his current bio.

In his last video for the Santa Fe Center he claims to be working on an upcoming project in D.C. with a co-facilitator who was famous for brokering a truce between the crips and bloods. He also comes across like he has been asked to stop working with the center and is being super passive aggressive about it. (My speculation.)

His appearance on Amanda Palmer's podcast is recorded in July 2019, about a month after the last Santa Fe Center webcast, in upstate New York. In the descriptor she says it was recorded after a week long retreat with him she set up for 60 of her Patrion supporters. There is a nearly two year gap between the recording and posting, which is not explained. She describes him as a minister, therapist, leadership mentor, and her personal therapist. In the episode itself, she also describes him as her and Neil's relationship therapist. In the description she promotes his books and his website, and says he is still readily contactable there, but to be patient right now because he is mid move. (The description was posted when the podcast was posted, in 2021. As mentioned earlier, there are features of his website that have not been updated since 2012.)

The fake therapist tweeted about Neil being a 'dear friend' in late 2020. He has under 100 followers, not really what you would expect for a best selling author / therapist / minister / community leader / mentor / horse whisper. While I make references to cult leader behaviour, a genuine cult leader would probably have a larger following. But somehow I don't think he lacks for money. I expect there is a market for pseudo-therapists you can freely talk to about the crimes you are actively committing. You can even involve him in the crime, and it still privileged.

The events of Scarlett's allegations date to 2022, about a year after Amanda posted the podcast episode. Sometime in March is when Neil manipulates Scarlett into saying the allegations are false with what is essentially a su!c!de threat, then asks her to repeat her assurances that it was consensual to the fake therapist. Amanda had recently received a scorching message from one of Scarlett's friends about what was done to her. It seems like Neil is doing this to win a fight with Amanda in their "relationship therapy." Scarlett gets a message from the fake therapist.

Tortoise describes it as him "saying he'd be happy to speak to her in complete confidence because he had heard that she found herself in his words 'in the midst of relationships, stories and narratives, not alas necessarily of your own making. Sadly, this is not a surprise. Two creative dynamic people can easily draw others into their orbit unaware of how powerfully the magnetic pull of their influences can have on others.'"

My perception of this message is that it plants the suggestion to Scarlett that her friends are brainwashing her to think she was r@ped by pulling her into 'narratives not of her own making.' I could see how people might interpret the later lines regarding magnetic pull as being about accidental power dynamics abuse, but I read it more as him saying Scarlett's friends are opportunistic manipulators looking to make a name for themselves by taking down a famous person.

Either way, there are a considerable number of things happening there that an actual therapist would not ever do, for a variety of very good reasons. Tortoise's attempt to call him to ask for comment was thwarted by the fact that his phone has been specifically programed not to accept voicemails. Not like, the voicemail box was full or something, he went out of his way to do that. Which means Tortoise can't quite claim that he didn't respond to requests to comment, because they couldn't leave a message. Other organizations probably run into similar difficulties establishing evidence that they have contacted him. It's not a smoking gun, but I don't like it.

A year later Amanda Palmer makes her post on the Russel Brand allegations, where she argues the solution to serial predatory behaviour is to try to get them to stop doing "stupid shit" by trying to heal their lacking and fear with love and compassion and forgiveness, because that the ONLY cause / motivation for abusive behavior. And some unarticulated hope for non-specific accountability vibes.

This post looks to me like the perspective of a person who has been continuously exploited, and manipulated into thinking it is their personal responsibility to heal people who have no interest in being healed. It reads to me like a person who has been justifying staying in a toxic situation to themself so long it has warped their entire worldview. It reads to me like the inevitable end result of this fake therapists preaching.

I don't think that absolves her of what ever her role has been in facilitating access to victims, or actively promoting these views to her audience, but it is something to keep in mind.

There is a broad rage of possibilities for what is going on with this guy. The spectrum runs from deeply misguided fool to deliberately exploitative criminal. Either way it looks like he is charging people money for the service of turning them into the "this is fine" dog. This is not fine. This is not ok. Unfortunately it probably is legal.

[victoriansecret]

Servants and Upward Mobility

This is focused on paid servants in England in the mid-late 18th century. One thing I find fascinating about the structure of domestic service roles was the existence of what essentially we might call a career ladder today. It was not uncommon for a servant to start their career near the bottom of the hierarchy as, say, a boot boy who cleans the shoes and boots of the household, or the scullery maid who does all the dirty kitchen work like scrubbing iron cooking vessels or plucking chickens, but progressively move up the list to better positions.

Part of why this was the case was that it was typical in England to hire servants for one year terms at a time. Often they'd be hired at festivals on the quarter days of the year, which as part of the festivities would often include what today we'd call a job fair. For some reason, Michaelmas (September 29) seems to be the most common as far as I can tell. I had never really thought about why that might be until I started planning this post, and I now wonder if it might have something to do with that being right around when harvest time usually comes in England. I could easily imagine people, especially young people, being on the cusp of another labourious harvest and thinking that maybe they could find another job instead. Related tangent: There are a number of remarks in the period that servants from the northern parts of England were considered to be much more respectful than servants from more populated, urban areas. Those communities were (at least considered to be) a lot stricter about remembering one's place and respecting your social 'betters', and their behaviour as servants was believed to reflect that. Some people would actively have their agents look to hire people from those rural areas, and apparently it was easy to attract potential employees: there are a number of remarks about how when a fancy carriage would drive through a small town, with the fancily-liveried footmen riding on the back, it would bring young people to stare in awe and want to be part of that. Which as someone whose interest in domestic service started in part because of my obsession with livery, I can understand. Anyway, back to the main point: because they often served one-year terms, there was an annual chance for both parties - the servant and the served - to review and determine how to move forward. A servant who was favoured might negotiate for a new position in the household, at least one step higher on the ladder (if not more), and they had leverage because they could leave the field entirely or possibly go off to a new household and find a higher position there. There was also a practice of asking for your master or mistress to provide a "character", essentially what we would today call a reference: a letter to show potential employers detailing their behaviour and skill in their role. Certainly there were times that some employers refused to give a good character, and sometimes that was explicitly because they wanted to keep the servant because they were a valuable asset to their household, but it was considered part of the obligation of the master class to be honest in these.

And it is not at all uncommon to find people who have served many different people/households throughout their career. The most I have seen is 28, although that's slightly misleading: that was a man who decided he wanted to travel, so hired himself to gentleman going on journeys for the duration of the trips, many of which were only a couple months. (The book he published, which he wrote about his travels and the "exotic" places and people he encountered, is interesting, and for my purposes super helpful because he turned out to be a narcissist and wrote a lot about himself, including his career as a servant. It's the only quasi-memoir of a paid servant from this time I am aware of. I might write a post about it/him sometime. I digress.) [continued in next post]

[lxmelle]

Geto was loved even in death.

Wouldn’t it be nice if he were judged by his intentions in the afterlife - wherever that was? He had suffered living with the love he had. We see through the eyes of those left behind, that the ill deeds didn’t define him, as strange as that may be to us as readers in the real human world we live in. Geto’s influence and loving nature were far reaching; Gege certainly made him so treasured by many even after his death. If Gojo was touched by his caring influence, this was also Geto’s will he passed onto his students.

NOT spoiler-free as I’ll be referring to the recent chapter, 255.

I wrote this the other day:

And honestly it’s long enough; here’s part 2.

Is it obvious I’m suffering from brainrot? All my drafts from jjk brainrot are rivalling my thesis/dissertation from way back (lol)

Here is more under the cut:

I’m really moved by the reasons for why Miguel and Larue have decided to join in the risky fight against Sukuna.

It’s very obvious that Miguel is reluctant at first. He says he he’d rather terrible curses arrive at his shores than to fight with Sukuna, adding that he doesn’t see himself having any ties with Japan any longer.

We can deduce that this was part of Gojo’s plan for the possibility that he dies/loses, and I had a post about this saved in my drafts - but I guess I never got around to finishing it. Basically, in sum, he will achieve giving Geto a cremation (avenging him) and gets to show off to his students (which he does enjoy) by going all out (soo satisfying), and in the worst case scenario, he loses but gets to go all out, weakens Sukuna (for the rest to handle), and idk if he really is that romantic (so it’s really stsg headcanon fantasising) he will die on the same day as Geto.

The Opening theme is rather beautiful in that it interprets Gojo having the words, “we’ll meet again” stuck in his throat, which he doesn’t say. But I’m a bit weird and tend to separate anime from manga. But it’s worth noting that here.

I digress. Back to Miguel and Larue who have moved to speak privately without Yuta.

In a previous post I wondered aloud about what Yuta knew about Geto from others aside from being villainous and I guess this implies he doesn’t know much, since he wasn’t close to Miguel enough to sit around to chat with them. It makes sense.

Miguel and Larue both agree they followed Geto in jjk 0 because they wanted to see him become King. What does this even mean, really? Gege, you’re missing stuff out again!

Nevertheless, we understand how reluctant Miguel was. He enquires that Larue intends to do, clarifying: is it for revenge or to take Geto’s body back?

And it seems like their main motivation for putting their lives on the line... is to honour Geto’s memory. Like a traditional ritual one makes for the dead (customary in Japan on death anniversaries - not limited to the year, but also number of days).

It’s incredibly moving how much they love him. This is actually what led Miguel to reconsider. We see him go silent as he thinks “...” before he reaches a moment of clarity/a decision.

Tbh I have issues with interpreting his statement in between the two panels (re: hell) in Japanese - it doesn’t directly indicate if he is referring to the former part of the conversation (whether he thinks Geto is in hell), or the latter (he thinks the battle will be hell). The phrasing goes like this: “no matter how I think about it: it’s hell.” - I’m not a native speaker so it’s difficult for me to be certain which is right. But the consensus is as translated above. Larue thinks Geto is in heaven, Miguel thinks it’s hell, and we see the airport scene where presumably Haibara and Riko with Kuroi have been there for over a decade. lol. Who knows!

So the bottom line is… regardless of where they think Geto ends up in the afterlife, Miguel is willing to give Geto a send off that’ll even reach hell. Or, despite it going to be hellish, he will do it. It also seems so heartwarming how they still emphasise family and friendship in wanting to fight together - perhaps things we can surmise had meant something to Geto.

They will fight Sukuna because it is for Geto. Geto was so loved that they would risk themselves - not for a title, not for revenge, but out of … love. Again. That’s pretty damn loving. Can we imagine what Geto did and was to them, for them to experience such loyalty and reverence?

Sadly, it goes without saying that Geto’s body being used as a vessel and puppet by Kenjaku has possibly evoked an emotional response by those who cared for him - namely Mimiko and Nanako, and also Gojo. Arguably, even if it were a death without his body being hijacked, Gojo did refuse to cremate his body or have it processed “by the book” of jjk high through Shoko. If that’s not out of a form of love (or “consideration” as Kenjaku put it), I don’t know what is.

The twins went against what Geto wanted for them (to carry out his will) to fight against immensely power beings in hopes they could bring him home. Those were their reasons to fight. Gojo scheduled 24th December - this was after he teleported to Kenjaku immediately upon unsealing so he could bury Geto. We saw Larue and Miguel’s. Toshihisa is alleged to be quite weak, and despite potentially being considered a son to Geto (if his life situation did mimic that of the twins’ - source: jjk character book), he opts to follow the inherited will as prescribed by Geto.

It’s all love. Geto was loved, I’m telling you. I want to shout if off the rooftops because that man just looked so darned sad and deranged after he lost it.

So. Continuing where I left off: Everyone thus far has had a reason to go into battle with Sukuna. I wonder what / who will actually reach him? I hope it’s Yuji ... and that Megumi will react again at some point. They have their own themes relating to love and purpose. I’ll leave them to someone else more familiar with their characters to write about!

And now I’m going offside quite a bit, but it’s still of relevance to Geto and the theme of love that seems to surround him. Way back to jjk 0 and Hidden inventory.

I wanted to just bring this into the picture as well now that I’m already writing a post on that topic, but please feel free to stop if you’re bored now.

So. Jjk 0!

There were direct parallels with Yuta & Rika and Gojo & Geto. This was also confirmed by the director when discussing their vision for the movie. The light novel also drew a link between Geto and Yuta where they were described as being too sincere for this world.

There is a direct theme of love - the type, is open to interpretation.

Kenjaku also makes reference to this in the Shibuya arc. So to me, it remains relevant. Love in its many forms is somewhere in what Gege wishes to convey thematically.

Within jjk 0, Geto seemed to pursue power but this was also a symbolism where power = love. It is twisted. In light of recent events, we know that the pursuit of power leads to the dilution and even absence of love. Love that gives birth to power becomes cursed. So it seems.

As we know, Yuta bound his lover to himself to gain power.

If only he had Rika (metaphor for love: Gojo) he probably wouldn’t have had to skulk around the shadows consuming curses which he hated doing. Geto was lamenting on the past in the above panels. He probably was determined to carry on, as he vouched to give it all he got (Haibara’s last words to him echoing here).

A flashback to the past:

Geto doesn’t do things in half-measures. To avoid hypocrisy, and I headcanon that it was a merciful killing to protect them from him, he kills his parents. To die by his hands than to be used as a pawn to get to him. For them to see the horrors their son could be capable of. It is so very wrong, and we can see the twisted nature of his love in this interpretation.

And Gojo delivers the ultimate blow that leads to Geto reflecting - depicted by the mysterious ellipses “…..” (gege really likes the reader to work hard huh) - insinuating it is impossible for Geto, so don’t even bother trying. The blossoming possibility of discourse was nipped, as the strength differential was implied - you’re the strongest now, whereas it used to be “we”. There was no more place for Geto; it was probably a misunderstanding. Gojo was protecting everyone in his own way, and the only way he knew how.

For power, Gojo was a source - but Geto couldn’t do that in Shinjuku, nor earlier in the arc, when Gojo himself was on the brink of insanity and deferred to Geto about annihilating humans as he held Riko’s dead body. Geto in the scene above acknowledges their different paths they needed to take - Gojo had a place as part of the elite at the school - Geto was already facing an execution order.

And after hearing Gojo’s condescending tone in an emotionally-fuelled attempt to reach out to him. He turns away to protect his friend from himself, and himself from his friend. Anyway, I touched on this in my previous post. Geto feels they had fought and didn’t deserve a place next to Gojo. But deep inside, even his body remembers the sound of Gojo’s voice, reacting to it when called despite his soul no longer being there.

sigh. Moving on... back to jjk 0:

After witnessing the bonds through willingness to sacrifice and the love between these students, Geto was really moved. Gojo trusted Geto retained his sense of humanity / love / idealism - even if it would lead to him sacrificing himself.

He was finding it difficult anyway:

He could always empathise with love. I suspect he tried his best, but the binding vow for Yuta’s life was also just the cherry on top to make Rika super saiyan.

Kenjaku knew Geto probably could’ve won though, had he been more selfish.

Geto conceded without a fight with Gojo. Maybe it was a matter of trust in that they both knew his living on borrowed time. As the light novel insinuated, this was the only way it could ever end. And Gojo would have to carry the curse that was Geto. This seems... so cruel.

He did his best. He perhaps always wanted the love but set it free.

He did so many things for others in spite of himself, in sacrificing himself, in staining himself with blood drenched hands.

Avenging Riko by killing Sonoda. Note how manipulative “humans” are by using Jujutsu rules against them.

He embraces a life of smoke and daggers. Living in lies and half truths in order to live, survive, and find justice in a wicked world.

Watch me closely, I’ll protect you, I’ll avenge you, this is how you protect yourself.

This is the path I’ve chosen.

I’m not saying he was right or justifiable. His character is just tragic. The system had set him and others to fail.

The worm foreshadows Geto’s maternal nature. Calling him “okaasan”. I mean, this very worm had a binding vow with Toji. And now it calls for a new owner? I’m not sure if Gege had anything else in mind with this... is the womb protrusion domain Geto’s? But that’s tied to a sorcerer’s soul…. Anyway, I digress again. (Sorry). Geto did have a martyr complex and was written captivatingly well by Gege. The extra touches where how he has been perceived by others and the effect he has (and continues to have) on those we see.

And I just want to leave this heartbreaking thing here:

Source from twitter/now X:

Wouldn’t it be so sweet for Geto to get one (love declaration) at the end of his life, regardless of the way you perceive Gojo and Geto’s relationship?

Wouldn’t it be nice for him if he could know that his family who he instructed to flee had all loved him, adored him, and would honour his sacrifice in differing ways...

Instead, a form of love meant his body was desecrated and used by Kenjaku. His girls were killed, and his full potential was not quite realised at all.

If only things were different.

Gojo should have kept him in his basement!

But at least, I think, Gege is giving Geto some love even after his death.

For that I’m thankful.

And thanks for reading if you made it this far with my rambling!

If you want something more light hearted I have a fluffy fic up on AO3 (it isn’t great but i enjoyed writing it to fantasise about what happens at the airport) and if you want more angst and pain, please browse my tags (lol).

[the-orion-scribe]

An essay on Ford and Mabel

To commemorate my 1000th post, I decided to embark on an essay on the limited Ford and Mabel bonding in the show!

Among some of the shortcomings in the show (including Wendy being chaffed as a main character), there aren’t as many moments for Ford and Mabel to bond over, compared to Ford with Dipper. Well, it’s also due to the short runway we have from A Tale of Two Stans to Weirdmageddon, but for rather odd reasons, Ford didn’t get a lot of screentime and often holed up in his own lab. Even Roadside Attraction did not even drop any mention of Ford. As a mutual lamented to me, it’s likely the case of Ford, like Wendy, being another character whom the writers had a purpose for (as the answer to the mystery of Stan and the Portal), but didn’t know how to write outside that purpose.

Of course, some argued that, for plot reasons, this is so that Mabel gets duped by Bill since she didn’t know about the Rift from Ford. Or that Ford just overlooked her when he offered Dipper the apprenticeship. As such, there is a main misconception that Ford didn’t care about Mabel at all compared to Dipper. Or, in some ridiculously extreme cases, that he hates her. While I guess this was extrapolated from what we might have gleaned in the show, I don’t agree with such extreme views.

People forget that Mabel was actually the first twin he interacted with, and it was largely positive. When Mabel stated that his six-fingered handshake was one finger friendlier than normal, Ford laughed and said he liked her. Given how much he was shunned by many others for his extra fingers, it probably warmed him to hear someone saying something positive about his anomaly. It seemed initially set up that Ford and Mabel should get along fabulously. Even Mabel went as far as to knit finger puppets for Ford and while he sounded rather hesitant in Journal 3, we later glimpsed a scene in which both bonded over something similar (a hand turkey).

Which brings me next on Ford’s journal entry about Mabel. (I also noted he interviewed, or wrote about, Mabel before Dipper). His interview with Mabel sounded largely positive given he remarked how he was “instantly charmed” by her “enthusiastic” personality. Ford also considered her as an “odd specimen” (almost certainly a compliment), and also hoped to seek her help to repair his own coat.

I suppose this interview probably shaped some initial impressions for Ford about Mabel. “Overall positive but somewhat ambivalent/not-really-comprehending how she ticks necessarily” is much of how I would define Ford’s attitude toward Mabel - he likes her, but doesn’t especially identify with her because the traits he admires in her are almost inversions of some his own.

At this stage, one could also take that with his remark in Dipper’s initial assessment about how he “possibly takes after Stanley” as Ford initially trying to identify with Mabel the way he ended up identifying with Dipper, such as him enthusiastically commenting about her sweet tooth and hair curls being a Pines trait. Of course, as it turned out in the show and in Journal 3, his perceptions of the twins shifted and he found himself relating more to Dipper especially when he looked back on Dipper’s entries and additions, and the events of Dungeons, Dungeons and More Dungeons.

I have to admit that when I first read this part, I thought he remarks he himself needed further psychological testing and not Mabel. For some light-heartedness, I rather think of it that way, but there’s something deeper in this for the two’s psychological profiles. First off, the tests were flawed, given Rorschach testing blots should be less definitive, but it probably reflected Ford’s possible lack of comfort with ambiguity, and the preoccupation he had with death and destruction for so long. As for Mabel, it shows a certain degree of wilful misinterpretation, trying to see things through a particular positive lens and has a sort of fear of unpleasantness that manifests in a possibly neurotic drive to control reality around her, which finds its ultimate expression in Mabeland.

This is rather important as something I would delve into deeper later on in this essay, which gave Ford an impression that Mabel’s psychology, while odd, was overall positive and not much to be concerned about. He clearly recognized Mabel’s social ability as a valuable skill, and may see her lack of cynicism as something of an asset too, as we later see in The Last Mabelcorn. I suppose Ford neglected to do a deeper dive into her psychology given the fallout we would see in Dipper and Mabel Vs the Future. He might claim to have 12 PHDs, but I doubted one of them is in psychology.

We move on to the Last Mabelcorn, which is where we see Ford interacted more with Mabel and offer a bigger insight into how he feels about her. First, he agreed with Mabel when she stated she was probably “the most pure of heart in the room” and entrusted her with the unicorn mission, even knowing that the unicorns were difficult (and frustrating). As such, he equipped her with Journal 1 and a crossbow for the mission. Obviously this was for her safety, as well as trying to give her as much help as he could regarding unicorns, even though he himself had little success (Ford mentioned of an arm-wrestle with a unicorn in the blacklight edition which I doubted went well). At the end of that episode, he directly told her that she is a good person, even without being aware of the struggles she had gone through with her morality moments prior. And after the episode he even regarded her as an expert on unicorns given she managed to defeat one, and allowed her to write an entry in Journal 3 about unicorns. I needed to note that Mabel was the only person who wrote in Ford’s Journal after Dipper returned Ford the Journals (and before their recovery in Weirdmageddon). This rather showed how much Ford really trusted Mabel, especially when he regarded his Journal as his “important scientific documents”.

Dipper and Mabel vs The Future is more contentious in this regard. We see how plenty of fans often using this episode as proof that Ford doesn’t care about Mabel just because he only asked Dipper to stay in Gravity Falls, and waved off concerns that Mabel would be all alone in California. However, we need to relook some bits of this in context.

Dipper: There’s also Mabel. She’d be all alone in California. Ford: Mabel will be fine on her own. She has a magnetic personality. I watched her become pen pals with the pizza delivery man in the 60 seconds he was at the door.

From this, we can see how Ford cared enough to observe Mabel’s social skills with the pizza delivery guy, plus probably witnessed plenty of instances of Mabel handling herself without Dipper’s help. I guessed that was further underlined by her success in the unicorn adventure, and thus he genuinely believed that Mabel could take being without her brother outside of the summers.

Dipper: Gosh, we’ve never really been apart before. Ford: And isn’t it suffocating? Dipper, can you honestly tell me you never felt like you were meant for something more?

This is another contentious bit, I admit. It sounded like Ford considered Mabel as a stumbling block in Dipper’s future. Well, I concede Ford isn’t perfect. Again, this is one of those times Ford was projecting his issues with Stan onto the younger twins after finding out how similar he thinks Dipper is to him (possibly aggravated probably by Stan blatantly aligning Mabel with himself, ex, telling Dipper that he belongs upstairs with “me and Mabel”). At this point, he was just extremely clueless about the nature of her and Dipper’s relationship, and how it was much healthier than his was with Stan, probably even at that age.

Nevertheless, to say that he didn’t care about Mabel at all is simply a misguided oversimplification. He cared about them both so much. His traumatic experience with his own twin just tainted how he saw the twins’ bond being something that could be potentially suffocating. He did sort of have a point though; Dipper and Mabel couldn’t force each other to stay glued at the hip forever or it could potentially stifle their individual dreams if handled badly. But the twins were only 12 and had a lot of growing up to do together. It wasn’t a great idea to separate the twins at this point, which was something Ford forgot.

Mabel wasn’t forthright about her feelings about leaving Gravity Falls and growing up until she blew up at the end of the episode. We see how she maintained that mask of optimism throughout the show, even when she was worried about the Grunkles’ falling out and the parallels she found between her and her brother back in A Tale of Two Stans. That mask began to slip when she realized growing up wasn’t as great as she thought, and Ford didn’t know how badly Mabel would take it.

Ford thought he was doing Dipper a favor by giving him a head start on his studies. This is probably a bit too charitable of an interpretation, but one could, I suppose, see Ford's “something more” remark as “Dipper more than just half of a set” instead of “implying that Mabel is in some sense inferior than her brother.” As said earlier, he even believed Mabel would be fine and thrive on her own, too. That the two could have reached a compromise if needed.

We can probably conclude that Ford actually did not disregard Mabel or see her as the "inferior twin", but he just found trouble trying to connect with her despite his initial positive impressions. At the same time, due to Mabel's outward outgoing personality, he overestimated Mabel's confidence in being on her own, and also (subconsciously) projected his own issues with Stan on the younger twins. Not to say Ford was a bad person by any means, but he was misguided in some of his assumptions and impressions.

On a tangent, I say the recent fan episode Return to the Bunker tried its best to imagine how Ford and Mabel might go on an adventure together. However, it instead exaggerated too much of his flaws (e.g. his trust issues) and it became more of a Ford bashing episode. Yes, we know Ford isn't perfect by any means, and he might be unfamiliar with interacting with others like Mabel.

Yet, as we also saw from the canon (the show supplemented by Journal 3), he could get along well with Mabel, especially in such a desperate situation like confronting a Shapeshifter (how he dismissed the others' suggestions is really beyond me). We even saw how Ford was willing to give up himself to Bill in WMG when Bill threatened to torture or even kill the kids.

I supposed the writers of that fan episode did read J3 but took the wrong lessons. While definitely an attempt to show Ford's flaws, the episode instead went the other extreme. Ford could sometimes be insensitive (like the remark he made about "suffocating"), but not anti-social or downright unpleasant.

There is definitely potential for more positive Ford and Mabel bonding moments that could further underscore that Mabel could cope well on her own (from what we saw in The Last Mabelcorn). From what @hkthatgffan also told me (and on Reddit), when Lost Legends was coming up, everyone thought, from Hirsch's hint through his emojis, that we might finally get a Ford and Mabel bonding story but instead we got an (admittedly) half-hearted attempt to redeem Mabel from her role in WMG.

I supposed another angle could be Ford and Mabel also coming to terms with their roles, given Ford is partly responsible (and even took some blame himself), and both can overcome the trauma together. I don't doubt these are already concepts being explored in various fanfics and fanarts. And here are some other ideas from Reddit.

Let me end off with some parallel scenes between Ford and Mabel, which show how similar both are. We need to also remember that it's not exactly Dipper-Ford and Mabel-Stan, but rather Dipper and Mabel paralleling each of the Stans in different ways. That is probably another essay for another time.

This essay is written with assistance from @jacky-rubou (who already provided an initial essay for me to work from) and @callipraxia who is able to offer more insights.

[adorawasright]

Hello! I just saw ur post saying g hintlow is badly written in your opinion. Could you please tell me why you think so? I'm kinda curious?

I also didn't really like huntlow since it kinda came outta no where all of a sudden but what do you think??

*cracks knuckles* (just kidding lol)

Honestly, I just think H/untlow has several writing problems. I'll be pointing out the main reasons I think so under the cut. If anyone who follows me or comes across this post ships H/untlow, it's totally fine, just please don't send me hate for what I'll say here:

Hunter and Willow have nothing in common. The show forces the "half a witch" thing onto Hunter despite the fact he was never called that anywhere in the show, he's usually just called annoying or a brat. Besides, Hunter could be a metaphor for disability considering he doesn't have natural magic powers (until the show decided to kill off Flapjack, but I'll get into that later). However, Willow is not the case. She may not be good at abomination magic, but she's incredibly powerful with plant magic. But for some reason, the show treats these experiences as equals, even though that's a thing Hunter has more in common with Luz than Willow (and in this case I'm not talking through a romantic lens).

Hunter and Willow are out of character. Hunter, the prodigy and the emperor's right hand, becomes utterly pathetic and wimpy just so Willow can look like a badass girlboss. And Willow then just comes off as cruel sometimes. I appreciate Willow for being nice but also being a badass, but even then, Willow was never cruel prior to her meeting Hunter. She apologized to Luz when she realized she could've hurt her, and when Willow met Gus she was patient and understanding, teaching him a breathing technique to calm him down. I'm not saying Willow has to be overly nice, but she just randomly captures Hunter to make him join her flyer derby team. And at this point she doesn't even know that Hunter is the Golden Guard, so she just... attacks a random kid and scares him for no reason. Worse yet the fact that she drags him into the ground THE SAME WAY BELOS DOES in Hollow Mind. Even after Hunter tells her he's "half a witch", Willow isn't patient with him, she's just a brute again. Which is my next point:

Unhealthy power dynamic. Hunter refers to Willow as "captain", and it's honestly a red flag to me. I am NOT saying Willow is abusive. However, we have to remember that Hunter's abuser uses his position of power to mistreat him. Hunter looks up to someone who's not an equal to him and in turn, he does not value himself. And Willow never seems to realize it and explicitly say that she's not his leader, she's his friend. This pairing is basically the girlboss/malewife model, but not only does it not make sense, it's not healthy for Hunter to fall in love with someone who has power over him, and who might be paralleled to his abuser as I pointed out before.

Ruined character arcs. I think most of us agree that Hunter's character arc was unsatisfactory as he became another Caleb without ever processing it, but Willow was definitely done dirty as well. Willow never had her own episode, not even Understanding Willow was about her, it was more about Amity. Any Sport in a Storm also focuses more on Hunter. Even Gus had more character development than Willow, despite the fact he was also done dirty in the end. Willow's breakdown wasn't carefully developed, it was never hinted in Thanks to Them or anywhere before that. It came out of nowhere in For the Future, and in turn it just pushed Hunter's character (and Gus, literally) aside so he could save Willow. And this is yet ANOTHER point I hate:

Willow only reciprocates Hunter's crush when he gains powers. Seriously, for the longest time I didn't even think H/untlow was going to be mutual. Only Hunter seemed to be attracted to Willow, by blushing and being shy around her. Willow never seems to see Hunter in another light in the following episodes, not even in Thanks to Them despite them living with each other for months. That only happens in For the Future, which left a bad taste in my mouth. Like I said before, Hunter might be considered disabled, but his disability is "cured" with magic, and ONLY THEN does Willow fall for him. That contradicts the entire message of the show, which welcomes and celebrates disabilities.

And overall, Hunter and Willow never have a genuine emotional connection. Hunter has more connection and things in common with Luz, Gus, and even Amity (and sadly, his parallels with Amity were never really explored after Eclipse Lake). Hunter and Luz don't have magical powers. Hunter and Gus are both taken advantage of by others, and they have an identity crisis, not knowing how to trust themselves anymore. Hunter and Amity then, they were both raised in an abusive household and they're expected to be someone they're not, and they have to push everyone else down so they can be better. But Hunter and Willow don't share this kind of connection. They might touch on the "half a witch" thing but that never deepens. And in For the Future, it comes off as rushed, and Hunter has to push down his grief for Flapjack to save Willow. Not to mention Gus and Hunter never get to talk about Caleb - Gus always knew about Hunter's secret, and not even THAT gets a satisfying payoff because the show is more concerned in making H/untlow canon. But that would have to be its own post.

Sorry this got long, lmao. I have very strong feelings about how H/untlow was handled. I actually used to ship it at first, I think it COULD'VE worked. But they don't even seem to be close friends at the very least. It sucks because even R/aeda was written better despite the fact it had less screentime than L/umity. Sure, Eda and Raine were ex-lovers, but I thought their relationship was written very well for the most part. I don't know how the writers dropped the ball with H/untlow this way.

[sadist1224]

A FREE IDEA FOR FAN FICTION

Sorry for the mistakes, English through translator.

In general, this post is for readers too, but mostly for the authors.

I'm too lazy to write a whole fanfiction, but I'm not too lazy to illustrate it, in general…

ROYAL AU!

I NEED A ROYAL AU!

I have already read enough medieval stories, and I have not yet seen such a plot, so I will summarize it briefly.

The main character is the reader /"Y|N"/ you are the indirect heir to the royal throne. That is, you seem to belong to the royal blood, but you are not close to the board at all. Your father is the king's cousin, so you don't have much chance to rule, and you don't need to. You and your family have been slandered in every way possible to keep your parents away from the capital and the palace. Of course, as a child you were in the palace, at balls and so on, but that was a long time ago.

You and your father lived on the outskirts, in a small estate with an adjacent village. You weren't poor, but you weren't rich either. You know what it's like to live in the common people, what hunger and disease are. You don't need the throne because you have a deep resentment and dislike for the crown, which is why your family suffered.

You had almost no childhood. Your father had his own crazy mission - to teach you everything he knows himself. Politics, economics, even military affairs and fencing. Sometimes it came to paranoia. One of his lessons turned out to be a disaster for you and now your back is decorated with a long torn scar (you can make up a story).

And one day, your father is called back to the capital. He doesn't tell you the reasons, but he's coming back after a month. Really sick. Over the next week, you had the feeling that your father had been poisoned. He's dying in your arms. Weak, exhausted, not like himself.

And a year later, 4 horsemen with the coat of arms of one of the most powerful clans in the kingdom come to your estate. 141, headed by the family of John Price. Along with him come the "dead knight" Simon "Ghost" Riley - his right-hand man and chief adviser, John "Soap" McTavish and Kyle "Gaz" Garrick (you can also add Roach and others here).

Price announces to you that practically the entire royal dynasty was killed in a coup and now you are the first in line to the throne. At first, you give up the crown and send them back, BUT then you agree.

1) Price uses blackmail (how exactly and what kind of blackmail is at your discretion)

2) You need to find out what happened to your father (the main reason you agree.)

3) You really don't have a choice (why?yes, the dick knows, we need to come up with)

FURTHER SPOILERS!

The irony is that you were chosen for a reason. The former king and his family were frankly terrible rulers, and in fact it was 141 who staged the coup (but the reader will learn about this as the story progresses)

Price's plan was to put someone on the throne, in the role of a puppet. In that case, he would have the power. And Price is not a bad person, he wants only the best for your country, but he cannot entrust its development to anyone.

That's why he chose you, but you ruin his plans almost immediately.

You're really taking control of the country into your own hands. You don't let yourself be controlled, you are constantly learning and developing. You're really smart! It is important! More importantly, you can't trust anyone from the royal court. After all, in addition to 141, there is another clan - CorTak (who is in charge of it, who is in it and what they do is up to you. THE ONLY THING is to add Koenig, I love him, and women, because without them there are only men in the palace).

Whether CorTak will be involved in the coup is also up to you to decide.

The main conflict can be tied to foreign policy. For example, Shepard is the ruler of a neighboring country, and his representative in your kingdom is Graves.

Maybe Shepard wants to take over your lands? Was he involved in your father's murder? ???

You can also add Laswell to your side, as an ambassador on your side.

A FEW HEADCOUNTS OF CHARACTERS:

JOHN PRICE

Cunning, smart, wise. Do not think that behind his "calmness" there is really "calmness"He has a good command of his face. A great political player, an excellent leader with his dark secrets and injuries.

Military, fighter, fencing at the highest level. Kapets is so strong. He can be mean. I'm used to achieving my goals. He usually avoids harsh immoral things, but when things "smell fried", he will do anything to protect his clan.

Did he have a wife? Maybe, but he's got a lot of mistresses. Rather, he is single, or frankly does not love the woman he married.

Really RICH. He's a lord or whatever. He has lands and he is one of the king's confidants, his adviser, even if the king is dead, John still holds this position.

She can blackmail the reader, and in principle, at first treats her with distrust and prejudice. After some time, he begins to deliberately annoy her, attract attention to himself and behave quite boldly (for example, enter her personal space). Sexual tension is 100%. But he's still a gentleman.

SIMON RILEY

I think he probably has an estate with a village, but most likely it is empty, or he is being looked after by several servants. He hardly ever shows up there.

Otherwise, it is a canonical rough, hard, cold Ghost, with its own backstory. He serves Price faithfully.

Sleeping with Johnny? I don't mind, we're all a bit perverted here.

JOHN MCTAVISH

Ahhh, typical Johnny. A funny guy, a fucker, shamelessly flirting.

He can run after skirts. He'll end up with Simon anyway. \(-_-)/

He has a BIG family. Right now, yes. I think he's from a small town in Scotland. Maybe Price found him?

KYLE GARRICK

The same story as with Sope.

I also have a family, but I don't think it's rich.

In general, sexual relations between 141 are welcome. Let's be honest, "141 x reader" is much more interesting when chemistry flows between all its members.

Speaking of love lines: 141 x reader + KorTac x reader.

You can put Vaqueros and Graves in here. I love everything, I like everything.

DESCRIPTION OF THE READER

I repeat that the reader is smart! This is really important! The reader is not naive, he does not have pink glasses.

Stubborn, arrogant, strong in spirit and character. responsible and independent.

He also manages his face well, but not at the same level as Price.

About 22-24 years old.

The reader has a lot of skills, but he will have to learn a lot more to run the country.

He doesn't like luxury. More for practicality than beauty.

She knows etiquette, can play the piano and violin, and she loves music, but she rarely gets to do it.

He doesn't like dancing. She's cold enough for balls and social evenings, but she can't do anything about it.

He reads solely because of the information. Uses any free minute for any activity.

He doesn't know what rest is. The guys have to forcibly drag her out for walks. She won't say, but she's grateful to them.Sincerely loves to laugh.

She can be sarcastic. I like to put people (especially those who deserve it) in an awkward position. It amuses her.

SOME SCENES THAT TAKE PLACE.

Damn, I can see how Price is sending Sop and Gas to convey some information to the reader, which is not very important, but he requires transmission right now. Imagine the guys' faces when they find you naked in the bathroom, sitting with your back to them, with a book in your hands. And in fact, you are not embarrassed by their presence, but begin to nightmare them, amused by their reaction. Or maybe Price won't send anyone, but will go looking for you himself. Or will it be a Ghost?

In general, I need such a story on AO3 or here, it doesn't matter. I just hope someone gets inspired by it and writes it. And also. Leave a link in the comments to the fanfiction, if any.

[bayothemayo]

OMFGGG (ﾉ´ з `)ノ HI HI I RQ THAT AKIRA X YOR BASED READER AND UGGHGHGHGH YOU WROTE IT SO WELL !!!!!!! ESP WHEN YOU ADDED AMAGI (」°ロ°)」 !! ♡♡♡♡ I also saw you opening reqs again (or like, recently made a post abt it and putting it in some tags (￣▽￣;)ゞHEHE) and wanted to request AGAIN!!: this time for the Persona Protags (Seperately) with reader who is a persona user just like them, but reader's persona method is completely different to theirs?? (EXAMPLE: Akira x P4!reader, Yu x P3!reader, and Minato x P5!reader) HCs again!! I've seen other Persona blogs get similar req like this, where they write the reactions to the boys seeing reader using a persona different from theirs BUT!! (｡•́︿•̀｡) wouldn't it... lowk be funny if reader and the boys met after encountering each other in the Metaverse and getting into a fight with them?? LIKE in Akira's case where he and the other PTs learnt abt another intruder and they're on edge, imagine they meet reader and think she's the intruder ლ(ಠ_ಠ ლ)!!?? you can branch off whatever ideas you have for this since, tbh, IM NOT TOO SURE ABT IT EITHER!! i thoguht abt it in the spur of the moment ig but this can be optional for whether or not you want to write this in!! (っ˘з(˘⌣˘ ) ♡ hehe this ask is longer than the last one I sent in SO SORRY YOU HAVE TO READ MY INFO DUMP .. BUT WHATEVES!! TY AGAIN FOR ANSWERING MY LAST REQS AND REMEMBER, STAY SLAYING!!!!!!

Akira Kurusu, Yu Narukami, and Minato Arisato Mets Reader Who Summons Their Persona Differently

Note: This is a little bit of swearing and very long.

Akira Kurusu

After hearing about another person running around in the Metaverse, the group was on edge.

One time they were at the Mementos and Oracle detects a presence, a human presence.

Naturally, they thought the person were the Black Mask.

When they met you, they accused you of being the Black Mask

Obviously you were confused, “Black Mask? Causing mental shutdowns? Are you good?”

Then you got into the fight with them

If you used an Evoker, they would freak out. They literally thought you were going to…make yourself sleep forever. The entire team’s heart basically skipped a beat. Akira just stared at you with wide eyes and mouth open.

If you used a Tarot card, the team will be confused. Akira will notice what kind of card will be floating in your hand. The Fool, Emperor, Lovers, etc. You destroyed your Tarot card with your weapon

He got to hand it out to you, you are pretty good. You even got some critical hits, and able to get the correct weakness of Joker's Personas.

You were defeated

However, you convinced them that you were not the Black Mask. Oracle also agrees with you as she analyzes your Persona and their levels and concludes that you would be at a higher level.

The group apologizes, but you forgave them.

You join their group to take down the Black Mask.

You seem to get along with Akira the most. Most likely due to your other friend is almost like them.

You chat to him a how you summon your Persona. Accepting death or accepting yourself.

You help out the group if they are struggling on fighting shadows.

Akira, in turn, helps you out with all the Phantom Thieve stuff.

Being sneaky wasn't the main factor in your last adventure, so you often get caught by a shadow.

Yu Narukami

The Investigate Team was training inside the Midnight Channel when Kujikawa sense a presence.

Believing that this could be the person who keeps throwing people into the Midnight Channel, they immediately went to the area where the presence is at.

The team met you, who was wandering around because you can't see anything.

They accuse you of being the person who caused the killings. You objected to the accusation, saying that you would never attempt to kill someone.

Though they didn't seem to be convinced as they decide to start a fight with you.

If you summon your Persona with a Mask, which is most likely the reason why they thought you were a killer, they flinch at the sight of blood going down your face and the blood dripping down the floor. You seem unfazed by this, which make them a little concerned.

If you summon using an Evoker, expect the same reaction as the Phantom Thieves. When they saw you took out the Evoker. They thought it was a real gun and start to freak out. Pretty sure Yosuke will pee himself. The group will run to what ever object nearby in hopes that the bullet won't go through the object. Instead, you put the Evoker towards your head. Rise let out a shout, which in turn made the team look at you as you just pulled the trigger. Instead of seeing a corpse, they instead saw your Persona. Narukami was wide-eyed the entire event

During the battle, Rise senses another presence. However, the presence was weak and surrounded by shadows.

They stopped the fight after Rise told them that they believed that another victim was just thrown into the Midnight Channel.

Since you were with them while the person was thrown into here, they are now convinced you are not the killer.

You joined the Investigate Team!

Narukami asks you about your previous adventures when he hangs out with you. You always recount the good memories of your old teammates, and how Narukami reminds them of their old leaders.

If you are able to get your old teammates to help you with the investigation, you give Narukmai a nudge, "Don't mess with Kirijo-san/Niijima-san, they WILL whoop your ass."

Minato Arisato

While they were approaching the boss, Yamagishi sense a different presence.

The group got concern considering that ordinary people get stranded in the Dark Hour.

They quickly went to the location, and then they met you.

However, Yamagishi notices that you were quite strong. S.E.E.S immediately thought you were a member of Strega. You objected the claim.

"What the hell is Strega?"

You got into the fight, sadly.

If you summon through a Mask, he will be shock about the amount of blood on your face. It will take a little time for him to get used to it.

If you summon through a Tarot Card, they would be confused as how you summoned the card above your hand. Minato knows the card is, since they appear in his head time from time. Because of the Social Links, he can tell what card you had in your hand.

Kirijo stopped the battle when she notices that you didn't summon your Persona with an Evoker. She tells the group that summoning through a Mask/Card will be near impossible, because it will be difficult to make them function to summon a Persona just from Crushing/Ripping them.

The revelation was short-lived when the boss interrupted the conversation.

You fight alongside the S.E.E.S after that.

You talked about your old members to Arisato. Sometimes talked about your struggles in your adventures, either personal or the fighting.

All of Them

The year got closer to end. You were alone with Akira/Yu/Minato having small talk. You tap their shoulder, and you got close to their ear, "Someone might die in this journey...and a god might be behind all this. Be careful." They looked at you, to see a serious look in your eyes. A look of someone who seen a tragedy... Before they ask about what you are talking about, someone calls you over. You give them a pat on the back before walking over to the person that called you over. They are left to ponder on what you said.

[mbti-notes]

Funny story, the other day I received a question about the quotation "Until you make the unconscious conscious, it will direct your life and you will call it fate". (Sorry to the person who asked because I lost track of your handle and must now post the full response here. You're about to see the journey you've sent me on.) The question was vaguely worded, so I can only assume it was requesting a source for the quotation. This struck me as odd for a couple reasons. First, the quotation is widely attributed to Jung, so it shouldn't be very difficult to find the source. When I say "widely", I mean it is not only used all over the internet, it also appears in numerous books. Second, the quotation does a great job of encapsulating a central tenet of Jung's theory, so there is nothing particularly strange or suspicious about it.

Since I'm used to academic writing and wading through research materials, I'm usually diligent about finding the original source of quotations in order to avoid misattributions. But I was lax in this case because I allowed myself to assume that such a well-known quotation must have already been checked by someone. A mistake. A preliminary search revealed that a small handful of people have doubted the attribution, but a definitive answer seemed elusive. So, I decided to take a deep dive into the literature. I searched through Jung's as well as whatever Jung-adjacent and Jung-inspired works I could get my hands on.

I was unable to find a verbatim source in Jung's own writing. However, this isn't enough for me to claim that he never said it. It's possible that it was lifted from a discussion, lecture, or interview, of which the transcripts are not readily available. Jung did write sentences that were remarkably similar to the quotation in meaning, so it's also possible that the quotation was somehow mangled or lost in translation from the original language, which makes it difficult to match up with the official English editions of his work.

I then decided to locate its earliest usage in order to piece together an origin story. The earliest date I could find was ~2006, which is a huge red flag. Books by Jung and about Jung span the entire last century, so one would expect at least a few references from earlier periods, especially throughout the 90s when psychoanalytic theory was widely referenced in a variety of academic disciplines. Of course, books before the 90s haven't all been indexed and made available to search online, so a citation might still exist out there somewhere in a very obscure book.

I then decided to examine books published since 2006 that contained the quotation to see if any included a citation. This was even more of a red flag because, in every case, the authors either did not provide a citation, cited another post-2006 book, or cited a (dubious) internet resource. It turns out that 2006 might be an important piece of the puzzle because it was around then that goodreads.com went online and became a widely used resource for quotations.

Although goodreads makes it clear that they don't verify information, people often trust the website because it is assumed that readers are quoting accurately as they read the actual books. The Jung quotation in question is listed on their website and could even be the first instance, but there was no citation and I couldn't find who originally posted it in order to ask where they got it from. Whoever originally posted it was obviously familiar enough with Jungian theory to capture some of its essence.

In conclusion, I hazard to guess that there are three main possibilities for how this quotation came into being. Around the mid 2000s, someone reading something in the original language posted their own personal translation of it, or they got it from an obscure source, or they fabricated it for reasons unknown. From there, the quotation got picked up by various parties and spread far and wide.

I decided to tell this story because I think it's a good example of how misinformation creeps around online and gradually becomes "reality". The numerous steps I had to go through to investigate this one tiny piece of information illustrates how tedious it can be to verify the things you read. Should we expect the masses to verify every word they come across? It's not realistic, is it? Teachers and parents tell kids to be careful about the internet content they consume, to not take things at face value, to not believe everything they see and hear, etc. But it isn't easy (or fun) to always be on alert even for the motivated, even for this weary and grizzled researcher.

Fortunately, nobody's gonna die from a misattributed quote. But, what about subjects of consequence such as medicine or geopolitics where truth really matters? I love that we have so much information at our fingertips. I just wish we didn't always have to battle against greed and chaos to find the good stuff.

[spop-romanticizes-abuse]

In your opinion what elements make a GOOD Enemies to Lovers ship? Between a Hero and the Antagonist but they’re not the main Villain

i'm so glad you asked! this is going to be a long post so prepare yourselves. i think there are a couple elements that make an enemies to lovers trope good:

Not Previously Acquainted:

this isn't necessary but i feel like what made c//a so extremely difficult to navigate was the fact that they were close friends before. especially since catra was just as hostile to adora when they were friends, as she was when they were enemies. this makes us question how healthy their friendship was in the first place (spoiler: not very). so the best way to go about an enemies to lovers relationship is to make them strangers who are on the opposite sides.

the dragon prince does this twice successfully. with both individuals only disliking each other for their community and not personal reasons, it's much easier to build a healthy foundation where they look past their prejudices and start to respect the other person.

Good Pacing:

enemies to lovers can't be just two people fighting all the time and then suddenly getting together. especially in c//a's case, where catra was supposedly in love with adora all this time, and yet showed no remorse in torturing adora. not only does it spread the wrong message of "they're mean to you because they like you", but it also shows how incompetent the writers are.

there needs to be a bridge where the two characters begin to reconcile with each other. writing enemies to lovers should have at least four stages: the animosity, the interaction, the turning point, and the mutual respect/interest.

we start off with two people hating or disliking each other. then we have them interacting a little more, preferably interactions that aren't fighting. maybe they are force to work together or one of them is given the option to save the other. they get to know each other and see things from the other's perspective. the turning point is where one or both of them decide to abandon whatever prejudices they had in the beginning, and respect the other person for who they are. and finally, the relationship starts where both of them show a mutual interest and cares deeply about each other.

c//a stuck with the first stage for four seasons, then tried to rush the entire development in s5. it doesn't work like that, even though catra and adora knew each other before all of this. especially since they knew each other before all of this. catra needed more time to repend for her actions, face consequences and change for the better.

callum's and rayla's relationship is more like glimmadora in the sense that they were not previously acquainted with each other, and neither of them were antagonists. they just came from two different cultures that were pitted against each other. and this is why glimmadora would have worked a lot better than c//a.

Less Direct Attacks:

catra could be a ruthless villain in all other aspects but if she was more hesitant to hurt adora, i believe this ship would have improved greatly. revelling in being sadistic and smiling while watch adora scream in pain doesn't exactly send the message that catra loved her, no matter how much sexual tension there is. cruelty is cruelty. and catra never once stops being cruel towards adora.

Believable Reason:

the two individuals need a strong reason to dislike each other. in most cases, people go with the prejudice route. the two people come from opposing sides and have very biased perspectives of each other, which they slowly have to overcome. there are also cases where there may be a personal reason such as someone related to one of the characters hurt the other.

in c//a's case, it's a lot more complex and thus, a lot more difficult to navigate. i can understand the feelings of betrayal playing a role, but catra has no right to blame everything on adora after the latter gave her multiple chances to join her. at this point, the conflict seems forced.

it's as if catra is living in a distorted reality, where "come with me" means "i hate you and i'm abandoning you". or, for a more simpler explanation, catra doesn't want to be with adora, she wants adora to stay with her and humor her. which, of course, turns the entire relationship toxic, because adora is her own person and should have the freedom to make her own decision.

again, this brings us to how well the dragon prince does this trope. when confronted with the fact that rayla wants to sacrifice herself guarding zubeia, callum gets angry at first.

Rayla: All of this happened because my parents ran away, so I have to stay and defend the Dragon Queen.

Callum: But you can't face an entire army by yourself, you'll...

Rayla: Die? Probably. But if I die, I'll just be paying the price they should've paid a long time ago. Just... remember me, okay? Goodbye, Callum.

Callum: Really? So, that's it? Just... goodbye. You're going to stay here and die out of pride?

Rayla: It's not pride, Callum! It's more than that. It goes deeper.

Callum: Oh? Do you have a nicer word for it? Honor? Redemption? It's just pride!

but after a bit of reflection and finding out the truth about rayla's parents, he gives her the freedom to choose.

Callum: They didn't run. They fought. To the end. They saved the egg! We're here and Zym is alive all because of them.

Rayla: What does this mean? What should I do?

Callum: I don't know. But it's your choice. No one else's.

Rayla: We should decide together.

callum obviously still doesn't want rayla to die, but he understands that it's her choice to make. and at this point, rayla is calm enough to rethink her choices and make a wise decision. this is how it should have been done. this is how you write a healthy relationship.

the third act conflict in s5 of spop could have been done like this, instead of catra making it all about herself and whining about adora choosing shadow weaver over her. yes, she went back to adora in the end but it was still with selfish intentions. it was less "i don't want adora to die" and more "i don't want adora to leave me".

spop is just one simple misunderstanding stretched out. if catra had taken some time to think about her situation and what would be best for both her and adora, none of this would have happened. but instead, she holds a grudge on adora for something she wasn't responsible for.

A Good Redemption:

any villain/antagonist that are going to be redeemed needs this, but especially if they are to be paired with one of the heroes. you can't just have the villain do one (1) good deed, mutter a short apology, and call it a day. you also can't make all the other characters immediately forgive said villain because you can't be arsed to write a realistic redemption.

in my opinion, there are 4 stages that encompasses a good redemption arc:

realization: the stage where the character is hit with the realization that they have been a horrible person. either someone calls them out on their bs or maybe they befriend someone who inspires them to change. whatever it is, this is the turning point.

reflection: the character reflects on their past and their behaviour. guilt and conscience must be shown here, through words or actions. the character figures out the best way to fix all the damage they've caused.

growth: a sincere apology is necessary. this means that the character apologizes without a. justifying their actions b. shifting the blame to someone else or c. playing the victim. it doesn't have to be a long apology, it just has to be sincere and heartfelt. not to mention, the character must of course put in work to actually follow up on their apology. an apology alone doesn't mean anything.

acceptance: this refers to the reaction of the other characters. acceptance does not necessarily mean forgiveness. it just means that they respect the villain for redeeming themselves or that they even consider the villain as a friend, even if they haven't forgiven them.

i'm sure you're all sick of hearing about how wonderful zuko's redemption arc was, so here are some honorable mentions on how to pull off a good redemption arc:

peridot: probably the only good redemption arc in steven universe. the only person who is at least a little compassionate towards her is steven, the rest of the crystal gems don't forgive her until she unlearns her prejudice and proves herself to be a valuable friend. her redemption arc takes several episodes and doesn't hinge on a romantic relationship.

grace monroe: each season of infinity train only had 10 episodes, yet they successfully redeemed a character within one season. what was that excuse about spop being cut short and not having enough time for development? grace starts off a lot like catra - manipulative, selfish and leading a destructive cult. but over the course of the series, she begins to question her choices and morality, and is on the right path by the finale. she doesn't even get forgiven by the person she hurt, she simply has to accept that and move on.

soren: not the best redemption arc, but it's good enough. soren rarely posed a real threat to the protagonists, since he wasn't a powerful mage like his sister, but he starts off as a lot more apathetic than claudia. over the course of the series, he realizes how horrible his father is and joins the protagonists. he is admittedly forgiven a little sooner than the other characters mentioned here but then again, he was just the villain's sidekick.

alice "daisy" tonner: (art by @starapture ) not a cartoon character but god, TMA did this redemption arc SO WELL. daisy was a horrible person. she is a cop who frequently engaged in police brutality and allegedly murdered many people. after getting disconnected from her entity, she goes through an identity crisis and extreme guilt. she couldn't really undo any of her previous actions, all she could do is stop and try to be a better person. and she does that. by the end of it, she basically sacrifices herself and though the main character had befriended daisy after her redemption, he still admits that he does not forgive her for trying to murder him. this series understood the assignment, forgiveness is not a necessary part of redemption. forgiveness is a choice; regardless of whether people will forgive you, you should be working on yourself.

none of these are EXACTLY like catra and adora. but they are good examples to take inspiration from. if i were to rewrite catra's and adora's relationship, there are a few things i would change:

they would not be adoptive sisters, but simply childhood friends. or preferably, they were just cadets who kind of knew each other, but didn't really have a deeper connection.

catra doesn't join adora because either she is scared to leave the horde, or she still believes that the horde is doing the right thing (instead of knowingly supporting them like she did in canon).

catra doesn't take as much pleasure in torturing adora. she only fights adora when necessary and tries to hold back a little.

after the portal thing, instead of spiralling further into the evil path, catra starts to redeem herself.

adora and the others don't forgive catra immediately. they don't coddle her and accept her as their bestie. like zuko and many other characters who were redeemed well, catra needs to prove herself to them before she could be forgiven or accepted.

[beekeeperspicnic]

What a nice day to reconceptualise my entire game

Last night I reblogged this lovely post from @inkonice-main talking about Holmes and Watson's relationship as a great love story (whether romantic or platonic), and it's been clanging around in my brain ever since.

Just in case you stumbled across this post randomly, I'm currently making a cosy mystery Sherlock Holmes game set in Sussex, which has Holmes trying to put together a picnic for Watson. My plan is to write them in a close platonic friendship or queerplatonic partnership because that interpretation means a lot to me, but to keep it shipper friendly and leave the possibility open that they are a romantic couple.

The problem I've been toying over for the entire six months of development so far is WHY Holmes has decided to drop everything and make this ultimate picnic for Watson. What's his motivation, dah-ling?

And I've cycled through a few ideas:

He doesn't need a reason, elaborate theatre is how he shows affection. Perhaps true, but that doesn't give much of an emotional base for the game.

It's all sparked off by Watson writing and publishing the Creeping Man, the story with all the "The relations between us in those latter days were peculiar" content. But it never quite flowed for me. If Watson is happy with Holmes in Sussex, why is he writing so discontentedly? It also felt like telling-not-showing for players.

I thought perhaps it could be spurred on by Holmes having a nightmare where he's back on a case everything goes wrong. He realises that both he and Watson are in the twilight of their lives and if he doesn't tell Watson plainly how he feels, he may lose the chance. This is closer to working for me, but I think a dream being a character's primary motivation is silly and lazy, and this anxiety Holmes has doesn't seem reflected in the fact that they're living together happily. To the player it's obvious Watson already knows Holmes loves him, so there's no tension.

Then I read that post, and it all clicked. Because let's look at the Canon: it is a love story, but like most love stories of glorious intensity, things have not always run smoothly.

Holmes has withheld truths. He pretended to be dead for years. He constantly toys with his health and causes Watson pain and anxiety. All the paths Watson laid out for his life have been disrupted by his adoration of this brilliant but challenging man. Years of living together at this frantic, breakneck, head-over-heels pace seem to have taken their toll: Holmes suddenly wants to retreat from the world and take up his beekeeping, and Watson remarries and doesn't follow him, as he needs to live his own life. By His Last Bow, it seems they haven't seen each other for years.

"We heard of you as living the life of a hermit among your bees and your books in a small farm upon the South Downs," says Watson, suggesting he's never visited. But they reconnect, and thankfully the spark between them is still there. War is looming on the horizon, and both fear it may take their lives - "Stand with me here upon the terrace, for it may be the last quiet talk that we shall ever have," says Holmes.

That's where we leave them, looking out over a moonlit sea waiting for the dawn, exchanging words that they fear will be parting ones.

But the reader is left with the hope that perhaps they won't be parted again this time. War can't separate these two, surely? Nothing can.

So. That's where the picnic comes in, as a last coda in this great love story.

The War is over. Holmes and Watson have reunited. Perhaps Watson visits Holmes more often now, widowed once again. And Holmes realises that what both of them need now is to be together.

Except how does he say that, as someone who does not share his innermost thoughts easily?

The picnic represents the one chance that Holmes feels he has to say, I've treated you badly. I've made mistakes. But we can get through them, because we love each other. Let's not be parted ever again. Come and stay with me here.

The picnic isn't just a picnic.

It's a proposal.

So like, no pressure, players. :P

EDIT:

Just to clarify because I think my wording confused some folks - My plan is still to write them in a close platonic friendship or queerplatonic partnership and to keep it shipper friendly and leave the possibility open that they are a romantic couple.

The change is just that in my original storyline Watson had been living with Holmes for years, and now I'm playing with the idea of exploring the picnic being the moment when they commit to living together for the rest of their lives.

[grifff17]

Audiodrama Sunday 10/13/2024

Happy Audiodrama Sunday! Last week I didn't get a chance to make one of these, so strap in, I've got a lot of shows to talk about this week. I may write this one more rushed than previous ones for that reason.

@midnightburgr - New Welcome to the Horizon. Verge’s secret finally comes out, I love how they set up verge having 4 arms in the last main feed episode. Bringing up the black exclusion law was so brutal, I’m from Oregon and somehow didn’t learn about that law until my senior year of high school, really felt like my education failed me there. Also the song was so good, audiodramas with original music is my favorite thing!

@brimstonevalleymall - It's back! I thought this show was dead! I decided to give it a relisten in prep for season 2, the standout scene was Trainee and Misroch’s heart to heart.

Dear Liisphyra - Season 4 finale. The ad read for an opposing radio station interrupted by a technical issue was so funny. I keep thinking I should submit a question to this show but I never get around to it.

Rude Tales of Magic - I finally started the Nethermurk campaign. this campaign is so quoteable. Both “if we die we die together” and “Hot dogs are made of boys” in specific silly voices are burned into my brain.

@breakerwhiskey - It's back! Much sooner than I expected. I can't wait to see what direction the story goes from here, an inconsistent upload schedule is really interesting given the framing device of the show.

Case Study IREC-A59 - We have communication! I love good “humans are space orcs” worldbuilding. 

Skyjacks: Courier's Call - I loved the overcomplicated discussion of code phrases. Erin breaking character and cracking up when Fenton figured out the curse was so funny. The worldbuilding that magic items come from someone trained in magic caring about an object for a long period of time is such an incredibly cool detail. I may steal that for a dnd game at some point.

@starfallpod - Season 2! Lots of new characters in this one. I like the orphan kids a lot. What is functionally a giant dragon mechsuit possibly coming to life is truly terrifying, though it seems likely that the kids stole it.

@lostterminalpod - Season 17! This show has such cool worldbuilding, it's a truly unique take on a post-apocalyptic world. My favorite part of post-apocalypses is always the theme of hope, which Lost Terminal nails.

@storiesfromylelmore - ItMe really knows exactly how to pull at my heart. Rion wanting to get rid of his werewolfness was heartbreaking, and Keryth sneaking out to make healing potions because she keeps injuring herself to give Rion luck was just as brutal.

Starwhal Odyssey - The quote “in the cutthroat world of interdimensional restaurateurs, theft is pretty common” really sums up this episode. I love all the tenants we're getting to meet, the tabaxi family based off the cast's cats is incredible.

@worldgonewrongpod - This episode got unexpectedly real, it really nailed the whole vibes of this show. Anyways, I'd want to meet the ghost of Alan Turing.

@kingmakerpod - Love to have the Kingmaker gang back for season 2.  A lot of pieces moved into place to set up this season, including what I'm guessing is World War 1! Getting more into the alt history and politics of the setting is very cool.

That was a lot. Hopefully I'll be able to keep up with future weeks.

[blueskittlesart]

i've been occasionally watching critiques of totk just to hear differing opinions and a lot of them feel really nitpicky but the one that stuck out to me the most was the guy who wholeheartedly believed that the stories in these games could be improved by. removing link as the main protagonist. it should be pretty obvious that this take sucks ass but i wanted to see if you'd share your thoughts since you're good at putting your thoughts into words with this kind of stuff ^_^

ok this one is. strange to me. I'm not sure i'm equipped to critique it without getting the full argument from its source, because i assume that if the argument is that link SHOULDN'T be the protagonist, then they're arguing someone else SHOULD be instead, and not knowing who that is makes this a little harder to dissect. for the sake of this post i'm going to assume we're arguing for protag zelda, because she's the character who is the vessel for most of the story in botw/totk so i think she's the only character that makes sense. I'm also curious if they're advocating for removing link as a character from the story entirely or if they're just advocating for a change in framing from one character to another.

in any case, If i'm right about the above assumptions this seems to be another case of someone missing the central themes of the games. Because I concede that, at a glance, link kind of doesn't have that much presence in the story of either game. both games very heavily focus on zelda, with botw's primary story being about her struggle pre-calamity with her agency and her powers, and totk's primary story being about her journey in the past with sonia and rauru. arguably, the protagonist of these games in the traditional sense, i.e. the character who primarily experiences the highs and lows of the story and goes through an arc of growth, is ZELDA. link is, for all intents and purposes, the framing device through which we as players are witnessing ZELDA's story.

(full disclosure this turns into an essay on the way link is used as a character and a plot device bc i have no self control lol)

so why is link necessary, then? what is the point of the player experiencing the plot through a framing character like him instead of through zelda herself, the active protagonist? I think there are several layers to what makes link's presence in these games both necessary and irreplaceable.

the first and one of the most important reasons to have link in the active role is interactivity. I'm incredibly interested in video games as a modern art form and storytelling method, and imo the thing that sets video games apart from other methods of storytelling is their interactivity. In order to tell a story, an rpg drops the player into the middle of it. the player is an active participant in the story as it unfolds, and the player gets to experience and potentially alter the events in real time. from a consumer standpoint this may seem obvious and uncomplicated to execute--just take a prewritten story and put the player in control of one of the characters, right? but from a writing standpoint, it becomes really complicated really fast.

most stories are written linearly in a sort of cause-and-effect model, meaning events and actions will build on each other throughout the progression of the story. e.g: a monster attacks a village > because of the monster attack the villagers lose their homes > because they are now homeless, one of the villagers decides to slay the monster to take their village back > the villager slays the monster and the village is saved. each event builds upon the one before it, and if any of the events in the sequence were altered, the events after it would also be altered as well. if the villager decided to leave the village instead of fighting the monster, the event after that one would be altered and the village wouldn't be saved. What this means for interactive storytelling is that, if you want to have a single set course of events and ending (the standard model for zelda games) you can't allow the player to alter any events in that sequence. whatever character you give the player control of has to be able to experience the story WITHOUT substantially altering it. this becomes a dilemma because you as a writer need to toe the line between giving the player too much choice and altering the story/creating plot holes and giving the player too little choice and limiting the interactivity of your story. this is where the silent protagonist comes in handy.

the silent protagonist is a term for a player character which takes no action outside of what the player specifically orders them to. Link is one of the more famous silent protagonists, but other well-known ones include frisk from undertale and joker from persona 5 (worth noting that SPs don't have to be PHYSICALLY silent to be SPs, they just can't take any story-altering action without player input. joker actually has voice lines & is still considered an SP!) the silent protagonist is a popular model for RPG player characters because it basically solves the interactivity dilemma. A character with no personality is incredibly easy for players to project themselves onto, making them FEEL very in-control and immersed in the story even if they're not REALLY making any story-altering decisions. As long as your protagonist never breaks from player control and makes decisions on their own, the player feels like they ARE that character and will be much more susceptible to being thrown around by the story. A character with no personality or backstory is also conveniently lacking in outside motivations, meaning they're unlikely to need to substantially alter the story in any way that they aren't directly prompted to. for example, if we go back to that monster & villager story, if we turn our heroic villager into a silent protagonist, it puts a layer of distance between the hero and the villagers. the hero CAN choose to save the village, but they likely WON'T if the game doesn't prompt them to. this opens up several possibilities to us as writers--we can prompt the player to save the village, if that's the way we want the story to end, but we could ALSO prompt the player to side with the monster, or to ignore the village altogether, depending on what the story requires. when the hero has a backstory connecting them to the village, it's difficult to rationalize any response other than them attacking the monster, but removing that backstory gives us as writers more control AND keeps the player more engaged with the story at the same time.

so why does this matter for link? as previously mentioned, link is arguably the most famous silent protagonist of all time. this is something that's VERY important to the developers of these games--throughout the entire franchise, you will NEVER hear link say a word, and you'll also never see him take any action without the express confirmation of the player. link isn't a character through which the player is experiencing the story, link IS the player. thus, link is silent and takes no action outside of the player's control. relative to the story of botw/totk, link feels like he lacks presence in the story because HIS story takes somewhat of a backseat to zelda's. link's story in botw/totk is a relatively straightforward one--he wakes up, regains his memories, and saves the princess. that's his arc, and that's the arc that we as players are physically experiencing through him, but it's NOT the primary story arc of the games. the primary arc is ZELDA'S. at a glance, then, it almost would make more sense to make zelda the playable protagonist of the games. why are we required to witness her story as an outside observer in a medium which allows players to experience a story firsthand? why not drop us into HER body instead of link's?

because zelda isn't a silent protagonist.

Nearly all of zelda's story in both botw and totk is driven by her backstory and her internal struggle. she makes the decisions that she makes in botw because of her history having her agency denied by her father and being scorned by the goddess, and because of her passion for ancient technology and science. the plot of totk is similarly driven by choices she makes based on her emotions--most notably, her choice to become a dragon requires her to have complete faith in link and the courage to take a step that means losing herself. Because of the way these choices rely on zelda's internal emotional state and the context and backstory of her character, a player dropped into her body can't be expected to make them. We actually saw it a lot with criticisms of the way she acted in botw--people claiming that if THEY were in her shoes they wouldn't have been so emotional, they would have been nicer to link, etc. And it's true that a player who hasn't experienced the things that zelda as a character has gone through may have been able to have more rational or logical reactions to the situation she was in, but it's crucial to the plot that zelda COULDN'T set aside her emotions or the way that her past colored her perception of events. zelda is essentially the anti-silent-protagonist. she is the VOCAL protagonist, whose backstory and voice and autonomous choices are so crucial to the plot that removing them becomes nearly impossible. in order to tell her story in an interactive medium, she requires another character who CAN be controlled and whose decisions can be altered somewhat without derailing the plot entirely, hence why link becomes the vessel through which we see her story.

no less important a point is the fact that link is thematically important to these games as well. As previously mentioned, zelda's story serves as the primary narrative to both games. Link's story is still present, however, and it serves to reinforce and expand upon the themes present in zelda's.

in botw, zelda's story centers around her lack of agency. she is expected to inherit her familial power from the goddess hylia, a power which is required to stop the calamity. she spends her entire life training for this purpose despite the fact that she resents the pressure and wants no part in the war against the calamity, and when her powers don't manifest she is treated like a failure for it. she ends up believing she is worth nothing if she can't contribute by awakening her power and develops a harsh internal conflict between her desire to be accepted and needed and her desire to break free from the oppressive role she's been forced into. Initially, both she and the player believe link to be the polar opposite to her--the golden child to her black sheep. he's her age, but he's already mastered HIS power and is more than ready to take on any challenge, including the calamity. he's constantly receiving praise, he's well-known and well-liked, he's everything zelda isn't. however, as the story progresses, it's revealed to both the player and zelda that link is actually essentially in the exact same situation as zelda. He finds the role he is playing just as oppressive as zelda finds hers, despite being able to play it so well, to the point where he goes mute due to the pressure to perform. he functions in this story as a foil to zelda, the character who she plays off of. In learning about him we learn about zelda, and vice versa, and both characters undergo growth when they work off each other. much of botw's theming centers around growth, healing, and change, and link serves as a vessel to propel zelda's change by giving both her and the player a different view of their situation. He is confirmation that even if she DID perform correctly, zelda STILL wouldn't find the happiness and validation she's seeking, which in turn forces her to stop seeking validation from her father and hylia.

this same utlization of link is present in totk, though in a slightly different way. in some ways, totk link is more of his own character than a foil to zelda a la botw. Totk has two main central themes: the first being that hope is not lost due to one mistake, and the second being teamwork and community as an essential tool for survival and happiness. rather than playing off each other in totk, since link and zelda spend so much of the story so far removed from each other, they both play off these themes in their own ways, with both of their narratives coming together to reinforce the theming. zelda finds friends and community in the sages in the past, and her trust in her friends and community in the future is what allows her to send the master sword through time via draconification. In the future, link repairs communities that have been fractured by ganondorf and forges bonds with his own sages that will become his greatest assets in the final battle. Zelda works tirelessly to prevent the first rise of ganondorf, and even when she fails, link is there in the future to fix it. zelda loses her humanity in order to bring the master sword to link, but link manages to bring her back in the end. link loses his arm when he fails to save zelda under the castle, but when he DOES save her in the end, he gets his arm back, too. each of their stories play off each other and reinforce each other thematically.

I'm ngl this did get away from me the second i started talking about silent protagonists as a narrative device (i am crazy <3) but anyway. I do sincerely think that link is an irreplaceable part of these stories and I also don't think it's feasible to tell the story from any other angle. I think using him as both a framing character and as a narrative foil to the active protagonist was a really smart way to tell zelda's story while still keeping the player active within it. tldr link is the specialest amazingest most important boy in the world if you don't cheer and clap for him i'll fucking blow this whole building up

[s1urpjuic3]

Hi guys, it's me again, here to give my 2 cents on a another fandom.

Now, I felt the need to do this because as I pleasantly scroll through some Jarley content, I see 'Shipping a toxic couple is gross' 'Jarley is weird' 'Their not even together anymore' (If I could find the original post, I would so tag whoever made it because TODAY I CHOOSE VIOLENCE'

This literally might be my first ever (Omg they're so cute together as a kid. THis is my childhood right here. Jarley. Now, I respect and love her and Ivy as much as the next, but as a child, I didn't see the toxicity and the violence of Jarley, all I saw was my favorite cartoon villians, and it's just carried along to who I am now.

The main flaw about this is that THIS. IS. FICTION. Not even like, Game of Thrones or King of the Hill fiction. THIS SHIT WAS ORIGINALLY MEANT FOR FUCKING KIDS! Mf an 8 year old don't gaf abt or know about no abuse and shit. (Unless they come from that type of household, in which cases I completely respect that) Like, it's no reason that people should be this pressed over CHARACTERS that you literally can write them to act different. The writers of DC comics decided that 'Hey, this is how we want Joker, and he's never gonna change or treat Harley right' They could just as easily wrote it another way, henceforth, fanfic writers writing it a different way.

It's not about them being toxic it's about them matching each others' freaks. Everyone acts like Harley isn't fucking insane either like be so fr. She was gonna break eventually either way. The freakyness is rooted deep down inside her fr fr.

I personally/secretly wish their relationship was more like Cleo and Deuce from Monster High (Yes, I'm comparing them to someone again, I can't think of anyone else rn) Where; Yes, the Joker is mainly still and evil shitty Batman-obsessive weirdo, but he was always nice to Harley, and Harley was just like "Radical dude" (Lmaoooo) But in all seriousness, a plot where they both mutual respect each other, make realistic mistakes and hurt each other, but work it out in the end would have been great.

But I love the fact that the writers touched on the topic of abuse. I feel like not enough comics/media or anybody really talks about things women go through, or they romanticize it. I don't think anyone who ships Jarley wants to take away from what she went through. You can love them together and still not like what The Joker did to her. These feelings don't have to be mutually exclusive.

Anyways, this is too long again. Love y'all open minded Jivey fans. To the rest of y'all though? Eat dick and ☠️

(Side note: I reblogged a post on my page that talked about fans making Poison Ivy a one-dimentional character by making her entire personallity about Harley so HA SUCK ON THAT)

[emma-is-swaggy-and-epic]

DISCLAIMER THAT THIS IS THE 3RD TIME I'M FUCKING UPLOADED THIS PIECE OF SHIT BECAUSE TUMBLR KEEPS FUCKING UP MY IMAGE LAYOUT WHENEVER I POST IT SO IF THIS SHIT DOES THAT AGAIN I'M NOT GONNA FUCKING FIX IT BECAUSE I DON'T WANT TO HAVE TO EMBED ALL THE LINKS TO THE BASES I USED AND WRITE DOWN ALL THE TAGS ALL OVER AGAIN

X / X / X / X / X / X

Ngl it was relatively easy to think of pony names for these characters since i've had the idea to make this for a while so i've had a lot of time to think about it lol

For yuriko: i chose the name "flawless lace" because in her regular form, i specifically chose the name "yuriko" for her because it means "perfect" so i wanted to try and include that aspect into her pony name. Some considered names for her were "perfect storm" and "lily lace" since the "yuri" part of her name means "lily" (though i decided against it bc i remembered that's the name of an actual pony in MLP...) the markings on her legs are meant to sorta mirror the stockings she wears in her usual form

For sprite: i chose the name "baby carrot" simply because that was a actual name i considered for her normal form before i decided on "sprite" (which is kinda funny since a big part of sprite's character is that she likes apples.....a food that is basically as different from carrots as it can get) she is a goat-alicorn hybrid because she's normally a deltarune OC, specifically a fankid of kris and ralsei; with the latter being a prince from the dark who is also a goat monster

For carrie: a big part of her backstory is that she named herself, she's literally a carrot that decided to be human one day (...or pony, in this case) and is trying to fit into civilsation as best she can; so i tried to give them a pony name that sorta fits that, and so i named them "carrot mulch" because i could totally imagine her trying to introduce themself to someone and doing that one trope in movies where the main character doesn't want to share their real name and just looks around the room for things to call themself lol. I also decided to make her a blank-flank since she probably hasn't spent that long a time as a pony and therefore wouldn't have a cutie mark despite appearing fully grown

For makeighlyn i feel like my choices are pretty straight forward, the character is a girls' flash game mascot created by a christian fundamentalist cult who somehow escaped into the real world and now works as a demon slayer so i decided to give her a name and cutie mark that reflects that. The only thing that i feel is worth mentioning is that i find it interest how the amount of pink in her design makes the blue in her hair look a lot darker...either that or i might've accidentally hue-shifted it or something

Choese is another pretty straightforward one, he's a flirty cheese-themed mouseboy so i gave him a heart-shaped cheese cutie mark and named him "gouda squeaks" because he's a fucking rodent. (Sidenote: i love smoked gouda so goddamn much omg)

Lastly for crystalline i decided to make her a breezie since she's normally a fairy and y'know....breezies are just the MLP equivalent to fairies....i also decided to name her "fee-fee breezie" since breezies usually have really cutesy names in the show (some of them straight up have references to their species in their names), the "fee-fee" part of her name is short for "feelings" since crystalline is an emotion fairy

Y'know when i first created crystalline back when i was like, 10 i was going through a phase where i just VIOLENTLY hated things for no reason (specifically things from MLP such as the vampire fruit bats, flurry heart and the manta hawk from the IDW comics) to the point that i would make them out of polymer clay JUST so i can make my pony toys kill them (i was a weird kid, needless to say) one of these things being the breezies....so ngl i feel like the fact that i made crystalline a breezie is really fucking ironic lol

[the-nosy-neighbor]

Tic-Tac_Toe (Part 1)

Throughout the website, we have found instances of Tic-Tac-Toe games, so I decided to write about it, to see if I couldn’t find some reasoning for the inclusion of this, beyond Julie’s love of games. 

(I have separated this into 4 posts because I write very long things that are bad for morale.)

Rules of Tic-Tac-Toe

It seems like this is something that everyone knows (though sometimes under a different name, like noughts and crosses or x's and o's).  We will look, though, in case it gives any clues.

Of course there is a wikihow.  Draw the board (9 spaces).  First player goes and can choose to be x’s or o’s (but it do believe there is a rule that x goes first).  The first recommended move is to take the center, as it gives more options in getting three in a row or diagonal (winning).  Second player goes. They go back and forth until someone wins or the board is full, which is a tie. 

Ancient Origins of Tic-Tac-Toe

Huh, the game dates back to Ancient Egypt, called “Three Men’s Morris” and consisting of each player having three pieces and trying to put them all on one line.  The board looks like this:

The Roman version was also played with three pebbles.  (Roman version is called “Three Pebbles at a Time”?).  https://www.coolmathgames.com/blog/tic-tac-toe-history-three-in-a-row-thru-the-ages  It is also found in Middle Eastern and American Indian culture.  From what I can tell, this version in ancient Rome was circular, with an unknown name, but we call it “Rota” the Latin world for “wheel.”  These gameboards can be found in the streets of Roman cities.  https://mythologycrafts.com/rota-a-game-of-roman-tic-tac-toe/

“Rota is a very fast and simple game and you can play it almost anywhere. Each player moved three pieces around on a circular board until they got three in a row. The reason that Rota is called Roman Tic-Tac-Toe is that it is played on a board that has nine spaces and the main objective is to get three pieces in a row. However,  these two games are different because Rota takes longer,  you can move the pieces from their original positions, and unlike Tic-Tac-Toe it cannot end in a tie."

According to the coolmathgames.com website, the most comparable thing about these games is a 3 x 3 board.

The American Indian version (Zuni or Pueblo) looks like this:

Other versions:

Tant Fant:  India

Nine holes:  England

Achi:  Ghana

Shisima:  Kenya

Dara/dili/doki/derrah:  West Africa

Wali:  Africa

Dama Tuareg:  North Africa

Tria/Tris/Grisia:  Italy

Each version in the top half is pretty recognizable as tic tac toe, but the second half are further away.

Just a note to include that humans attach a lot of importance to the numbers 3 and 9, but especially 3.  Humans can process around three things in our short term, it has become a waypoint in writing or speaking (example:  x, 1,2,3 essays), and in symbols.  Symbols relying on the rule of three:  heaven, earth, hell; the father, the son, the holy spirit; birth, life, death; youth, middle age, old age; mind, body, soul.  Because of this human tendency, lots of things have been categorized by threes, but importantly, it has achieve a mystical significance in magic and luck.  In the European tradition, three is used in casting spells (bubble, bubble, toil, and trouble).  Also, how many times have we seen three witches as a storytelling device or focus?  In numerology, 3 has an association with Jupiter.

The History of Tic-Tac-Toe after 1884

The first instance of the name “noughts and crosses” is from 1858, “tic tac toe” is seen in 1884.  Tic Tac Toe is a game used to test artificial intelligence.  From Wikipedia “Arcade games with tic-tac-toe playing chickens were popular in the mid-1970’s. Apparently this comes from an appeal for a mentally ill murderer in which they introduced chickens playing tic-tac-toe as evidence that it doesn’t prove someone is mentally sound." From r/todayilearned, “TIL that in the 1960s there were coin operated machines with live chickens that would play piano, ring a bell or play you in tic tac toe when you dropped in a dime.“

This would have been during the time of the show, but what it could mean is curious (I wonder if Mama Beagle plays tic-tac-toe.)  I thought they meant a graphic of a chicken playing this game, but they really mean live chicken:

There were several game shows that used the game as their format, notably “Hollywood Squares,” “Tic-Tac-Dough,” Secret X from “The Price is Right,” and “Minute to Win It.”

There is a connection between Muppets and Hollywood Squares.  It seems that Kermit, Big Bird, Elmo, Piggy, and Zoe have all been on Hollywood Squares.  Also, Bear from Bear in the Big Blue House.  I love Bear. 

There is a cipher related to Tic-Tac-Toe.  There is a letter associated with the placement of the symbols.  They use the grid to denote the position of the letter.