#you know. sympathetic people.

[yellowocaballero]

man, reading ch3 was a ride, it's like all fun and jokes and then all of sudden, Nope! It's time to be sad now! but it's so good with it? like, I really enjoyed how seriously you took it, and that moment in the classroom was really like 'oh shit this is legit' in a way that had my heart just sinking in my chest and with the tone whiplash from the rest of the fic so far, it was just literally so good to read. also, seeing byleth and the rest of the class just kinda grapple with wth to do with dimitri while he's deep in this episode is just very interesting, especially when they all have their own hangups and issues with everything. 👍

YESSSSS. I'm always so excited to post the moment the story actually kicks into gear, and this chapter was it for Weekenders. A lot of fun.

I wrote a post a while back about people's discomfort with writing severe mental illness,

and while I wouldn't say Weekenders is a spite fic, it was influenced by how difficult it was to find non-modern AU fic that wrote Dimitri specifically as somebody on the schizophrenia spectrum/bipolar.

It was so hit-me-over-the-head obvious while I was playing! His entire personality and behavior flipped on a DIME in Part 1, and it flipped 'back' in Part 2. He couldn't switch topics, he was ranting incoherently, he was having headaches, he was doing nothing but training, he obviously wasn't sleeping or grooming, he was convinced a 12yo had orchestrated an assasination - that's not depression/anxiety/PTSD, and it's not even just a psychotic episode (mania does have elements of psychosis, hence the paranoid delusions). And, obviously, the actual hallucinations, delusions, antisocialness, lack of grooming, impulsivity, etc, of Part 2 that rang very loudly of a schizophrenic/schizoaffective psychotic break.

But equally important is the fact that Dimitri's illness did not make him hateful and homicidal. Dimitri was always a hateful person. I don't think he's naturally hateful nearly to the degree that he shows while having an episode, but one of the most important lines in the BL route is when Dedue just says that Dimitri was always angry and hateful, and that he just hid it. His behavior in late Part 1/part 2 is him losing all capability to hide it. I don't think he's a pathological liar, and I don't think the Dimitri we see throughout Part 1 is 'fake' - I just think he withholds a lot. Dimitri's cruelty is just as important as his generosity. His hatred is as important as his empathy. The horrible sides of his illness are just as important as the comfortable sides. Do you see what I mean?

That is what interests me about Dimitri so much. Dimitri wants to be Marth. Dimitri tries to be Chrom. Dimitri dresses up like Roy. He is not. He is an angry, paranoid, brutal murderer. Any depiction of Dimitri that forgets that - that unironically only protrays the Dimitri that he shows the world and never the sides of him that he's ashamed of - is kinda buying what he's selling, and it both demonstrates a deep disinterest in who he is and a discomfort with the sides of his illness that aren't palatable.

Dimitri's psychosis did not make him hateful (I think his PTSD had a lot more to do with his anger problems). It made him scared. Mania and psychosis are a very, very scary experience. His mind is constantly telling him that he's in danger, that Byleth's in danger, that everybody and everything around him wants to hurt and kill him, that he is a sinner if he doesn't avenge his dead family. And Dimitri is a good child soldier, and he knows that we destroy our enemies with prejudice. He's a good leader, and he knows that the BL are never safe and that their enemies are everywhere. He's a good son, and he knows that you have to avenge them. Violence solves problems and Dimitri is scared and angry and if he doesn't solve the problem he can't protect the woman and people he loves.

This is serious to me! I'm trying not to make this THAT long but I could go ooooon lol. I understanding wanting to either make him realistically/explicitly schizophrenic OR make him violent, because violent schizophrenics are a bad and harmful stereotype. But I think both sides of him are important, because I don't want to whitewash Dimitri's illness or his experiences. It's scary for the people around you. It very frequenty is triggered from trauma and hardship and it is informed by your life. Like many characters in FE3H, Dimitri is the product of the evils of his world.

Byleth's arc in this story is about her growing into a human being. It is shown as a beautiful thing. It is wonderful to be a person. It would contradict the message of the story to show Dimitri as anything else but a human being - flaws, traumas, SMI and all. He was Marth to her. That's the point.

I went on for soooo long lol but thanks for the ask!

[sixth-light]

I have had these thoughts bubbling away in my head for like...eighteen months or so now (it will become very obvious why shortly) but the discussion in this post has pushed me to write them down: I think societally we HUGELY underestimate how motherhood for primary caregivers, particularly first-time motherhood, can be a source of vulnerability to radicalisation.

There is obviously huge cultural variance here, but for a lot of cis women becoming primary caregiver to an infant in a capitalist Western society represents a time of immense vulnerability because in general you are:

Incredibly sleep-deprived (which has well-documented knock-on effects for your judgement, mental health, etc)

If you gave birth, recovering from a significant challenge to your physical health (even in the best-case scenario)

Isolated from your previous networks and communities of people in full-time work

Completely separated from the context of your prior career goals and achievements

Under huge amounts of stress to learn how to care for an infant (don't get me started on breastfeeding)

And on top of this, you are also be experiencing a huge amount of messaging about how all this is natural, wonderful, something you're meant to do, something you should love doing, and something that you must do for the welfare of their child. It's a huge amount of pressure and life change even when everything goes right and there's very little cultural space to express negative feelings about it.

Any group of people who offer community, support, and affirmation to cis women in this situation are going to have a really good shot at radicalising them into some very weird and dangerous headspaces and in fact we see this happen all the time - think antivaxxers and TERFs. It flies under the radar because of the hazy positive glow that associates with motherhood and babies and also because we don't take the radicalisation of women seriously I guess because they rarely shoot anybody, but...yeah. It is such a vulnerable time!

[dunmeshistash]

Am once again thinking about Milsiril and the general fandom impression of her, it's fascinating

[utilitycaster]

okay I've been enjoying myself and not terribly salty, but I do have one thing to say which is that like...look. I still think that Liliana could go either way. I don't think she should be killed on sight, obviously. I also don't think she is guaranteed to not betray Imogen. But it's absolutely wild the degree of leniency she was consistently granted, well beyond that of basically any other parent except ones who were already dead before the narrative. People were harsher to Marion Lavorre, who was certainly flawed and had, through her own issues, caused problems for Jester, but notably hadn't like, recruited vulnerable children into a death cult. People were worse to the Gentleman, who definitely did his share of horrible crimes but his closest allies never tried to TPK the Mighty Nein. People are less sympathetic to Korrin, who literally was just a normal high-strung parent with high expectations for his daughter because he was thrust into leadership and his wife was presumed to have died on her Aramente and he wanted to ensure this wouldn't happen to his only child. People were worse to Birdie and Ollie, who we know were directly mind controlled. And suddenly when Liliana turns up she's the universe's greatest, if I may use a term from TVTropes, woobie, for skipping out on her family and leaving her daughter to fend for herself in Gelvaan with no warning and no guidance, sending Imogen unsettling and unhelpful dreams, failing to answer her questions even as she clearly gets entangled in what Liliana was trying unsuccessfully to protect her from, and becoming involved in an organization that tried and frequently succeeded in killing the people who initially helped her. You literally get people who are like "abolition of the nuclear family" everywhere else on their blog being like "um well you see, Imogen is trying to connect with her biological mother and that is sacred." Liliana is not beyond redemption - I think that could in fact be a very satisfying ending for her - but there is a very real possibility she will betray the party, there always has been, and the fact that she was granted automatic and unlimited benefit of the doubt from a swathe of the fandom has really cast her many flaws in a far more revealing light than had she been treated in a more measured and nuanced fashion.

[accirax]

Project: Eden's Garden Chapter 1 Trailer Analysis

Oh my god it's actually time.

As I'm sure you've heard by now, Team Eden's Garden has finally announced the release date for the fangan's true first chapter: December 20th. And, they did so in a flashy new trailer, which is nearly three minutes long! Naturally, there's a lot of content baked in to those three minutes, so I'm here to take a look at what was flashing by in those rapid-fire montages, as well as make predictions regarding what will happen at the first Class Trial. This will be fun!

And here's hoping I don't run out of images 🤞

The trailer begins with the "mascot" (in this case, Tozu) saying that it's been far too long since we last conversed. Classic.

Next, we see a preview of some locations, both new and old. CAM04: Dorm Hallway and CAM24: Tree of Ignorance were already explorable areas within the Prologue, and CAM08: Damon's Dorm was visible in the Ch1 demo released last year(?). The new locations include CAM32: Hallway A1, CAM35: Pharmacy A1, and CAM39: Pharmacy A5.

(By the way, I'm going to assume that both the numbering of the cameras and the time displayed in the lower right have no particular meaning, because I can't find any connections between them. At first I thought it was weird that Damon's dorm was Camera #8 despite him being 9th in alphabetical last name order, but given that the hallway is Camera #4, I don't think there's a correlation).

While all of the images are intentionally blurry, I'll do the best I can to describe what we can see. The most obvious point of interest is the door at the back of the hallway, under which "CAUTION" is written in big red letters. It also seems that there might be blood dripping down the door, which, if true, would match with the other blood splatter on the floor near the bottom right of the screen. It definitely gives the impression that something happened here before, and that that something was bad. There's also a grate on the wall that's splattered with red, but given that blood is pink in the DR universe, I'm assuming that's rust.

The pharmacies are very interesting to me. First of all, there are two of them. What kind of establishment needs two separate pharmacies? I guess you might if the pharmacies are as different as the two pictured. One looks more like an old-fashioned office or science classroom (it kind of reminds me of v3's Ultimate Detective Lab, honestly), and the other like a scientific research facility. A pharmacy is defined as "a store where medicinal drugs are dispensed and sold," so perhaps Pharmacy A1 is for selling and Pharmacy A5 is for creating?

The "A" in these tags could stand for "area," but they more likely stand for "alpha." At the end of the Chapter 1 demo (watch Weeby Newz's video on it if you want the same level of info I have), the students are about to go through the lowercase "alpha" door in the Tree Room to explore a new area. These three areas are almost certainly behind that door-- perhaps with the checkered pharmacy being room #1, and the blue pharmacy being room #5?

It's also possible that the entire area is considered "the pharmacy," and is dedicated to the production of medicine. But, whether that's the case or not, I have to ask, "why?" Out of all the things they could have put into this falsified Eden's Garden Academy, why make two rooms dedicated to creating drugs? Why potentially make up to five rooms dedicated to creating drugs? With very little information regarding the overarching plot of Eden's Garden, it's hard to determine why. The only connection I can make offhand is that this may have been the origin site of the drugs used to knock everyone out on the train.

I do find it very interesting, though, that this is not just a location in the school, but the very first one we're discovering. Normally, I'd think that places like these, which aren't that conducive to students hanging out (like a pool or recreation center) would be reserved for future chapters. It may imply that drugs and/or poisons are a necessary component of the Chapter 1 murder. We'll see!

Our first of the rapid-fire CGs! This one shows Kai pointing at something within a fancy pink room. There's a canopy bed dressed with pink cloth, some floral-looking wallpaper, and two small paintings of what also appear to be plants on the wall.

Given the appearance of Damon's room earlier in the trailer, I find it likely that this is not a new location in the alpha corridor, but instead, someone's room. There are many pink colored characters in P:EG-- Diana, Toshiko, and Kai himself-- as well as Cassidy, whose character color is close to pink, and Ingrid, who has pinkish hair. Of the main three options, I'm guessing that this is probably Kai's room.

People have been quick to diagnose this as a potential BDA image. If that's true, I acknowledge that this being Kai's room would be a wild choice, because it would mean that someone other than Kai was found dead in Kai's room. It would be a THH parallel, though! I just think that it's likely to be his because, well, he's in there, and all of the references to flowers seems fitting for his butterfly motif. However, Toshiko's kimono does have flower patterns on it, and flowers also match up with the ~romance~ of the Ultimate Matchmaker. If this is Kai providing a BDA in Toshiko's room, though... maybe Toshiko isn't dodging those first victim allegations.

If it's not a BDA, though, what is Kai pointing at? Imagine if it's just a spider or something, lol. He does look pretty worried, so perhaps this could be the arrival of something like DRDT's custom weapons? If a weapon suddenly appeared in my room a the killing game, I'd be kind of worried. It could also be a mysterious note, as (spoilers) we're about to see a few of in this trailer.

One cute(?) thing to mention is that, if this is Kai's room, it likely means that Kai was willing to invite Damon into his room to check whatever this is out. That could mean that they're friends! It's not cute if this is actually a BDA. It's also not cute if Kai is becoming Damon's friend just so that it hurts more when he dies in Chapter 1 :(

Woah, it's a note! (/j)

This and the image directly before it in the trailer seem to be of the same thing: a piece of paper that says "to Damon Maitsu" on it. Or, it's possible that the first one just says "Damon Maitsu" and this one says "to Mr. Maitsu"-- they look a little different, although the handwriting seems identical. I don't think there's any paper conspiracy for me to crack here.

To my memory, the prologue included some flashback CGs, so I would imagine that's what's happening here, unless Damon actually kept his Eden's Garden acceptance letter on his person (possible). It could also be a new letter that Damon receives during the course of the killing game if, as I posited, Kai was pointing out a letter he received in his room.

And furthermore, more note content? Why is this hypothetical piece of paper more visible in the trailer than Toshiko?! (/j)

Or, maybe it isn't. This note seems to read, "Meet in [???] at 8:10 p.m. tonight [???] Damon Maitsu." Due to the spacing of the words-- namely, that it doesn't seem like there's much more to this message beyond what we can see-- this paper appears to be pretty small. Combined with the color, I predict that this note is, in fact, sticky. And therefore, not the same as the piece of paper (which also has a different ink color) as the other note.

Further extrapolating from the spacing, the note looks like it's signed "-- Damon Maitsu". Otherwise, there would need to be a word before Damon, the end of which has no letters tall enough to appear next to the D. (It's LGI's "Ms. Naegi" crisis all over again... /ref) If so, that means that we might have an example of Damon's handwriting on our hands! Or the handwriting of someone who was trying to impersonate Damon :/

I wish we had a better lead on where this note was telling folks to meet up, but it's way too vague.

Then, yet another piece of paper! It's definitely different than the yellow one, and probably different from the signed one as well, due to being typed and not handwritten. Then again, sometimes typed letters have a handwritten signature at the bottom, so it's not impossible.

This text's formatting reminds me of how scripts are normally written: both the font and the center alignment are used in standard scriptwriting formats. I actually at first thought that everything after "beneath a" might have been spoken by a character whose name starts with L, but that would mean that their dialogue starts with a lowercase letter. Plus, names on scripts are usually written more like this (imagine it's centered):

LINDSAY beneath a [shoulder] If only [head]

in the sense that the character speaking's name is in all caps. There appears to be a lowercase i after the capital L, so it's probably not a name.

Still, that begs the question of why the top line is so much shorter than the one beneath it. In a normal passage, all of the lines would have relatively even margins other than possibly the last one. Could the wonky spacing be indicative of a poem, or something else written in verse? Due to the script/poem idea, I'm inclined to believe this belongs to the ever-dramatic Tozu, but I could be wrong.

Next is another CG, depicting Damon, Cassidy, and a sneaky Jean in the background. Based on the shape of Damon's ahoge, we can tell he's a little annoyed or flustered by whatever Cassidy is pointing at.

The wallpaper pattern we see in the background is that of the Dining Hall. Do NOT ask me how I remembered this offhand, because I don't know.

Furthermore, based on the wall being to the characters' left, it's likely that they're standing on the left side of the room. (It's possible in reality that it could be anywhere else in the room in front of the wallpaper only, but based on cinematography rules I won't bother explaining this is probably the case.) So, what is Cassidy pointing at? It could be the fireplace, the painting of the jackal, or the vent. Or, obviously, something new that appears in the Dining Hall in Chapter 1.

Based on my theories that the vent will be involved in the Chapter 1 murder, I'm inclined to believe that it might be what Cassidy's pointing out. If that's true, it means that she (and Jean) (and Damon) is dodging the Chapter 1 victim allegations! However, given that the characters are looking upwards, unless they're on the floor, it's probably not actually the vent. Maybe it's something on the fireplace mantle?

Also, based on straight vibes and nothing else, I don't think this is a serious CG. It might just be that it reminds me of v3's casino CG, but I kinda feel like Cassidy is just trying to teach Damon a game while Jean watches, or something. Projector on the Dining Hall walls? "It's more likely than you think," I lie.

The next six images consist of three spooky screenshots of what seem to be some sort of database which say "Ultimate" (and a picture of Damon), and three zoom-ins on what I believe to be paintings found around the school.

The only one I found of particular note was this one, which sort of looks like two people getting married? Both figures seem to have light skin, and the one in the white dress might have some shoulder-length red hair. Cassidy marriage arc??? I can't imagine what context this photo/painting/CG would appear in, but it might be important.

After that a few illustrations depicting the killing game's rules flash by. I won't be uploading all of them because 1) you can probably guess at most already if you're familiar with DR/fangans, and 2) I think these might have been shown in the demo anyways. To sum up, I think the rules can be attributed as such:

Tozu is in charge (and/or participation in the killing game is mandatory)

No destroying school property, with a focus on cameras and NG bracelets

You can't kill/injure Tozu or Mara*

Students can become the blackened by killing

Once a dead body is found, it's time for a Class Trial

... The same thing again? Oh, maybe #5 was about how to trigger a BDA, then.

Um...

Okay, actually, I don't know what this one is. Is this saying that you can't rip paper, or you'll get executed? As in, papers that Tozu gives you? Dude, maybe my "Tozu gives the students mysterious letters" theory actually had some merit to it!

If not that, could this be something about breaching contracts? The Prologue did mention "registration materials" that Damon presumably signed. Those could have been a cover-up for a real waiver the students accidentally accepted. Or, maybe this is the big reveal that all of the characters are actors in a scripted performance. In Chapter 1? Yeah, probably not.

*Technically, only Tozu (who stands between Mara and the student) has an X over him, which could imply that it's only illegal to harm Tozu. However, it's likely that, when the rule is revealed in the e-Handbook, the graphic will cycle between Xs on Mara and Tozu, or something else to that effect. It would be interesting if the rules don't protect Mara, though. I'd imagine the in-universe explanation would be "see what happens if you even TRY to hurt Mara," but that would absolutely feel like a rule intended by the writers to be broken in the future.

I'm sure someone could do a super in-depth analysis of the religious implications of this painting, but that person is not me. All I will say is, "these are the animals of Mara and Tozu." Oh, and, based on the next image, this painting is located in Pharmacy 1.

New locations! Like I alluded to above, the first image is definitely of Pharmacy 1, and I think the second is too.

The third is a bit harder to decipher. We've got a glowing photocopier with an Eden's Garden Academy logo on it, a tiled floor, many green cabinets, a medical kit, and lots of vines. I wonder if this might be a third pharmacy that functions more like a doctor's office...? I don't know what the photocopier is there for in that case, though. I'm assuming that the location behind Jett in the fourth image is in the same room due to the similar green cabinets, and the fact that you can see a similar first aid kit on the wall behind him. If that's the case, there's also a sink in this room. That's not helping me either.

After that, we have a shot of Jean with a proposition in the Dining Hall, some general purposes art which I think we've seen before, and a slick 3D animation with Damon catching a fallen apple. What do they have in common? I don't have much to say about any of them.

Free Time time! Or, at least, I'm assuming that Ulysses' part is part of his first FTE, given that it was packaged in with all this other stuff. With this, we can conclude that Ulysses, Wenona, and Wolfgang will all be available for at least one FTE in Chapter 1. I am very curious about that in general-- with this first chapter release, will we immediately be able to view all of everyone's FTEs? Or will they cap everyone off at, like, two for now? Unfortunately, there's no way for me to answer that now.

The other three images are more intriguing. The first definitely shows Damon's gift inventory, with the Black Forest Cake being highlighted. The interesting bit is all of the chibi pixels to the side, with positive and negative arrows by some of their heads. At first, I thought that P:EG might be going for something like SDRA2's ambitious FTE system, where characters have positive or negative opinions on you based on actions you take and gifts you give. However, on further thought, I bet that this is an in-game way of telling you who will like which gifts. As far as I can tell, many people either look up which gifts to give which characters or save-scum until they get something right, so taking guessing out of the equation is probably a good thing. Plus, now we know that Diana, Jett, Toshiko, Mark, Wolfgang, Cassidy, Desmond, Eloise, and Kai like cake; Grace, Ingrid, and Wenona don't; and Damon, Jean, Ulysses, and Eva are neutral. It's an extra good system if it gives us insight into Damon as well!

The second is surely P:EG's equivalent of the Monomono Machine, with Damon receiving a zen garden from the funky hourglass contraption. The interesting part to me is that the currency is named Marabucks instead of Tozubucks. Yay for inclusivity? Also, I think it's fun that the percentage reads "1,13%" instead of the standard American "1.13%". (And P:EG seems to be, on the whole, an American-coded game, given that the majority of the characters speak in American-accented English and the cast's live appearance was in Texas.) Gives you a little behind the scenes peek at who was coding this section of the game :)

The last thing... uh, what? It seems to be a Pong-like minigame, probably used to earn bonus Marabucks. You bounce the "orbs" through the "pachinko" to... I guess score points against Mara and Tozu? And, probably if you do well enough, you get varying levels of money. Perhaps I spoke too soon, and the Marabuck is simply the lesser Tozubuck.

Up next comes some dramatic zoom-ins through those spiffy remodeled locations. I appreciate them jazzing up the "outdoor" area specifically; the lack of polygons in the doorway arch always bugged me. Even if they kept those similarly unbeveled shapes in the archways to the side... (/lh)

And now, the moment you've all been waiting for...

WE GOT SCENES FROM THE CLASS TRIAL?!?!?!

To clear the elephant in the room, as everyone has been reporting, Toshiko is the only student who can't be seen in the Class Trial at all. Does that mean she's dead? Uh, probably not. As part of a mystery-writing team, I would have to imagine that whoever crafted this trailer would be smart enough to know that their mystery-loving fans would comb through whatever they're given for answers (hi 👋). And, if there's one to be found, they'd find it. Therefore, I'm more inclined to believe that Toshiko's absence is an intentional red herring. Then again, this is very possibly the P:EG team's first time writing a fangan, so if they didn't think about things like that, it would be understandable.

So, who is dying if everyone else is present? To me, there's a big gulf between how easy it would be to fake someone's participation in the Class Trial. Subbing out a death portrait for a regular sprite is easy, recording a fake line of dialogue is a bit more effort, and creating original artwork is really not worth the effort. Thus, we can divide the characters into tiers.

ORIGINAL ART (basically guaranteed safe) Damon, Wenona VOICE ACTING (very likely to be safe) Diana, Grace, Wolfgang, Jean, Eva SPRITE VISIBLE (possibly most endangered) Mark, Desmond, Kai, Ingrid, Ulysses, Eloise, Cassidy, Jett TOTALLY ABSENT (reverse psychology safety???) Toshiko

Damon's unique minigame sprite and Wenona's Rebuttal Showdown art appearing over his face should also squash the rumors that Damon will be replaced before the first Class Trial at least, lol.

Within those tiers, I also want to highlight two outliers: Wolfgang and Eva. Because, of course it's those two.

Although Wolfgang is in the voice acting tier, in reality, I'd say he should be moved upward into the "basically guaranteed safe" tier. This is because his line is shown in Nonstop Debate format as opposed to the regular dialogue format. Although his lines don't have the animated word art thing going on, I still imagine that it would be easier to create a fake line in the regular dialogue boxes than in the minigame. Also, notice that I said lineS. Wolfgang also has two lines, and unless the team is really yanking our chains, I can't see why they would create two fake lines when one would surely suffice.

Meanwhile, while Eva is in the voice acting tier, she's bordering on the "possibly most endangered" tier. It may just be my "Eva could die first" bias speaking, but her line is a whole lot shorter and less specific than Diana's, Grace's, or Jean's. In fact, if you remove the comma, "obviously the case" could easily be one of her stock dialogue lines that plays over unvoiced portions of the Daily Life. If the team were to create a fake piece of dialogue for the Class Trial, sneakily repurposing a line that already exists for other purposes would be the most efficient way to do so.

Expanding on that, what is "obviously, the case" supposed to mean here? I'll once again draw attention to that comma. Grammatically, it's not that some truth is "obviously the case," but that the case is the thing that's obvious. In what context is Eva saying that, though?

Jett: Uhhh, sorry, what are we supposed to be focusing on again...? Eva: Obviously, the case.

Or, could a physical case, like a briefcase, be relevant to the murder?

Grace: But what could the killer have used to fucking store a disguise?! Eva: Obviously, the case.

The only thing I'm remembering offhand that could be a physical case is the medical kit, but obviously there are plenty of locations and props for this Chapter we haven't seen yet. At any rate, Eva's dialogue raised a flag for me. So, I'll be scrutinizing any cases we may see or any pre-Trial words Eva speaks when the Chapter comes out.

Also, Diana and Grace might be a bit safer than Jean and Eva because what Grace is saying seems to be a response to Diana. They both mention peace, and Desmond is striking the same pose in both of their shots. I doubt that the P:EG team would either record Diana expressing the same sentiment that someone else actually expresses, or come up with a fictitious response from Grace that doesn't actually exist. If you want to get really nitty-gritty about it, consider that tier as ranking Wolfgang as the most safe, then Grace, Diana, Jean, and then Eva :)

Under the dual assumptions that Toshiko is a red herring while Eva's dialogue is genuine (such that both of them are safe), though, who's the most likely victim from our "sprite visible" tier?

Well, the only victim option left from my Chapter 1 Killer/Victim theory is Kai. Fan-favorite first victim choice Cassidy is also on the table. Otherwise, I could see Ulysses, given that (if he's not the mastermind) he gives BIG victim energy with his notetaking becoming a central aspect of solving his Trial. I'd expect they'd save a gimmick like that for a later Trial, where it could better be used to shake up the status quo, but I could see it as a good intro case too. I could also see someone taking Desmond out if they were afraid of his weapon-wielding capabilities, although that's... kinda backwards thinking. Desmond's capability to kill is scary if you're trying to kill him, but it doesn't offer much in the Class Trial.

Still kinda convinced it's gonna be Eva, but I'm aware enough to recognize that's probably just the stubbornness of wanting to believe that my old theory was true.

Speaking of old theories coming true, can we rewind for a moment?

Jean: ...but, I'd rather be suspected than be the reason this trial comes to a standstill.

Hey. WHAT.

For anyone who hasn't read/forgot about the Chapter 1 victim/killer theory I just linked, in that post, I argued my case for why Jean would be our unexpected Chapter 1 killer. Needless to say, when I saw this, I screamed.

What does this MEAN?!?! Full disclosure, I was pretty convinced that the Jean!killer theory would either be, like, 100% on the money, or laughably incorrect to the level of accidentally misinterpreting Jean's entire personality or there not even being a hint of suspicion thrown on his name throughout the entire case. To see Jean acknowledging others' suspicion of him in the TRAILER has me reeling.

Assuming that this line isn't fake (which also guarantees that Jean isn't the first victim), this means that there will be a point in the Trial at which Jean will be suspected as the blackened. The line itself could easily be something that a sympathetic and honest spotless would say, or something that a blackened could say pretending to be just that, so we don't get any hints there. What reason would Jean have to be suspected if he isn't the killer? Why and how would anyone choose to frame him? But also, would the P:EG team really want to have their players go into the first Trial already primed to believe that Jean could be the blackened based on the trailer? I feel like this line was included as a cruel (/lh) trick on me specifically, but my theory wasn't nearly infamous enough to warrant that kind of attention.

It's absolutely going to be eyes on Jean for me when the first Chapter comes out. I'm so curious to see the context surrounding this quote. Did I actually call it early? Or will the "evidence" that I stacked up actually prove to make Jean a believable bait, but not the real blackened? (wouldn't be the first time :P /j)

Moving on, there's a very dramatic scene of Tozu looking over the Trial grounds, while Damon looks back. I double checked, and everyone is visible (in silhouette form) in this shot, which makes sense as it was likely created solely for this spoiler-free promotional material. In my mind, the only clues we can pick up here are that Damon is further cementing himself as the true protagonist of this story. He also blocks out Wolfgang as he looks at Tozu...? Could have symbolic significance, but could also just be a result of the pair being opposite each other in the Class Trial seating.

After that is another fast-paced montage. The first screen is the same shot of the Pharmacy table. I don't know why they put repeat info in here, but as far as I can tell, all of the props and textures and whatnot are the same. If my assessment that the murder would utilize the Dining Hall vent is wrong, I wonder if this could be a hint that Pharmacy A especially will have significant meaning-- possibly, as the site of the first BDA. That being said, they also repeat the same image of the photocopier ivy room as the third image in this montage. So, if that's the case, it means both locations will have to be highly relevant.

I feel like this image out of context looks really NSFW. I promise, that was not my intention...

Anyways, this is from the Prologue BDA.

It's Cara's doll legs, as is made extra apparent by that same cylindrical thing in the back. I'm not sure if this was put here because the Prologue case will continue to be really relevant to Chapter 1, or just because they wanted a BDA-looking thing for the Trailer yet didn't want to put in a spoiler one. Based on the different size/shape of Cara's thighs (now I feel NSFW /j), there is a slight possibility that what's shown in the Chapter 1 trailer is (an image of) the real Cara's body as opposed to the doll. However, we know that some sprites and backgrounds have been redone during the hiatus, and that could extend to Cara's art as well.

This knife is also from the Prologue BDA.

You think you're so clever, P:EG team, don't you...? (/lh)

Can you believe the students are going to investigate area alpha in Chapter 1? Or maybe this is Damon telling me I'm wrong about that, haha.

Hey, they rigged a 3D Tozu model! It's looking good. I'm sure they're glad that Tozu's mask meant that they don't have to make a whole mouth rig for the guy, lol. My guess is that this model will be used for Tozu's "punishment time" animation, the equivalent of Monokuma hitting his button with the mallet.

The last thing of note in this trailer (other than the release date) is the Chapter's splash art! The full version was posted to Twitter, which I'll be showing for clarity's sake.

“Strange that one minor event, one small action, can alter the path of everything.”

... You gotta start dodging these allegations better, Cassidy.

Chapter promo art predictions are always a tricky game when it comes to predicting who will die. On the creator's end, I'm sure you don't want to draw additional attention to your first deaths by spotlighting them in the artwork. But, if you want to highlight some of the most important characters of the chapter, that'll often include the victim and/or killer if the Daily Life is well-crafted. Plus, especially for early deaths like these, if you don't put them in the chapter art early, you'll never have to chance.

But, forget all that. Who's actually shown in the poster? Obviously, Damon, Jett, and Cassidy are, but I believe that Wenona's jacket and hair are shown to the left of Damon? If you squint, you can also make out what might be Ingrid's arm on his right. That would be consistent with where he's seated in the Class Trial. Yeah, and then that weird blob behind Wenona is actually Jean and Eva!

See what I mean? Well, if we have 7 characters on the poster, maybe it's not so suspicious for any of them after all :D

And, really, it's 8 characters. I imagine others have made this connection already (even if I haven't personally seen it), but... that's a chameleon wrapping its way around Damon. AKA, Diana's animal motif. That means that Diana is more or less on this poster as well!

As the literal framing device of the Class Trial, the chameleon makes this poster reek of Diana being the Chapter 1 killer. However, even that feels too obvious, at least to my highly-scrutinous eyes. Then again, if this was just supposed to communicate that Diana will be important, why not just put her on the poster...? I really don't know what to make of it.

And... yeah, December 20th! I'm super excited!!! While we're certainly not in a drought of in new and exciting fangans nowadays (read Danganronpa: One Shot here!), productions of this scale-- especially playable ones-- are few and far between, so I really hope that this first Chapter lives up to the hype. I'm pretty sure I'll have more to say about this fangan in a few weeks, so I'll see y'all then for Project: Eden's Garden's true beginning!

...

(Honestly, after all this time in the DRDT fandom, it's just crazy to me that we're going to learn about the victim and killer at basically the same time... (/lh))

[potatobugz]

i was hacked by a very unhappy man!

[razmerry]

this is a genuinely vulnerable, touching, and emotionally powerful moment of seeking out connection from jason to dick until you remember that being "all back to normal" refers to when jason got digested by an alien, trapped in a goo egg, and then turned into a tentacle monster that ate people

[secretmellowblog]

One thing I feel people almost always overlook about Javert is that:

The book’s narrator is usually harsh/sarcastic towards Javert, and that harshness is why his character has pathos. Javert is able to be sympathetic because Victor Hugo has basically no respect for his beliefs. Javert is so pitiable because Hugo mocks and drags him on basically every page he appears.

I’ve mentioned before that the message of Les Mis is (paraphrasing) that ACAB— Javert is the best police officer it is possible to be, and he is terrible, because the laws he enforces are terrible. His law & order ideology is terrible. Everything he believes is fundamentally wrong, and so deeply wrong that it deserves no respect.

Yes, Hugo acknowledges that Javert occasionally has a misguided kind of nobility— the nobility of holding yourself honestly to a set of bad rules, the nobility of following a terrible moral code even when it hurts you. But Hugo has no respect for Javert’s bigotry, or his bootlicking, or his deranged obsessive worship of law and order. Hugo portrays the way that Javert martyrs himself for his ideology as strangely honorable— but the ideology itself is mocked and condemned. Hugo thinks martyrdom is cool, but that Javert is martyring himself for a terrible cause.

In his most sympathetic moments, Javert’s worldview is portrayed as pitiable…. not a worldview that’s worthy of true total genuine respect, but a worldview that’s deeply pathetic in its wrongness.

Without himself suspecting the fact, Javert in his formidable happiness was to be pitied, as is every ignorant man who triumphs.

This is part of why those old 2012-era les mis fanfics always threw me off, if anyone remembers the fandom trends at the time. XD People used to write Valjean and pre-barricades Javert having political debates, as if the two of them could make arguments about law that were equally valid and worthy of respect, and pre-barricades Javert had a worthwhile set of beliefs that Valjean could learn from. But to me it’s personally kinda like, no XD. Nah. The whole thing about pre-barricades Javert is that he does not have any valid points to make. He has nothing resembling a point. He is “ignorant” and determined to stay that way because he literally believes that thinking is evil. He is a violent authoritarian whose worldview is just “mindless self-destructive bootlicking and bigotry.” I joked about it in a previous post but if we want a character who offers a genuinely meaningful counterpoint to Valjean’s philosophy, who could debate him on politics, and who could represent justice while Valjean represents mercy— that character is Enjolras, not Javert.

Valjean has a fascinating complicated relationship with law and politics and violence, but Javert is just a deeply pitiable brainwashed creature who martyrs himself for Wrong things.

Hugo pities Javert, but he does not treat Javert’s worldview --‘authority is always right, rigid social hierarchies must always be enforced, human life has no intrinsic value, the police must violently suppress any kind of crime or rebellion’— as something that deserves to be genuinely respected. It is not something that’s even worthy of debate. It is wrong, it is nonsense, it is an incoherent cruel self-contradicting ideology, and Javert only believes it because (to quote Hugo’s sarcastic narration) “thought was something to which he was unused.” (Or to be more charitable, Javert believes these terrible things because he was born inside a prison and has been brainwashed from birth into internalizing a cruel carceral view of the world.)

And I think Hugo generally does a good job of walking that tightrope — having pity for Javert without portraying Javert’s ideology as something worthy of genuine admiration. He sympathizes with how rigidly Javert holds himself to his own moral code, while condemning the moral code itself for being idiotic. He has empathy with Javert’s sincere self-destructive dedication to what he believes in, while pointing out the things he believes in are all stupid. He pities Javert’s martyrdom, while condemning the nonsense that Javert martyrs himself for.

One of my Top Ten Favorite Pathetic Javert Moments is this one, when Javert recognizes Marius’s body after the barricades:

A spy of the first quality, who had observed everything, listened to everything, and taken in everything, even when he thought that he was to die; who had played the spy even in his agony, and who, with his elbows leaning on the first step of the sepulchre, had taken notes.

Because Javert martyrs himself so earnestly for this terrible cause! He “takes notes” even when he believes he’s going to die and the notes cannot possibly be of any use to anyone, simply because taking notes is the thing he has been ordered to do. He’s so self-destructively dedicated to performing these useless pointless tasks because he believes there is real ~dignity~ to his mindless bootlicking— when there isn’t.

That’s why Javert’s emotional breakdown and suicide hit so hard for me, in a way that it wouldn’t if the narration was forgiving towards his stupid belief system. The contrast between Javert’s sheer pathetic terror and the often harsh/sarcastic narration is just….wild. It makes Javert sympathetic without making his awful ideology seem good, reasonable, or valuable. (And while this is only adjacent to the point I’m making- the harsh narration in Derailed also emphasizes the way Javert has been trained to view his own thoughts/emotions with contempt.) Javert is deeply pitiable/sympathetic without his ideology being framed as correct. And the whole tragedy of his character comes from the fact that he is utterly entirely wrong.

If I were to summarize the pathos of Javert, I wouldn’t say “he’s sympathetic because he’s a noble anti-hero with good strong morals who makes some valuable points about the importance of law” or w/e. I’d say that you can feel sorry for him because he’s a wretched brainwashed creature who’s never done anything right even though he wants to, and is deeply ridiculously pathetic without ever realizing it.

As Hugo puts it: “without himself suspecting the fact, Javert (…) was to be pitied.”

[mostlyvoid-partiallyflowers]

The most recent episode of Interview with a Vampire let's us see Lestat's side of the story and see how it compares to Louis' accounting of their relationship. As a result, it reaffirms just how unreliable of a narrator Louis is, but it also further illuminates elements of his character that the director and writers have been playing with since the beginning of the show.

There's this part in the episode where Lestat turns to Louis and apologizes and it's framed with Lestat turned to Louis on one side and Claudia on his other side. They're the angel and devil on Louis' shoulders, but who is the angel and who is the devil? And as my friend said, Armand and Daniel are placed into that same dynamic with Louis later on. We are being asked to decide who to trust, who's telling the truth, who's the good guy, but the fact of unreliability robs us of that decision.

This whole story is about Louis, he's the protagonist, though not the narrator, and he is constantly being pulled in two directions, no matter when or where he is in his story. He's a mind split in two, divided by nature and circumstance. He's vampire and human, owner and owned, father and child, angel and devil. He's both telling the story and being told the story. His history is a story he tells himself, and as we've seen, sometimes that story is not whole.

Louis is the angel who saved Claudia from the fire but he's also the devil who sentenced her to an life of endless torment, the adult trapped in the body of a child. He's the angel who rescued Lestat from his grief and also the devil who abandoned him, who couldn't love him, could only kill and leave him.

He's pulled in two directions, internally and externally at all times and so it's no wonder that he feels the need to confess, first to the priest, then Daniel, and then Daniel again.

He's desperate to be heard, a Black man with power in Jim Crow America who's controlled by his position as someone with a seat at the table but one who will never be considered equal. He doesn't belong to the Black community or the white community, he can't. He acts as a go-between, a bridge, one who is pushed and pulled until he can't take it anymore. He's a fledgling child to an undead father, he's a young queer man discovering his sexual identity with an infinitely experienced partner. He's confessing because he wants to be absolved, that human part of him that was raised Catholic, that child who believed, he wants to be saved. He wants to be seen.

Louis wants to attain a forever life that is morally pure, but he can't. He's been soiled by sin, by "the devil," as he calls Lestat, and he can never be clean again. Deep down, I think he knows this, but he can't stop trying to repent. He tries to self-flagellate by staying with Lestat and then tries to repent by killing him, but can't actually follow through. He follows Claudia to Europe to try and assuage his guilt. He sets himself on fire, attempts to burn himself at the stake, to purify his body, rid himself of the dark gift.

Louis is a man endlessly trying to account for the pain he has caused and he ultimately fails, over and over again, because he can't get rid of what he is. A monster. He's an endlessly hungry monster. He's hungry for love, for respect, for power, for forgiveness, for death. He's a hole that can never be filled. He can never truly acquire any of those things because he will always be punishing himself for wanting and needing them in the first place. He will never truly believe he deserves them and as a result, can't accept them if they are ever offered. He can never be absolved for he has damned himself by accepting the dark gift and thus has tainted himself past the point of saving.

[lunarrolls]

i still cannot fucking believe the audacity of ludinus da’leth to see that bells hells has some of his old shit from molaesmyr, realize that this means they must have done some digging on what he did to molaesmyr (aka BLOW UP THE ENTIRE CITY TRYING TO USE IT AS A GOD KILLING BATTERY and fucking up so badly that it CORRUPTS THE SAVALIRWOOD FOR CENTURIES AFTERWARD), and then say, with his full chest, “good you’ve done your homework surely you know i’m based as hell and we can stop fighting :^)” like sir WHAT do you mean. they fought a GIANT WORM WOLF. it was MELTED TOGETHER. like a fucking GUMMY WORM. YOU DID THAT! WHAT DO YOU FUCKING MEAN, MY GUY!

[annabelle--cane]

they should make a [redacted] that is easier

[ecstasydemon]

the way some people talk about shane stardew valley irks me so bad

[qcomicsy]

No because I'm sick and tired of DC spending years profiting from abuse and domestic violence towards Harley from joker and now acting like never happened, or he was just a "shitty boyfriend" who "told her music was trash" and "unappreciated her".

Joker was an abuser, in every sense of the world.

And not only with Harley, this isn't a "product of it's time" or "some bad interpretations" like Daredevil and Batman this is literally his ENTIRE character over the last forty years. It's a fucking pattern and a consistent one.

DC made him that way, over and over again. And now that they noticed that this isn't something to be pride upon not even if it's edge they're losing their balls and backing away from it to make him seem more sympathetic.

And I don't fuck with that. I don't care if they make him a communist in a silly TV show. I don't fucking care if they get Lady Gaga and Phoenix to play them as a couple and I don't give a fuck if it's Oscar worthy.

Joker is a garbage of a person and his relationship with Harley shouldn't be erased like that now they're icky about it, own your fucking choices and portray it like it.

That being said I want Harley to chop his head off in the movie.

[gingermintpepper]

I saw it in your tag game post that you're also fond of the Apollo-Heracles conflict 👀 for a myth that appears in only a couple of sources, it sure has a lot of presence in the vase paintings (no seriously, everytime I think I've seen the last of it, I find ten more)

SO do you have any favorites among the paintings that represent this story??

OMG OMG THIS ASK IS A GIFT. IT IS A GIFT THANK YOU VERY MUCH FOR LETTING ME TALK ABOUT THIS

I also think it's extremely interesting that it's a story so popularly portrayed by vase paintings and in such a variety of ways!! It's certainly one of the stories that gets left out of written compilation of Heracles' legend a bit (which is a shame, I think it's a fantastic story) but Apollo had a very peculiar relationship with Heracles in general that I just kind of find amazing (and very, very funny).

Apollo is not a god with any legitimate grudge against Heracles, but he does argue with the mortal a bit like he argues with his favourite brothers 😂Part of why I love the story of Apollo and Heracles fighting over the tripod so much is that it is such a little brother thing for Heracles to be upset with the proclamation his elder brother has given him and so, he throws a great fit, taking up the chair and declaring that he'll just give himself a better prophecy! And Apollo, instead of being a marginally professional big brother, decides to fight him for it until their father has to break up their cat-fight. Like was that not just the plot of the Homeric Hymn to Hermes? Is this not exactly how Apollo treated Hermes when he was a child and now those two are inseparable? 💀

Because of this, my favourite vase paintings tend to be the ones that highlight the personal squabbling between Apollo and Heracles the most. There are some very elaborate ones that have the full host of them - Athena, Heracles, Apollo, Artemis, usually a dog and a doe, I've even seen a couple that had birds and plants etched on them, but the simplest ones that show Heracles about to bonk Apollo with his club out of frustration or depict Heracles nyooming away from Apollo while Apollo (presumably) yells curses about how he's going to fling Heracles head first into Tartarus for daring to take his things? Yeah, those are the premium big brother/little brother things I'm looking for.

(Photo. Marie-Lan Ngyuen)

(Photo. Museo Claudio Faina)

Also the one in the Theoi.com archives is a real classic - perfect energy.

[utilitycaster]

(this is tagged for it as well, but putting it here: the below involves some non-graphic mention/discussion of suicide in relation to episode 3x78)

I think it's important to keep in mind, regarding the most recent episode, that while Ashton's behavior was extremely dangerous and reckless, it was not suicidal in intent. Ashton thought it would work. They thought that they would fix things, and they ignored all the smart people warning them against it because it would imply a lot of negative things about their parents. That doesn't mean it wasn't an action taken out of a certain lack of self-regard (Ashton's realization of this is what drives much of his conversations in the first half of the episode); but it's much more akin to an accidental overdose, or a drunk/reckless driving, or other dangerous choices. It feels very true to the idea of punk that Taliesin is going for, in which dying young is always very much a possibility, even perhaps an expectation; but not necessarily a goal. Ashton did not expect taking the shard to result in their death, and is incredibly shaken specifically because it did.

With that in mind I think the party's reactions seem very real and very understandable. The fact is, when someone does something very risky and nearly dies (or even is briefly clinically dead, using real-world terms) but ultimately survives it's extremely normal for one of the emotional responses to be anger that they put themselves in such danger. It is not, perhaps, rational, but most emotions aren't. It hurts a lot when someone one is close to does something that harmful to themselves. I don't judge the other members of Bells Hells for expressing those feelings. Frankly, them not expressing similar feelings in the past might very well be why Ashton made the decisions he did: the party lacking trust and walking on eggshells around each other is why he didn't confide in them, and why they fell apart so completely here.

I think it's relevant that Chetney tells Fearne, after stating he likes Ashton, that either she or Ashton can talk to him if they "want out", and he pretty heavily implies that this indicates not just leaving Bells Hells, but suicide, and that he has considered the latter in the past. It's clear that initially Chetney considers that a possible reason for Ashton's actions. He then gives Ashton the "You should leave" speech only after everyone present has been talking at dinner, after Ashton has indicated that he will help find Laudna. It only comes out after Ashton's emotional state is made more clear to him: it's pretty bad, but not actively at risk of self-harm (and indeed, desperately trying to avoid it and to change).

Finally, it's worth considering how important anger is to Ashton. Obviously I don't think having Imogen, FCG, and Chetney yell at them feels good. I also think it's going to feel better than apathy, and more honest than any other option. I don't think a forced gentleness would be better; in fact it might be worse, with them taking a break because clearly Ashton is having a hard time and needs to recover (shades of how Marisha mentioned Laudna feeling like a burden following her resurrection), rather than "we are clearly all in disarray and all have been not dealing with a lot of emotions, and this could have been any of us, and we should all regroup." I mentioned before that ultimately what's important is, angry as they are, Bells Hells undeniably stayed, and FCG and Imogen at least made it clear early on that they would, even if they were angry. Ashton was abandoned in the past by people who weren't even angry, is the thing. I don't think they cared enough to be.

[stop-breaking-my-heart-telltale]

favourite twdg villain?

I'm a fond enjoyer of the St. John's as villains. I don't know if they're my favorite just because they're only in one episode, but I love the concept of this family almost immediately jumping into cannibalism toward the start of the outbreak, dealing in human flesh to bandits, and casually feeding this group their friend's legs.

Like... what the hell was this family like before the outbreak that all three of them were like, "Hey now listen... nothing should go to waste, the dead are eating people so why shouldn't we? We gotta survive and in our defense, we only target those who were gonna die anyway... like y'all."

Dude, Mark was shot in this shoulder with an arrow. He wasn't going to die from that injury. It's so fucked that these seemingly friendly people took the group into their home and then fed them Mark's legs.

If we take the idea that everyone is infected and have the capacity within themselves to become walkers, to become monsters, then the St. John's were infected long before the outbreak, y'know? Not literally, but something was wrong with them and the outbreak just further spread that infection and changed them.

But again, are they my favorite? I dunno if I can say that since I have a lot more appreciation for Lily now. Yeah, some of her writing gets a little wonky in ep3 of TFS when she goes on her monologues and shit, but y'know what? I'm into it.

You have to remember who we're talking about and the fact that she's the antagonist; Lily isn't some anti-hero in TFS who secretly has a heart of gold that's brought to light because she reunited with Clementine... she's a fucked up woman who did fucked up things in the name of survival. She's full of rot now. She sees kidnapping children and turning them into soldiers to protect her home as a means to an end, but she doesn't actually give a shit about the people she's taking. They aren't people to her, they're as the episode title suggests, toys in her game. The only one she sees as a person is Clementine, and while that makes her hesitate at first, she sees Clementine's a prize to bring back.

She remembers what happened in S1; her father had a heart attack and as she tried to save him, Kenny smashed his face in with a saltlick and then expected Lily to just stand up and help him get back to his family because "he did what he had to, he made the hard choice." Yes, Larry was a piece of shit. No one liked him, and you can even question Lily on him and she'll tell you that he has a lot of pain. Yes, it makes him an asshole, but he's still her dad and he's all she has. I mean... the simplification is daddy issues, but in all seriousness, I don't doubt for a second that many of Lily's issues stem from Larry being a shitty father to her.

Then everyone thought she was losing it when she insisted there was a traitor in the group, which she was right about, but she was unstable. She was unwell, but how do you help someone like that when you don't have training to go about it? Then Lily ends up killing either Carley or Doug and the group turns on her, and either she's left behind or she steals the van and runs away.

Then we don't know what the hell happened to her until we see her again in TFS, but like... a lone woman with decay festering inside of her joining the delta? Exposing her to their methods? I mean, what else did she have to lose? She had nothing, she lost everything, and she has a lot of issues. Survival is easy when you're numb, when you don't care about the individual; they're all just cogs churning to make the system run, and if a piece doesn't cooperate, you get rid of it and find a new one.

Plus I think there's something to say about Lily not wanting to be perceived as weak again. That whole display she put on in the cells? Telling the story of what happened to Minerva and Sophie? I get the criticism that it feels like Lily did a 180 between episodes but like... yeah dude, because it's a performance. It's not just her and Clementine anymore. It's a display of power and authority. She's playing the part and thriving in it as she ensures everyone else is terrified of her.

But then when Clementine and AJ get the upper hand? Again, she's not afraid to play up the pleading to earn enough sympathy to spare her- hell, just to let their guard down enough to strike and get the upper hand again. I mean, she's got nothing else to lose, right? If she doesn't go for it, she'll be killed and sure, you can kill her anyway but at least she tried.

Honestly, I look at Lily in TFS and still see that scared little girl playing the tough bitch, just like Carley said in S1. It's just now escalated from "tough bitch" to a downright vile person. She's so... lost? I suppose? Lost within herself and the monstrous means she's taken to survive.

I get the criticisms of how she was used in TFS, but for me, it's like when people complain about Minerva not getting the redemption arc she supposedly should've gotten, y'know? There's no saving her. Lily was never on our side, and there was no getting her on our side. She wasn't ever going to redeem herself. Even if you spare her and she drifts away on her raft, can someone like her actually find redemption? Or will she just find another group that'll feed into her rot?

Truly, I say let her be horrid. Let her be the piece of shit villain with a few fleeting moments of humanity. Let her drown in the blood she's spilled.