#‘​you have to be true to the characters else you’re Missing The Point’ vs. ‘it’s fanfic it’s not that serious just have fun!’

[becauseplot]

what if i wrote wildly ooc cell/roommates au comfort fic. what then.

[simcardiac-arrested]

i’ve been browsing the watcher tag, reading different opinions—both criticisms and defenses of the game. and this is my conclusion of the last few days:

some of you act Very Bizarre about people who dare criticize the thing you like. i think pointing out the broken storytelling of watcher and its other flaws, gameplay or lore related, doesn’t actually mean that you missed the point of the base game or that you never actually liked it and hurr durr, you must be a fakeass downpour fan who only cares about linear storytelling with characters you can help.

some of you are extremely biased against not even people who exclusively only enjoy downpour, but people who enjoy both base game and downpour. some of you are treating these people unfairly because (checks hand) uhh, they don’t enjoy the thing the way you enjoy it so they must’ve been fake fans all along and are probably just here for downpour! clearly you guys don’t even like rain world if you don’t think watcher is like the second coming of jesus christ!

does this sound familiar? if you were here in 2023, it does. if you have been a fan of rain world for a while, and you were here for the release of downpour and witnessed the fandom growing in real time, then boy does this attitude sound familiar. today’s “if you didn’t enjoy watcher it’s because you’re a fake fan who’s only here for downpour” is yesterday’s “if you got into the game through downpour and didn’t enjoy base game then you’re a fake fan”

to understate it—this attitude is fucking exhausting, especially coming from people who are grown ass adults and should be able to handle criticism of their favorite things without instantly jumping to “you guys like this thing in a surface-level, unenlightened way, while i, an intj, like this thing in the proper way that the writers intended”. it’s fucking exhausting and i cannot believe we are still doing this shit 2 years later, with a new dlc, and just switching the word order.

i really want the rain world fandom to be a place where many different opinions coexist, a place of discussion and constructive arguments. i want to be able to talk about the elements watcher succeeded in, and the many elements it could’ve done better—without people implying that one of my favorite games, one of the most important games in my life, actually means nothing to me and i missed the point of it. i want this fandom to be a place where i can listen to differing opinions, where people can try to prove me wrong and i can try to prove them wrong in a way that gives me—or them—a new light to see The Thing in. because that is what criticism is about—letting people change your vision of the thing you’re criticizing, letting them give you new things to consider, and vice versa. it’s about listening to each other, and respecting each other.

disappointingly, this is not what the rain world fandom is, and maybe never will be—just by nature of how much each story contrasts with each other (no, i do not think that watcher captures the base game perfectly, i think it’s pretty damn removed from base game the same way downpour is, but i digress), but, still. what i’m seeing is just…upsetting. i am not seeing respect. i’m not seeing any constructive discussion. i’m seeing people invent yet another echo chamber where They’re the True Fans and Everyone Else just doesn’t get it. i’m seeing people once again dividing themselves into factions of basegame vs downpour vs watcher vs basegame & watcher vs downpour again (because there’s never enough treating downpour like it is some kind of black sheep of the family). i’m seeing people literally say that if you want the watcher to be 0.2% clearer or 0.2% more accommodating, the game is not for you. and much, much more that i won’t list here, because you can literally see it for yourself if you just go in the tag.

all of it feels very dissonant in relation to the game—the game where you have to think, to consider different perspectives and interpretations to fully piece the story together, and even then you might not get all of it…it seems like the fans refuse to do just that. to me, at least.

i’m sorry if you saw yourself in this post and my words hurt or offended you—this was not my intention. i am not trying to go after anyone, call anyone out, or make anyone think like i have a personal vendetta against them because they have a different opinion. i tend to use hyperbole and strong language, so i understand if people misinterpret that, but the main point of this post was to just bring light to the issue and, i don’t know…feel less insane? feel less like i’m living in a separate reality, because most people i’m seeing seem to think this is just normal behavior that should be supported?

and, well, to let my emotions out. because as much as i am angry, annoyed and tired of this, i am also just profoundly sad that we’ve managed to cultivate such an environment that is antithetical to everything the game was trying to say. i am sad, because i am itching to share all of my thoughts and hear others’ thoughts, i am itching to understand what people take away from this dlc and how it differs from my experience. i am itching to just…post, to just talk about it. to put my own thoughts on my own blog.

i am sad, because i don’t feel like these thoughts are welcome.

so, yeah. this post turned out pretty emotional and kind of vague, so here’s a pretty emotional and kind of vague conclusion to it:

i did not enjoy the watcher as much as i wish i did, as much as i hoped i would. and it is not because i’ve actually been misunderstanding the game all along and never truly liked it for what it is, it’s not because i’ve constructed some personal version of rain world in my head that i expected the watcher to 100% adhere to.

i really wanted to enjoy it. i wanted to like it as much as everyone else did, wanted to be blown away by what it meant for the story and the characters and the worldbuilding. i wanted to look at it and see what everyone else sees in it.

but the reality of the situation is this: i did not enjoy the watcher as much as i wish i did, precisely because of how much i love rain world.

and that is not a mutually exclusive statement.

[physalian]

I feel like “relatable” and “understandable” have gotten very mixed up over the last few years.

“He can’t be gay because he’s not relatable to straight people” “She can’t be a woman because she’s not relatable to men”

These are only true when the characters in question are stripped entirely down to the trait they’re here to represent. Gay isn’t a personality nor a character flaw. Woman isn’t a personality nor a character flaw.

He’s not unrelatable because he’s gay, he’s unrelatable because he’s squeaky-clean and soulless. His struggles in life are manufactured because he can’t have flaws and any grey areas of his personality or personal history. He doesn’t feel like a person, not because of his sexuality, but because he’s so insubstantial in any struggles that make us human and would make him understandable.

Replace him with an aggressive misandrist take on feminism and you have the same problem. Writers think “ok we made her a woman our job here is done” and left everything else out of the recipe. Who is she, beyond what she is?

And who she is isn’t satisfied by giving her a couple personality quirks and some immediately-dated pop culture references to round out the small talk of a first date. Who she is, is her fears, her passions, her flaws, her dreams, her mistakes, her biases, her values, her virtues.

How am I meant to understand a character or why they do what they do if I’m never told why they do what they do beyond ‘because the writer said so’?

I don't need to be able to relate to a villain's gender or race or social status or sexual orientation for them to be my favorite character. I need to understand who they are and why they believe what they do that justifies their choices, what makes them human.

The same applies to a straight cis male character, he’s just the perceived default so people don’t think there’s anything wrong with him and that you’re changing the ‘default’ for the sake of it just for gratis. Make a character that exists only to check a box on the diversity list and you will have people on both sides wondering why they’re here and complaining about how unremarkable they are--and you see people criticizing the straight cis male love interest in shitty romances all the time. He's not immune.

It reminds me of Wonder Woman vs WW84 and her later appearances in the DCEU. In her solo movie, her relationship with Trevor was just one piece of her story. The No Man’s Land scene would not have hit the same way if, in response to “It’s no man’s land, that means no man can cross it” Diana had said “I’m going to because I’m a woman”.

She’s not stepping out onto that battlefield because she’s a woman, she’s going out there because she’s a warrior, gender regardless. Nor is she stepping out onto that battlefield to impress him or mock him or punch down on him for being a man, she’s doing it because she thinks it’s right and wants to save everyone in that trench and doesn’t give a damn what he thinks. She’s doing it because he’s a fragile squishy vulnerable mortal and she’s not. She’s doing it because he might be jaded and cynical and scared, but she refuses to give into despair.

I can’t actually remember if it was WW84 or the other ones they all blend together for me, but she was reduced to every single anecdote being about how much she misses Trevor, how much she loved Trevor, retconning and reducing her entire motivation to stay here among humanity all because of her love for one mortal man that she knew for all of a week 80 years ago, to the point of bodysnatching an innocent bystander just to have him back.

It's a character flaw, yeah, but not the one I think they were going for.

Meanwhile Kpop Demon Hunters just gave us dynamic 3 female leads with their female mentor and made it look effortless. It should be effortless. If you're scratching your head wondering how to write a woman you're already asking the wrong question.

[heartbeatbookclub]

I absolutely adore all of your analysis so far, they are so indepth and it feels like you’re able to explain stuff that I’m only able to vaguely think in an abstract sense when it comes to ddlc and dhdhdj so so good

I do wanna say that for you mc analysis, there’s one thing missing. I’m someone who got into ddlc cause of plus so I have hyperfixated on all the lore. While the employees imply that Monika made MC, I don’t think that’s actually true based on what we know about Monika. If she could make a whole character then why couldn’t she make herself a route? Heck in one of her act 3 convos, she can barely change the music before saying “well I just break everything anyway”.

So I believe based on other emails, that it was Ive Laster who made MC since they were the one who wanted to make ddlc a game. In the first meeting notes, we are told that Ive tends to ramble a lot. But in the next one when MC is mentioned in a meeting, they are silent. Another thing is that in one of the ddlc plus trailers, ive is the name of the MC.

It could be said that Ive based it on the stuff in the control group, but the control group was made AFTER the main vm (That’s not how a science experiment should work but ya know, I don’t think they are smart). So really the control group is based on main game first. Honestly so much of the issue of the plus lore is how it’s so convoluted to get, but reading it all on the wiki helped me alot.

Plus seemed to add a new sense of horror to the og, the horror of knowledge that one plagued Monika is now plaguing the player as we have all this information but can do nothing to help them. I think the idea of MC being made by someone else adds this new layer to him along with this new layer of horror. But that’s more just my own thoughts on it that I thought you may find interesting along with all the lore from above.

Anyway, I hope you have a good day! Your post are great and I’ll make sure to keep up with coil more!

aw, thanks anon! i often find it difficult to find the exact way to explain what i'm thinking when i do analysis like i have on this blog, so i'm glad i can at least help to put it into words for other people who have even more trouble with it than i do.

as for the rest of your statement...i think you make a compelling point. full disclaimer; a lot of my knowledge on what's presented in + outside of the full text of the side stories is secondhand, and when talking about the original game, i think it's important to keep in mind that my reference for most of this is my playthrough with my friends back in like...2017-18ish a little after the game came out...? aheh, i won't lie, though i am rather obsessive in the course of scouring information i remember via the wiki/elsewhere to verify i'm not just making it up, putting off my replay of the og game has not been helpful for me.

i think it's very much up in the air as to how much influence that Monika actually has over the game, which is something i talked about in my analysis of Natsuki in the Side Stories. in my opinion, what + demonstrates more than anything is that in whatever she DID do in the main game, she mostly worked with material that was already there to make things easier on her. one of the things i based that claim on was the reference of the Protagonist in the Side Stories, but it's not a necessary claim, and in fact, i think you do make a good point in how it's unlikely that she'd be able to do this (at the very least, by herself) based on what's been shown of her ability in the game.

i think, in regards to your comment on the reference to MC in the Side Stories, it's important to consider the wider conceit of DDLC--i have a deeper analysis i'm tinkering around with on terms of it as an exploration of fiction vs the concept within the "universe", but that's another story--namely, all of the girls aren't (or at least, are heavily implied not to be) just static fictional characters following a pre-written script, they're genuine artificial intelligence!

this is part of what i meant when i said that the Side Stories demonstrate the raw character of each of the girls independently of any 4th wall shenanigans--within the world of Doki Doki Literature Club, they're essentially just people living in the confines of a computer, and therefore have essential, largely immutable character traits which exist within some fundamental essence of what makes them who they are. i think there are a shitload of really, really terrifying things this opens the door to if you really think about its nature (independently of DDLC, i've personally had longform discussions with a friend about the morality and potential horrors which would exist within a similar universe concept, and it's somewhat ubiquitous in a lot of sci-fi universes), but like i said, that's a different discussion entirely!

what i'm trying to suggest here is that it's likely that Sayori's relationship to the Protagonist is something inherent to her character, so it doesn't necessarily have to be something gleaned entirely from the Side Stories.

of course, this is all post hoc reasoning with what we're given! occam's razor suggests that it's actually just likely that (given that DDLC was written and released a long while prior to the Side Stories) they didn't necessarily plan every part of this from the outset, so some things just naturally seem to fit together a little weirdly, with little details added here and there just for flavor! i think that given the nature of the entire thing (and how Dan Salvato has talked about DDLC and the statements he's given with about in universe details in the past), it's unlikely that every single element of this was planned out from the word go.

this might be a bit of a controversial opinion, but there's a lot about how + handles the lore of ddlc that i didn't really like, just because it adds a whole new layer of lore and context, which soured a lot of my impressions, because the original game really flourished in its simplicity. that said, with all that's been given in the Side Stories and the deeper layers to the actual horror which are now visible in the original game, i think it pretty well makes up for it!

awa, i didn't plan for this to become an entire essay in itself...but i do appreciate this kind of thing! i really like digging deep into what's explicitly provided in canon to get a deeper understanding of the characters and universe as it's actually been shown, so any encouragement and correspondence related to either my analysis or my opinions in general are welcome! honestly, i'm also welcome to read others' analysis like this, because i like to see when people read deep into it like i do! typically it ends up reshaping how i see the entire thing, and it sorta just makes my heart happy to get people thinking about this stuff!

i think, as a last thought, if MC is actually conscious in any way similar to the other girls (which I think is a definite possibility, given his ability to respond in contexts impacted by Monika's manipulation, even if barebones), it actually makes him a very interesting character in his simplicity. i know that Dan Salvato doesn't see him as one, but i think it'd make for an interesting study in a fanfic or something.

i hope you also have a good day anon (even though it's 2 am here as i'm writing this...) and you BETTER KEEP UP W/IT I PUT MY HEART N SOUUL INTO THAT BABY (/lh /hj i'm just glad other people are liking it, even if it's just silent kudos :))

[girl4music]

Dark Girls in Art/Entertainment / Identity VS Nature

What does hiding, disguising and performing all have in common? They’re all about putting on a show of being someone you’re not. Someone you don’t want to be for whatever reason that may be. Perhaps you’re ashamed of or insecure about your true face - true self - and so want to cover it up and hide yourself behind a blank slate. Or maybe you feel like hiding yourself isn’t enough. You have to fashion yourself a whole new persona - a character to play and perform as to distract your perceivers - your audience - from the real deal. And so your disguise - your costume - if you wear it long enough eventually becomes your identity. It’s all people ever see of you now and so it’s more natural to you than authentically being who or what you are.

The only thing is - just how long can you keep it up? And if you can’t keep in character - how is that going to effect you when you’re so desperate to disappear and crawl out of your own skin? How are you going to react when you realize it’s over and there’s no fooling them anymore? They can’t be convinced of your act and you no longer have control over their perception.

Dark girls (or guys I guess) are all about this. It’s what makes them such compelling characters. Because they’re so unpredictable. You don’t know what they’re going to do next or who they’re going to be next. They keep you guessing and therefore keep you enthralled. They never show up authentically. May not even be aware of who they authentically are in the first place. Yet they play the part as if they know who they are. And perhaps it’s because they’ve played it too long why they aren’t aware of their authentic selves. And so they go on an existential journey of discovery as if who and what they are already isn’t them and isn’t enough. As if parts of them are missing and they have to search those parts out and retrieve them. It’s like a dog trying to play fetch with its own tail in a way. At some point they will stop circling around themselves and catch whatever it is that they believe they’ve lost.

But I think the thing that’s most intriguing about this characterization is that the person they are and want to be is always one in the same anyway, and so there was never really any need to go looking for it. But it’s always in the looking for it that is what shows this to be true. That is what tells that character that it is true. And that’s always more compelling if that character happens to be a dark girl (or guy) because it often comes with a shift in tone as well as perspective. Hence the term “dark” as the adjective for them. You’re not merely watching some character development of consciousness. You’re getting the whole fucking package all in one. All their evolution emotionally, mentally, physically, spiritually at once. And that’s why they’re constantly changing identity. Because they’re the embodiment for CHANGE itself.

They’re not ever authentically who they are precisely because they’re ALWAYS authentically who they are. And I know that’s contradictory. But somehow - when it comes to art/entertainment - it just fucking works! To have a character who’s entire characterization is essentially identity vs nature hot potato - in a constant fluctuation that they never settle on any one solitary specific identity in their entire character arc - that’s honestly the most authentic a person can be because what it represents is that identity isn’t solid or isn’t a permanence. It’s just a costume that we wear for the time being until we find something else that is more appropriate or better fits us. And sometimes that “something” doesn’t even exist and therefore has to be created. What we eventually come to realize through the journey is that what we believe is “missing” or “lost” in us is always with us as part of us. But you can’t ever come to that realization without going on the journey and believing that it isn’t and never will be. Thus the journey is important to go on even if pointless because the journey of going missing or getting lost is what brings us the realization that nothing was ever missing or lost in the first place.

When characters in art/entertainment go on that journey either out of their own volition or they’re forced into it - there’s something profound to be learned from it that’s akin to that old but effective method of spiritual masters advising you to seek enlightenment. All ways are the right way always.

Even if they’re wrong. Especially if they’re wrong.

[1moremilgram-enjoyer]

CW Suicide, drugging, alcohol, mentions of murder/kidnapping, sexual themes

Hey there! This is a really interesting post, and I love all the thought you put into it! You make some pretty compelling points. However, I can’t help but disagree on the conclusion. I really don’t think Kazui did anything to that woman, so if you don’t mind, I’d like to go over the post and explain the issues I have with the evidence presented.

Though, since you prefaced the post by saying it, I guess I should also say that I love the moral complexities of these characters. I’m not coming at this from a ‘Kazui did nothing wrong’ angle, I just really don’t think the evidence lines up for your theories.

But actually first I want to talk a bit about the apple.

"In this case, the fact that Kazui is represented through a green apple surrounded by red apples displays that he is inexperienced in comparison to his peers. It could also show off that he was the single one amongst a crowd of couples for a time. The odd one out."

The problem with that is that Kazui isn’t the apple. It’s a very important and prevalent symbol in his MVs, that’s true, but it doesn’t represent him as a whole.

Here you can see various scenes where the idea that Kazui is the apple doesn’t really work. He bites the apple, he keeps it under his foot, he grabs it, he stares at it longingly, he’s surprised by it, but he’s not the same thing as the apple.

The one scene were it could be construed that he is the apple himself is this:

Except- I've just done a Kazui, and deceived you! Kazui's marriage turns into only red apples, the green one rolls in later. Yeah, I completely forgot about that detail too.

What this means is that Kazui's marriage itself is the "normal-looking" one, and the apple is an external factor.

(Okay there's also this:

but Kazui is still looking at the apple, and the man behind it can be interpreted in several different ways, including what Kazui wishes he could be or also that he's gay. One example vs all the others still doesn't look great)

This means that all your points about Kazui being “green” and inexperienced don’t quite work, in my opinion. Instead, the apple most likely represents Kazui’s “forbidden” desires;

[Cat] All those things I wanna do that I can’t say out loud I gotta keep it inside and act

That’s the lyric that plays as the apple comes on screen and Kazui stops it from rolling with his foot. We see him actively stopping the apple from interfering with his life, so ‘keeping it inside and acting’ is connected to stopping the apple. Therefore, it’s a desire he’s suppressing.

Now, it’s perfectly possible that it’s what you said! That he only finds satisfaction in sexual relationships with people which are ‘off-limits’. I’d argue that the rest of the evidence you presented ("in and out like a cat", for example) only really seems to point to aromantic & possibly homosexual reading, though these are not mutually exclusive with your interpretation. It's just, well, just because he wants short relationships with a focus on the sexual/sensual part doesn't necessarily mean he's into that kink you mentioned.

However, I don’t want to get too much into it, since it’s not the main point of the post. In fact, I’d argue simply seeing the apple as a “forbidden desire” is enough to understand Kazui’s crimes, regardless of what that desire exactly is. Of course, it’s worth discussing it to get a more full perspective on his situation, maybe I'll make a post talking about all the evidence he's gay and aromantic. However, for our purposes, we’re fine as long as we agree the apple is ‘a desire Kazui has which is frowned upon by society.’

It's what the fandom gets for wanting to vote this man Guilty solely based around the idea he was fucking closeted and gay.

See, I think you’re missing the point when you say that. Kazui’s ‘sin’ isn’t his homosexuality or whatever else the apple represents, but rather, his sin is lying. He lied for years and years, to the point when the truth came out, Hinako’s life had become so intertwined with the lies that she saw no option but to commit suicide. Perhaps you don’t believe that's enough to even consider an Unforgiven vote, but I'd argue there’s actually a lot of nuance and complexities which could justify an Unforgiven vote in some people’s eyes. And none of them are even close to being as stupid as ‘gay bad', which I'm sure was something some people might have been saying, but it's so backwards you're better off ignoring those people. I’ll leave some of what I believe this nuance to be as a footnote, because I feel I’m going to get ramble-y about it, and again, not quite the point.

Now, make no mistake, I was a steadfast Kazui Inno Truther this Trial, but I recognize the other side has some merit too. Which is why I feel adding in something like ‘oh actually Kazui drugged a woman and [fill in the blank]’ sorta takes away from the nuance already there, you know? It’d be like if in the Third Trial it’s revealed Mahiru actually killed her beautician for no stated reason. Like, yeah, I guess that makes her more complicated and morally grey, but it just feels tangential to the main 'sin' of her narrative.

But let's actually look at the points you brought up. I do think you raise some interesting observations, and I commend your attention to detail, but...

Disclaimer: The following section has been edited, as my original wording was kinda trash and even came off as somewhat mean. That was unintentional

At first I didn't quite understand what these circles show, but now you've clarified they're meant to show she only had one drink, and that they switched chairs.

Let's start by the second thing, the switching chairs, and assume that isn't simply an animation continuity issue. What does it imply? What did Kazui do which caused them to switch chairs? To me, there's no logical progression between "they switched chairs" to "he drugged her."

Not to mention, that picture has the shots out of order. The first image shows up way before the other two, and then the other two show up in this order:

Now, you've also clarified that this is because a lot of the scenes in these MVs are often out of order. However, I'd argue there isn't a clear enough indication that these two shots are out of order, so I prefer to read this scene more linearly. This is simply a difference in perspective, so both interpretations are valid, but I wanted to clarify where I'm coming from.

Because if read linearly, Kazui goes from being closer to being further away. If you say he's standing, is it unreasonable to assume he is helping her because she's falling asleep after drinking too much? The thing is that nothing can really happen in the middle of the switch, as the bartender is still cleaning the old glass, and we don't see anything happen after. Though again, if they're out of order, we can't be sure of what's going on.

And now we get to the main point of your claim. You say she only drank one drink, and you're right in saying that wouldn't be enough to knock someone out. And it's true that we only see her drink one drink.

But here's the thing. Why are we assuming that's the only drink she's drank?

This is a shot that happens right after the first one, where the glass was still full the last time we saw it. Note Kazui is drinking himself as an aside. And yet, the woman's eyes are already closed, which to me looks like she was already drowsy and sleepy from drinking too much. Thus, the scene of her taking that drink may be happening a while into a drinking session, and does not necessarily imply the drink was drugged. Kazui being seemingly fine isn't a big concern either; as you said, he could be holding back on the drinking to look out for her, and his higher body weight would make him more tolerant to alcohol (<- I think that's how that works?).

So why does half make it look like she only drank one drink, while Kazui didn't? Well, I don't think that's the point. I think it's part of half's misdirection. I think it's obvious they wanted us to think Kazui cheated, is that fair to say? If that's the case, with the drink disappearing they're showing us they absolutely drank together, meaning the woman is comfortable enough around Kazui to get drunk next to him, but Kazui's is still full because they wanted to make sure we don't blame Kazui's supposed cheating on the alcohol.

Why only one drink then? Well... I mean, the drinks are literally on screen for only two shots. You'd be pretty hard-pressed to show her drinking any more. My point is that the drink is more important for what it implies for their relationship (they're close) rather than what is literally happening.

Going back to the chair switching, if we assume it to be important (and that's a big if), to me the clearest explanation is that we might be seeing different days. One night they go and sit closer to the edge, another they sit closer to the middle. This is somewhat supported by the lyrics in the scene with the empty glass (and directly after).

[half] I understand that this love is out of bounds, so nothing has to change All these memories and you, only if I could erase them

Note this lyric must be talking to someone in the bar, as Hinako's love wouldn't be "out of bounds." In other words, these meetings in the bar might be a regular hanging out between friends rather than anything more sinister (more on that later). That's how Kazui has "memories" of the person he's singing to, and explain the "curse of reuniting with you" in the chorus if it's addressed to the same person.

Now, make no mistake, it's possible for someone to drug one of their close friends, but if we're being shown different nights, then that means there isn't a particularly important night where Kazui did something bad. Of course, it's still possible we're only shown one night, though, as the creators still made the decision to have the same glasses on two different points.

Before we get to what I think the bar scene means in that case, I'll address the rest of the evidence you brought up.

For starters, I do want to clarify that Kazui isn't a "gentleman" no matter what happened that night. He manpulated Hinako for years. That's not something "gentlemen" usually do, if we wanna take that word seriously in the slightest.

Then there's the bubbles thing, which is a really cool observation! But, uh. Does the logic really track? That's a completely different glass, which Kazui is implied to be drinking out of, in a completely different drink, and while Kazui is sitting across from Hinako. What's the connection to the bar scene? To me, it just looks like they did that because it looked cool. I get that's not a very fun argument, but some things are done like that. It could have some kinda symbolic meaning (the curtains are blue for a reason), but it doesn't work too well in a literal sense because again, that's not the bar.

The orange circles are a bit more interesting, but even then you still run into the issue of them technically being in Kazui's drink again. And even if we ignore that, keep in mind the visuals which appear in this scene are sometimes the instruments in the background (saxophone, trumpet). So the blue bars are either piano keys or guitar strings (<- I cannot tell apart instruments by ear my skill issues know no bounds), so the other things could be a... hold on let me check something.

Uhhhhh... Clarinet maybe? With the orange circles being fingers?

Uh, sure? Not like I can tell by ear what wind instrument plays in the background there.

EDIT: Some people have mentioned in other notes it could also just be part of a guitar. I think that's more likely honestly

Anyways, either that, some other instrument, or maybe they're just there 'cuz it looks cool.

So let's recap!

-You claim the woman only drank one drink, but she already looked drowsy at the very beginning (in my opinion), and we have no way of knowing how much she'd drank beforehand.

-You claim the chair switching could be evidence of foul play, but it really doesn't imply drugging in the slightest imo. At best this implies we're seeing multiple days, at worst it's a simple animation oversight. I lean on the latter.

-You claim the champagne bubbling could imply it was drugged, but the context in which it's presented is completely incompatible with the original context of the theory.

-There's some orange circles which are either drugs or a clarinet (what a spectrum!), or maybe they just look cool. Point is, it doesn't have to be drugs.

That covers all of the evidence you provided. In my opinion, it's at best shaky and at worst somewhat incoherent. I will admit there is little in the way of direct counterevidence beyond asking "ok but why though" and "what did he even do after drugging her why do we have zero information on this", but burden of proof is on you not me, so we vibe.

Then, what's the deal with the bar scene(s)? Well, you probably know I'm about to say the other person there is the important one. That the importance of these bar scenes is to show Kazui regularly hangs out with the bartender, who shows up in Cat alongside a woman who looks like she could be the one from half. She's even wearing a somewhat similar necklace.

And since Kazui's mentioned a childhood friend in his interrogation questions, to me, the simplest explanation here is that they're close friends who often get together. The misdirection in half is that it makes it look like the bartender is just a background character, when suddenly he shows up at the wedding in Cat. Combine with the sound of mixing drinks before the confession "I like-like you" in Cat, plus it being the only time in that song 'omae' is used instead of 'anata' for 'you' (a pronoun reserved for very close friends), the golden ring the bartender has in Cat as opposed to Kazui's and Hinako's silver rings, yadda yadda, I imagine you've heard a lot of the arguments.

Basically what I'm saying is that the bar scene in half shows the 'other half' (heh) of Kazui's life. His home life with Hinako, then the time he spends with his friends, one of which is his real love interest. Making him a bartender is meaningful (symbolically) because alcohol is something that's harmful to like, which (in Kazui's mind I do not share the views of the characters I analyze) can be connected to the "forbidden apple", a harmful desire. And that's why they have to be in a bar. Plus it helps with the misdirection in half. But of course, that's just my interpretation!

Anyways, I hope I managed to explain why I don't quite believe this theory, even though again, I do commend the effort which went into it. Hope you're not bothered by it! Take care!

Footnote: The moral complications of Kazui's "murder" under the most common interpretation

I get the feeling some people might be prone to believing this theory because they may think Kazui isn't quite as morally grey as the other characters, which I just don't think is the case. I'm not saying that's why you believe it, just that it's a bias that other people might have.

Let's clear something. Kazui's lies are why he's in Milgram, they're his 'sin'. They're what killed Hinako, to the point Cat even shows the word 'lie' being what pushed Hinako off the roof.

But how can this compare to the other murder/"murder"s? What (good) argument could one make to Not Forgive Kazui?

Disclaimer, I'm about to entertain a lot of arguments I may not necessarily agree with. Again, I voted Forgiven this Trial. I'm only explaining how one could come to properly justify an Unforgiven vote.

I'd argue the biggest ethical complication for Kazui is the time-frame of the 'crime' and the fact Kazui knew what he was doing, or in other words, his agency was nearly unimpaired when compared to other prisoners.

Kazui lied to Hinako for a long time. Actually, let's call it what it is. He manipulated her for years. They are noticeably, physically different when they marry in Cat as opposed to when Kazui reveals the truth. Their marriage very possibly lasted for over a decade, and if they married in their early twenties, their marriage may have lasted longer than some prisoners have been alive. This is by far the logest any of the prisoner's 'sins' went on; most of them only lasted a few minutes, and you have to really stretch the time frame of Shidou's and the Kayano's murders to even get to a few months, let alone years or decades.

And Kazui, realistically, could have backed out at any point. Would Hinako have killed herself if Kazui had cut it off just a few years earlier? What about the second year? The first? Only a few months in? What if Kazui had just never proposed to Hinako in the first place? I heavily doubt she'd have done something so drastic if Kazui had just turned her down at the beginning, when he realized the feeling wasn't mutual.

Which gets us to the other thing. Kazui was the one who proposed. He had motivations, sure. The burden on social pressure weighed on him, his parents likely pressured him very directly, all of this is true and it's a struggle which shouldn't be diminished. But still, Kazui had control of his own actions, so this motivations do not excuse them. Kazui was very hurt, true, but he wasn't pushed into a corner like, say, Amane.

Kazui knew what he was doing was wrong to an extent. He knew he was lying, even if he may have had somewhat good intentions ("""fixing""" himself, making his parents proud, and possibly making Hinako happy). This is what sets him apart from, say, Mahiru, the only other prisoner whose 'crime' we know lasted for at least a year. She didn't realize there was something going wrong at the time, so she only has to take responsibility for not noticing, unlike Kazui, who has to take responsibility for actively lying and manipulating.

And it's important to remember just how much Hinako really was hurt by this. You know how Kazui talks about his age like he's already old and his life is winding down, to the point of it almost being comical because my guy you're only 39? Well, this suggests people from his background could hold similar views, which includes Hinako. She had, in a sense, wasted several years of her life with a man who didn't really love her, and now she may have felt it was too late to start over successfully. Not to mention the harsh social repercussions Japanese women face if they divorce, especially if she was married for so many years to a gay man (Japan's kinda bad with this stuff, which I'm sure you know). Plus, hey, have you ever noticed we never see Hinako in her work clothes after their marriage? It's possible she abandoned her career to be a housewife, so now we throw in financial complications into the mix. And this is all without mentioning the extreme emotional distress Hinako would go through. How do you think Mahiru would have reacted if her partner pulled something like this? We don't know much about Hinako's personality, but if she was even remotely similar to 06, then her reaction isn't exactly surprising.

Additionally, one could argue that while Kazui feels bad for what he did, he doesn't quite get what he did wrong. He said that he should have kept lying, when in reality, he shouldn't have lied at all. He answered a question by claiming lying is "a way to live without being hurt", when one could argue the truth would have hurt a lot less. Thus, one could argue voting him Unforgiven would be a way to try and get that message across through the voices Kazui would hear. Now, that's an iffy argument on the best of days, but one could argue for it, and I don't consider something to dismiss out of hand.

It doesn't help him that he also manipulates Es (and by proxy the audience), which suggests he hasn't changed much. While he doesn't outright ask for a Forgiven verdict, he does casually mention how he'll continue protecting people if he's allowed free movement, and ends Cat by asking us to "lick that sin and oppose punishment, until [we] can meet the king of the masquerade." Now, he does imply he'd be okay with an Unforgiven verdict as long as his lies are revealed, but to me, he seems sort of scared of it (his Trial 1 cover is called 'Coward Montblanc', you know). Possibly for himself, possibly for the others if he's not around to protect them. But the problem here is that it means he hasn't really changed, he's still manipulating people to defend himself. One could argue not forgiving him could help with this. Also people get pretty trigger-happy when a character opposes Es (them) or tries to pull stuff like this.

And even if someone doesn't have a good reason to Not Forgive him, to assume they must be doing it because they think being gay is a sin is pretty presumptuous. Maybe some never heard the VD and still think he cheated. Maybe some just like going against the majority. Maybe some think he drugged that random woman we never hear of again aside from possibly a very small cameo in Cat. Maybe some people just think he's ugly, idk. My point is, I think it's always important to try not to read people's votes in bad faith. Though again, if you did someone actually arguing being gay is a sin, that's stupid.

Now, I want to end this off by clarifying, just in case, I do Forgive him. He's regretful of his actions, he didn't mean to hurt Hinako, he genuinely thought he could make it work for a while and later saw himself trapped when too much time had passed, all of this makes him quite redeemable. And even if I didn't, I would have still voted Forgiven because an Unforgiven vote wouldn't have helped anyone, and I don't consider judgement for the sake of judgement valuable in the slightest. See? Nuance! Ethical complications! Milgram baby! Take care! (again)

Guess what the embargo is off, I can say Kazui's crime now~

[livums]

Liv’s {Totally Optional Non-Mandatory Completely Voluntary} Pointers for Fleshing Out Character Relationships

Hi I’m liv e. and by middling demand I am going to blab a liiittle* bit about relationships.

So I will start by saying that I’m trained & licensed as a marriage and family therapist. So this is kind of what I do all fucking week. And I like this whole writeblr thing so why not make it fun and about fiction instead. LOL.

The purpose of this liiiiittle** post is to offer some ways in which you, a writer (great job btw!), might deepen your own understanding of the relationships between two or more characters in your writing. More specifically, by thinking a little deeper about how relationships function in real life.

These are ways in which I might conceptualize a relationship between people who seek my services as a clinician.

A small disclaimer: the VAST majority of my work is with couples (because I. prefer to see couples over families, lol), so this advice is coming from that perspective. Please keep in mind also that there are certainly infinite other ways to think about relationships. This is just the way I was trained. Or at least, the parts of my training that resonated with me the most, especially as I began writing more seriously.

My hope is that reading and practicing/toying around with these tips will help add another dimension to how relationships play out in your writing. So um. Cheers! Let’s chat.

*it’s not a little. it’s a lot.

**it’s a long post.

i. What I Say vs. What I Mean

When was the last time your partner or good friend pissed you off?

Maybe they were flippant about your feelings. Maybe they blew you off to hang out with someone else. Maybe they keep loading the dishwasher like a neanderthal.

And did you say to them, “Baby/honey/sweetums/bestie, it really upsets me when you load the dishwasher like that. I’ve asked you to do it X way several times, and it feels like you’re not listening to me, or that you don’t care about how I feel” ?

Probably not? Because, hello? (If you did, first try, then, wow! you’re a better person than i’ll ever be.)

You might’ve said “Dude, stop cramming shit in the dishwasher like it’s a fucking suitcase,” or “Haha, wow, again with the dishwasher. Awesome. No, it’s like, whatever.“ Or you might not’ve said anything at all, on purpose.

There is a tension that exists, there, in the CONTRAST between what we are thinking/feeling/meaning (e.g., I love you/I miss you/You hurt me) and what we are communicating via our words and actions (e.g., You never make time for me/You’re so lazy/You’re such a(n) [expletive of choice]).

That tension is ... really fucking interesting to read, huh!

Personally, I have a lot of fun watching the needs/wants/feelings of a character (that we might be privy to, as readers) get filtered through their unique... voice.

So say you write a character who is quite rough around the edges, and not very skilled in affection. They have a deep yearning to be close to [love interest], but they just aren’t accustomed to languaging their true feelings. Maybe we see how scared they are of putting their feelings out there. It’s vulnerable. It’s terrifying.

So instead of “I really care about you, [love interest]”, maybe it comes out something more like “Don’t you have anything better to do with your time than follow me around all fucking day?”

And we, the readers, are like, wow! That’s not what you were thinking at all man! You’re so bad at this, that’s awesome.

So the point of all this is that it’s very helpful to clarify for yourself, in any meaningful interaction between characters in or soon-to-be-in a relationship:

What are the characters individually thinking during this interaction? What are the emotions that are present? How does it show in their body or their movements? Are they careful not to let these things show, or do they not notice at all?

How are they expecting this interaction to go? (Are they afraid something might go wrong? Are they looking for a certain reaction from each other?)

What DON’T they know about what the other person is thinking? What are their assumptions about how the other person perceives them--in general, and in this moment?

What is the GAP or the CONTRAST between all of the above and what actually ends up coming out of their mouth? Or what actions they end up physically taking (or not taking)?

Are the characters aware of their own contrast, here? How do they feel about it? Or, do they think they are being perfectly congruent?

In this way, you have the ability, as a writer, to create some devastatingly (or delightfully) poignant moments between characters. These are the moments that can really sell the reader on the relationship--its importance (why are you showing us this?) and its appeal (thank you for showing us this, this blew our tits off, etc).

ii. Tender Spots and How to Attack Them for Fun and Profit

So we’ve got issues.

What are the things that really fuckin get at you? Those topics that, when brought up, make you really upset and really defensive at like, mach speed. Maybe you’re insecure about your skills. Maybe it really bothers you when people see you as weak/unintelligent/a burden/unattractive. Maybe you have a rough and complicated relationship with a family member.

So these can be thought of as, like, tender spots (lol). You can also think of them as “raw” spots, sensitive spots, or triggers.

Figure out what your characters’ are!

This is another key way in which you can create deep and believable interpersonal drama--Character A (accidentally or intentionally) stomps all over Character B’s sensitive spots. So to speak.

A very cursory and relatively uncomplicated example of this in action:

Tasha and Mimi are two adults in a committed partnership.

Mimi’s got a real fucking chip on her shoulder about being seen as a burden--her father always went to great lengths to make sure she knew just how much he did for her, just how many opportunities he passed up in order to raise her, just how great his life would have been if she’d never been born.

Tasha is the oldest of five siblings. She was frequently tasked with their care, growing up. She did her best not to complain, as her parents were always very busy working to keep a roof over their head. So, Tasha did her part. She would’ve loved to rest and play and goof off like other kids and teens, sure, but it never felt possible with all of her responsibilities.

Mimi is suddenly injured and is unable to do certain things on her own that she had been doing before. Tasha goes about taking care of these things as well as taking on certain other tasks on her own that the pair of them may have tackled as a team before. Tasha feels stretched very thin by the workload, but is deeply concerned about how Mimi feels. There’s nothing to be done about the situation, she reasons, so there’s no point in complaining about how stressed out she is.

Mimi offers to help to the best of her ability, but Tasha is very concerned about her, and insists that Mimi rest and not exert herself. Mimi insists back. Tasha insists back back.

Mimi points out how stressed Tasha must be. Tasha agrees that she is stressed, but does not elaborate on her feelings. Mimi assumes that Tasha must think that she is a burden.

Mimi then becomes very emotionally activated--she is reminded, consciously or unconsciously, of how shitty it felt to have her father tell her over and over again what a burden she is, and how better off he would be without her. So this must be how Tasha really feels about her, Mimi accuses.

Tasha, who is very stressed but who cares very deeply for Mimi and her well-being, and who does not see Mimi as just a burden, becomes very activated in turn--she feels maligned and misunderstood. And now she certainly can’t talk about how stressed out she is, because it will only convince Mimi that she is right.

So Tasha is now convinced that she must continue to hold her feelings in in order to keep the peace--she’s reminded of her childhood spent taking care of others, and how she never felt allowed to express herself.

This example is obviously from a very zoomed-out view, chronologically, and is not exactly the way we would see it written in fiction (fiction is much more moment-by-moment and, well, exciting, usually). BUT we can see where Tasha and Mimi’s sensitivities lie, and how they specifically hurt each other with their behavior (unintentionally, in this case) by stomping RIGHT ON those sensitivities.

Readers love drama. And drama makes the plot go ‘round! So don’t be afraid to lay it on them!

In your (very good and compelling) writing, ESPECIALLY if you want to write engaging relational conflict, you would do well to clarify what your characters’ deepest sensitivities are. Consider the following:

What needs went unmet for them, growing up? A very cliche therapist-y question, but for good reason--our upbringing is where many of our deepest insecurities originate.

Additionally/alternatively, what do your characters understand to be their role in relation to other people? E.g., are they always the caretaker, the burden, the comic relief, the heartbreaker, the lonely hero, the boss? How did they first get this idea of who they’re ‘supposed’ to be towards others, and how was this reinforced throughout their life? Are they satisfied or dissatisfied with their ‘lot in life’? What do they hate about their ‘role’, if anything?

What sorts of situations might remind them of what they hate most about this role? E.g. ‘I enjoy taking care of others, and I’m good at it, but my partner gets upset if I discuss how stressed I get sometimes--I’m never allowed to express myself.’ How can you incorporate these situations into your story to create conflict?

How does your character respond when these sensitivities are triggered? Do they lash out? Do they retreat and get quiet? Do they ghost people altogether?

What do they think will happen if they are unwilling or unable to fulfill this role in their relationships with others? E.g., ‘My partner will leave me if I am not a good caretaker’, ‘Nothing will get done right if I’m not the one taking charge’, ‘If I don’t keep others at arms’ length, even if they say they love me, I’ll end up hurt.’

This is another way in which you can help your relationships really come to life! Anyways. Read on for more cheer and relational joy!

iii. We’re Attracted to What Hurts Us Sometimes, AKA Oops! I Ran into the Knife, Ten Times,

(less of a part 3 and more a part 2.5, but it was simply too long. so,)

So maybe you have a good idea of what your ideal partner/bestie looks like. It’s probably any number of positive traits: kind, considerate, good sense of humor, shapely posterior, ambitious, active, fun-loving, studious, etc.

What probably don’t make the list are things like: emotionally distant like my mother with whom I long to have a reparative experience.

Maybe you’ve witnessed (or been in) a relationship wherein all parties can be described as ‘just so bad for each other’. And maybe this relationship should not have lasted as long as it did (or shouldn’t be lasting as long as it is). And maybe you’re like--’Why are these assholes still together?’ Or, importantly: ‘Why did these assholes get together at all?’ The answer may surprise you! But more likely, it won’t.

Sometimes, we pick people on purpose specifically because they stab us right in the sensitive spot (again. so to speak).

(i should clarify before moving on: I am specifically NOT talking about relational abuse, here. That’s kind of an entirely different subject that is like. the cousin of this subject. In this discussion, I specifically mean relationships in which there is no major power differential--you’re just bad for each other. These relationships can be what we might call ‘toxic’, sure, and painful, but not abusive. The distinction is important, moving forward. ok ty)

[Author’s Note: I need everyone to know that I wrote and subsequently deleted 700 words here because I realized they didn’t make any fucking sense ok. let’s try this one more time.]

Essentially, it’s a known phenomenon among humans that, when we have experience with relational distress in the past (e.g. a partner who neglected you emotionally, or parents who disregarded boundaries you tried to set), we like to seek out similar people with whom to form relationships. Weird! But not really.

The human brain seeks closure and resolution--where we couldn’t get things to work out with our parents, or our exes, we try to get the same situations to work out next time, with someone new.

Let’s look at another example, together. Take my hand,

Suppose you write a character (Character A) whose mother was in and out of their life from a young age, and never seemed to prioritize them. Now suppose you are looking to craft a fraught or tragic or dramatic romance (or other relationship) with this character. Using what you’ve written of your first character’s backstory, you can do just that!

It’s perfectly believable, you know now, for your Character A to pursue a love interest (Character B) who has a tendency to... not want to stick around. Maybe this love interest seems to fear commitment and intimacy.

Now, maybe Character B in actuality has a very dangerous profession that requires that they maintain the utmost discretion, and be ready to flee anywhere at a moment’s notice. Maybe the fate of the city/kingdom/nation/world relies on B’s profession.

It probably doesn’t make them leaving all the time hurt A any less, though.

Character A, unconsciously or not, is determined to make things work this time around. As the relationship deepens, B is faced again and again with the choice--stay, for your love, or go, as duty commands. Maybe they’ve taken a vow for their profession that is no light thing. They leave, time and time again.

Character A, unconsciously or not, remembers this feeling--it’s an old one. Mother, time and time again, chose something else over them. It would be understandable for A to feel a deep anger towards Mom and B both. Maybe A takes drastic action to get back at B (action that is also, symbolically, retaliatory towards Mom)--maybe they cheat on B, or do something that endangers their own safety.

When all they really want is just to get B to stay.

It’s probably very clear now why it’s not so simple a thing for A to choose to date someone more consistent--this is something that goes beyond B alone.

In this way, you can very easily weave themes into the relationship(s) of your main characters. Maybe the story of A explores the pain of abandonment, or loneliness. If B is the protagonist, maybe the story explores the way we excuse our shitty behavior in relationships (maybe the job is a pretext--maybe they really are scared of commitment), or maybe it’s about the dilemma of duty over love.

Relationships don’t always make sense. Or rather, they do make sense, just in a different way than we might expect. You can use this understanding now to intentionally explore a number of complex relationship dynamics, and to create nuanced (but sympathetic) characters. As you do, consider:

In your existing characters’ relationships--what keeps these assholes together? Why do they have to be with each other, as opposed to anyone else? This is important, again, for selling the reader on the relationship, especially if it’s your work’s main relationship.

What initially attracted your characters to each other? Consider again from the previous section (what is this, a fucking textbook?) the historically unmet needs of your character(s).

How do your characters go about expressing their needs? Think again about CONTRAST here--what is the discrepancy between what the actual need is, and how the character seeks to fulfill it? E.g. ‘I need to keep B from leaving me, because it really hurts me when they go, so I’ll go risk my life just to keep their attention (rather than express this pain to them).’

What similarities, if any, exist between your MC’s relationships with the people in their present lives, and your MC’s childhood relationship(s) with their caregiver(s)? Could you expand on/deepen any similarities in your writing? What themes might emerge if you did?

iv. Change / The Arc

So you’ve got your work’s central relationship. It’s believable, it’s just the right amount of dramatic, it’s suitably tragic, and just all-around devastating. People will cry. Great job!

Now what?

Well, that depends--what ending do you envision for your relationship?

If they remain together, do they get the happily ever after? The happy-for-now? Is the reader left to wonder about whether or not their relationship will survive?

Do they not make it at all? Are they separated by tragedy? Do they crash and burn? Or maybe they try their best, but despite how badly they love each other, it’s just not enough?

Whatever the Point B of the relationship is, if it’s central to the work, you’re gonna want to have a clear arc in there. Or not, idk, I’m not your mom.

You might already know, if you inhale every piece of writing advice you come across (like me), what makes a compelling character arc. The good news is that it’s much the same with relationships! Kind of.

Systems (relationships) tend towards homeostasis. Without deliberate intervention, relationships want to remain the way they’ve always been. Just like people!

And just like characters, relationships need a reason to change. Like a catalyst, or a motivation. Whatever the hell you wanna call it.

It’s not always, like, complicated to figure out the driving force behind change in your central relationships. Sometimes the pieces fall together!

Pay attention to the characters within the relationship--as your characters progress through their arcs, their relationship will naturally shift. It will probably not look exactly the same as it did when it began--there might be similarities, of course (they’re not entirely different people.. usually. And there’s a beauty to bookending a story with the familiar, certainly). But in this case, the relationship can be thought of as an extra character, almost. It’s unsatisfying to read a whole story wherein a central character stays exactly the same. It’s further strange and incongruent for a relationship to stay exactly the same while the characters have like, achieved actualization or whatever.

Outside events can force change on a relationship, just as they do individual characters. A couple that’s close to Characters A and B get married--and A & B start to wonder what their future together even looks like. B’s company hires a fiiiine honey, who’s exactly B’s type, and A starts steaming about it. A pandemic ravages the nation, and to prevent the spread of the virus, A and B have to stay inside togeth

YOU GET IT ok anyways I’m fucking tired of writing. If you’re wanting to develop the arc of your MCs’ relationship(s), think on some of this:

Do your characters see any problem(s) present in their relationship? Are they all equally aware of the problem(s)? Do they agree on what the problem(s) are?

How secure are your characters in their relationship? If anything could possibly cause doubt and conflict to arise, what is it?

Where do your characters see their relationship going in the near future? In the far future? Do their visions align? If not, how do they differ? Do they even want the same thing?

Is the arc of the central relationship congruent with the arcs of the characters who comprise it? I.e. does the relationship remain exactly the same as it was when it started, despite the characters undergoing wild metamorphoses? Is the reverse true?

When you think about their relationship, INDEPENDENT of any ending you may already have decided, where do you see it going? Like, where do these people feel like they’re headed, realistically? Does this align with the ending you’ve decided on for them? If not, this doesn’t mean you’ve written a bad relationship or anything, it’s just a possible sign that some really intense shit might have to happen in order to shift their course, y’know? Or not--the world is your oyster and you are the God of your own creation!

What are you trying to say with your story, and do the arcs of the central relationships reflect that message?

final thots

If you read all that shit, thank you. I wrote it all in one sitting and posted it without proofreading 💜

In all seriousness, I want to emphasize that, although some of these aspects of relationships are most visible in rels with a lot of anguish and maybe even some toxicity, you by no means have to write this kind of relationship in order to make use of these tips. You could write a very Normal couple!

The idea is to offer you some avenues through which to consider aspects of your characters’ psychology and personalities, and how they mesh or clash with their partners’ or besties’.

Anyways I hope this was helpful. I love talking about relationships I could literally go on and on all day. Which I kind of just did so. lol.

I’ve been liv and I’ve got two main WIPs I’m working on right now: The Romance of the Demigods and The Marking Blood and they’re full of really really super normal relationships and examples of me definitely taking my own fucking advice.

Cheers and happy writing! 💖💖💖

[henrysglock]

Am I missing something? Why do people keep ''theorizing'' that Henry took Will to the Upside Down when literally it is all very clear that it was Henry? Who has the power of telekinesis to capture Will like that aside from Henry himself? the Demogorgon cannot do it, the MF cannot do it AS IT DIDNT EVEN SHOW UP until S2 anyway. It literally couldn't reach or do anything and it doesn't have telekinesis powers so... who would have done it besides Henry?

We see the lights flicker at the Wheeler's house the moment Will starts to bike away. We see that the TV at the Wheelers house doesn't work which are all effects of telekinesis. So, what is there to theorize or deny?

We see Will running to the shed, there the shed's door unlocks by itself. I see people saying that it was El who did it. Which doesnt make any sense. If El did open the door, then who did capture Will to the UD after the light at the light at the shed shone like crazy and then Will disappeared out of thin air? Even if El did unlock the door and then got scared and ran away, who flickered those lights at the Wheeler house and broke the TV?

''the MF obviously must have done it, he is the main villain actually and he is the one who was following Will it has nothing to do with Henry'' WHAT are you saying now??? the MF literally doesn't have the power of telekinesis, and it didnt even appear and couldnt reach the Rightside Up until S2.

''the lab must have done it.'' So, is Will hallucinating? If the lab did it, who did those telekinesis stuff like lights flickering, the TV not working, the door of the shed being unlocked, the light shining like crazy and the Will disappearing out of thin air and ending up in the UD? When would the lab have 'drugged' Will?

''It must be El or Will from the future that meddles the situation'' HOW??? Not only that is misunderstanding the ''time is stuck'' thing, but it doesnt make any sense??? the time isn't 'stuck' in the UD. It just looks like November 6.... it is about how it looks like / is shaped. The characters do not affect the past events from the future. THAT is NOT what happened in S4. When characters flicker the lights (the teenagers) to alert the other characters, it happens in the present time. They are NOT affecting the past. I think people didn't understand this and that is why they keep saying there is time loop, or time travel fuckery stuff going on. But it's not about that. The UD isnt stuck in the past in the literal sense. It just looks like past because someone (Will prob) shaped it to look like November 6. It is not stuck in time in actual sense.....

Like, I just... dont get it. I mean theorizing is good and all, but when it comes to a point where people just ignore and deny the canon evidence, and the points and clear stuff that have been shown.... it just kind becomes being obtuse on purpose. Just like the ''MF is actually the big bad actually lol he is the real mastermind lol'' argument. Like it just...... doesnt make any sense from the way the show portrayed things. Please.

Besides all of this, WILL literally (the one with the actual experience) say that it has been Henry all along... and people say he is just an unrealiable narrator. Not only that is misunderstanding what ''unrealiable narrator'' means, it also is literally discrediting a character's lived experience and knowledge. That shit doesnt make any sense when people believe in Dustin's words that he said before the big reveal that came after..... so we are to believe that Dustin is the Reliable Narrator, but Henry, Will, El and Brenner are NOT??? WHAT THE FUCK are you talking about???

Anyways I am done lol. It was a nice ride to just speak these out bc I am just tired lol.

You’re so right for this, esp on the big bad/s1 arc stuff.

I don’t know shit about the UD vs time thing really, so I won’t speak on it.

But everything else? So true.

There’s no way it can be anyone but Henry atp. idk. Will says it was Henry. He knows the Mindflayer, and he’s known it since s2. It’s not a reveal anymore. Henry is.

But sure DnD is gospel even though it’s literally said in the show that “this isn’t DnD, this is real life”. DnD is just the framework the kids use to process traumatic experiences that they can’t fully comprehend.

Dustin doesn’t know shit about what happens in the UD until the end of s4. Will does. Thus, we believe Will over Dustin. It’s really not that hard.

Will has no reason to be suspected of lying about his experiences, intentional or otherwise. By this point he knows the difference between the Mindflayer, Henry, and a demogorgon. Also, Henry’s POV is a flashback, and flashbacks haven’t lied to us before. Why would they start now?

Henry and Will escape the unreliable narrator allegations about the UD.

It’s tiring and frustrating, Anon, I feel you. Especially for people like me who have been in Will’s situation, it’s hard to not fly off the handle about him being dismissed and not trusted to describe his own trauma.

[narutakijune]

About ATLA Relationship Arcs

So, this is me, finally trying to write some meta after lurking in my little tumblr corner for months! Hi!

Although I’ve tried to tag properly, if you are a Kat*anger and just want to enjoy your favourite couple in peace, this might not be the post for you. I am not trying to bash characters but I do have a lot of critical stuff to say about the writing.

Anyway, you have been warned and here is my story about my personal first Atla experience: I watched the show this year for the first time, and after the end of Book 1 I decided to look up spoilers, because after what happened to Yue, I wanted to make sure that Zuko and Iroh would be ok. So I knew what was going to happen: Kat*ang endgame and absolutely no Zutara at all. Still, by the end of Book 3, I was convinced that I had read wrong - that there would be an epilogue with a different ending or at least that Aang would only get together with Katara post-show- in that Korra series or something - because anything else wouldn’t make sense- right?

….

After I got over my shock and surprise, I went online and found out about that decade-long aggressive passionate ship war and how even the showrunners got involved.

And then I really worried that I might have missed a few points. Apparently ”Aang and Katara were the DNA of the show”, according to the creators themselves, and “Zutara could never have happened”.

Another popular anti-ZK argument I found was: Why do you always go on about Katara and Zuko? Just look at Zuko and Aang! They are the hero/ anti-hero and each other’s foils, their relationship is much more meaningful!”

So I tried to find out what it was that I apparently couldn’t see.

(Another disclaimer: I love analysing stories (like many Zutarians apparently) and this will get long and rambly. If you get bored to tears when people start talking about “narrative structure” you will probably not like this.)

Talking about narrative structure, I do believe that, in order to let your story, your characters and their relationships really shine, a good basic structure is important. There should be a recognizable development and individual parts of the story that build upon each other and lead to consequences and change, until there is a completed arc - because it is all about the journey that takes you to a satisfying ending, right? So that’s what I tried to do, with my personal Kat*ang vs. Zutara take, I tried to look at the structure and development of their relationship arcs.

The argument that threw me off track for a while is that compared to Aang and Zuko, Zuko and Katara’s relationship is not supposed to be that relevant for the plot. After all, Zuko is the foil, the anti-hero, the deuteragonist to Aang, who is the hero protagonist.

This is all true of course. But then why is it that in every finale, Zuko’s main opponent (and later ally) is not Aang but Katara? Why is it that their sun/moon, red/blue, fire/water dichotomy is so obviously highlighted?

I think one reason why Zuko and Katara are paired off so frequently in the story - as opposite elements, as opponents and as allies - is that they BOTH are Aang’s deuteragonists. While Zuko also acts as antagonist and Aang’s foil/mirror, Katara takes over the more traditional deuteragonist role of confidant / best friend/ narrator.

Protagonist Aang is what connects them, although they are on opposite sides: Both need Aang because he represents their hope to save their world. Very simply put, Katara protects him, so he can make the world a safer place again, and Zuko wants to capture him, so he can go home and be safe again. That rivalry between them is already established in the first episode, even before they meet each other: Katara, who hopes that the Avatar will return (as she tells everyone in the intro), and Zuko, who seems to be obsessed with finding him for more sinister reasons.

And just to make sure, I am not talking here about the characters’ feelings and emotions! This is just about the abstract roles they have been assigned within the narrative.

When regarding Zutara’s special connection to Aang and their rivalry with each other, it makes absolute sense to stress their “same but different”ness as well, visually and metaphorically: Red and blue, fire and water, sun and moon, arguably Painted Lady/Blue Spirit, and, when you put into account their story arc, also Oma and Shu.

With this basis, which puts them together and sets them apart simultaneously, their relationship already becomes very dynamic and interesting, even before you consider any romantic potential.

And here’s another thing, Zuko and Katara also have their own story arc within the main plot. Although they don’t have many scenes together before Zuko joins the Gaang, when they do meet there is always a new shift in their relationship and in quite a few cases their interactions are important for the main plot as well. If you just look at their “end fights” at each book’s finale, there is an obvious and consequential build-up, like any decent story arc should have:

Book 1 starts with Zuko as the powered-up enemy and Katara as the weak newbie waterbender. Both are battling over Aang. At the end of Book 1, they are finally established as equally powerful fighters but still fundamentally different (You rise with the moon, I rise with the sun!)

In CoD at the end of Book 2 happens the next step: they realize that they are not different at all! But Aang still doesn’t represent the same for them and they end up on opposing sides of the war again.

In the Book 3 finale, when Zuko has completed his own (anti-) hero's journey and Aang represents the same “hope” for both of them, they do not only join forces: Their “same but different”- traits make them such a uniquely suited match that they are even able to save each other’s lives during their fight with Azula (who in turn happens to be Katara and Zuko’s antagonist/mirror/foil).

And in addition to their own story arc they even get an individual recurring theme, which also appears in every book whenever their relationship status changes: The lost mothers, especially Katara’s mother.

In Book 1, Katara’s necklace (the symbol of Kiya) plays not only a major part in two of Zuko’s capture attempts, it is the reason for their very first one-one one encounter in the story.

Their first friendly connection in COD in Book 2 happens because they start talking about their mothers. And in Book 3, their final reconciliation (sealed with a very cathartic hug) happens after their life-changing trip which is, of course, all about Katara’s mother.

Again, I am not even trying to analyse their characters and motivations within the story - there are many metas that have already done that much better, more detailed and with screenshots. This is just dry structure and tropes and themes. But I think people recognize and connect with a well-structured arc, even subconsciously, which is one of the reasons that makes Zutara such a compelling couple. They complete and contrast each other, their relationship dynamic constantly changes, builds up, falls apart, reconnects. Such a setup is the perfect playground for a lot of creative takes on what-ifs and alternative scenarios and of course, shipping them romantically is extremely tempting - think of all the possibilities! It’s no wonder that the Zutara fandom is still so active decades after the end of the show. And it’s also no wonder that the Zutarians are known for “over-analysing everything”. You can only over-analyse if there is anything that gives you enough food to analyse to begin with. Which brings me to

KAT*ANG

I just go right to the top and take the quote from Br*yke themselves:

Kata*ng was in the DNA of the thing from the start…. [Zutara] was just dark and intriguing.

If you read this quote and then start watching the show, I would (grudgingly) agree that:

Aang and Katara understand and complement each other really well. Aang gives her the chance to have fun and go on adventures and in turn, Katara is his fiercest supporter from the very beginning, something that he really needs after he lost all his people AND has to find out that the world thinks the war is sort of his fault. In turn, the journey to the North Pole is as important to Katara as it is to Aang, because it is her dream to learn waterbending properly. That’s what she literally says when Sokka & Co try to banish Aang: (Sokka: Where do you think you’re going? Katara: To find a waterbender. Aang is taking me to the North Pole.) In that way, they are friends who give and take equally and are equally taken care of. They even have the last Airbender/ last Southern Waterbender status that connects them. The few times they have a fight, Aang does something in the end to redeem himself (perform some heroic feat) and Katara sees that she is right to believe in him.

Aang has this very sweet crush on her and it will be very sweet and wholesome when Katara will return his feelings at the end of their adventure after he has hit puberty. On the other side, there is also some heavy shipbaiting with Zuko: I save you from the pirates. The betrothal necklace. June and her excellent shipping taste. But in the end they are enemies, they barely know each other and, come on, it would be too dark and intriguing! There is no real threat against friends to lovers Kat*ang, the soft heart of the story. It’s very straightforward and there are a lot of simple “the hero saves the day” scenes for Aang but that’s fine! It’s not really my kind of ship but that’s not the point, it works for the story they want to tell.

End of Book 1.

In my - probably harsh- opinion, everything you really need to know about the Kat*ang relationship has been told by this point. If you want to be really mean, already by Book 1, episode 3.

That explains maybe why many (not all! but many) pro-KA arguments sound as if their shippers have not watched Book 2 and 3 at all. The Book 1 synopsis also perfectly sums up Bry*ke’s quote above. But then Book 2 and 3 are still there and I don’t know what happened but it seems as if they somehow decided that the Kat*ang story does not need any new and lasting input. Maybe because they were afraid that too much new development and change would stray too far away from their original Kat*ang vision. But there are still 2 more books and more adventures and Kat*ang somehow has to be kept apart until the finale.

So the tension in their potential romance is based largely on the question whether or not Katara will return Aang’s feelings. In general I don’t have a problem with that will-she-won’t she-technique. It works well in books where the love interest is not a POV or in shows/ movies where the love interest is not one of the main characters. But Katara is not only the female lead but also arguably the narrative voice of the whole story! As a result, this kind of writing makes Katara look as if she doesn’t have any agency in their relationship, which is not surprisingly a very popular anti-KA criticism.

Additionally, since her dream - learning waterbending - has been fulfilled by the end of Book 1, the relationship work becomes a bit one-sided. Of course Aang is the hero and his journey is the heart of the story. But in order to highlight their special connection it would have helped to give Katara another personal agenda, which Aang could have supported in some way. She is still the last Southern Waterbender and he the Last Airbender but this is not really explored in the Kat*ang relationship. And her other personal agenda, her mother, is already reserved for the Zutara arc.

Instead, in Book 2 and 3 the Kat*ang story is somehow all over the place. Of course there is new conflict and a few romantic scenes as well. But obstacles are either introduced too late or just dropped when not needed anymore, conflict is not resolved and their flirty, romantic moments never lead anywhere- and if they do, they lead to more conflict that is not resolved (yes, I am looking at you, EIP Kiss!).

Take for example Katara’s very sudden argument that they cannot be together now because there is a war going on. We hear her saying that for the first time in the very last episode (EIP) before the 4-part finale. That is too late to have any impact! That she has these kinds of thoughts was never even alluded to before. Not once.

Or the pattern Aang runs away/ is flaky - Katara is upset - Aang comes back and does his hero thing - Katara is relieved. In regards to their relationship arc, nothing changes here between Book 1 and the finale, only the stakes for Aang’s heroic performances get higher.

Or Katara being the one who is able to calm Aang down when he cannot control the Avatar state (which, in my personal opinion, is neither romantic nor healthy). This is also connected to the problem with the seventh Chakra, that Aang needs to let go of his attachment for her. I will be angry forever with how they wasted this for a possible relationship development! That Aang has to decide to either do his duty or save his forever girl (because let’s be fair, he did try to let go and only ran when he had the vision of Katara in danger) - that’s a fantastic setup!

But no, it doesn’t have any real consequences for Kat*ang at all. Instead there were only half-baked attempts – Aang does lie about his failed practice with Guru Pathik but the ultimate reason why his chakra is blocked is Azula, not his decision to run. Aang does try to let go of Katara for a little bit but then Azula shoots him. Nothing in Book 3 shows any change in his feelings that could have been a result of his instant let-it-go. If anything, he gets weirdly obsessive - which could have been used as a side effect of his blocked chakra but – again, no, nothing happens.

I suspect the whole thing was just introduced to create temporary drama for poor Aang, but it is never explained why Katara holds him back, what aspect of the attachment is blocking him or what would happen if he did let her go. Maybe they tried to make a statement about how love is more important than Avatar rules – which would have been fine but it’s also never properly explored. Instead, as soon as that plot point becomes inconvenient it’s simply dropped like a random rock™.

Compare all that to the Zutara arc, where both characters’ feelings about each other are always very much in the open, and where every interaction causes lasting effects in their relationship. Yes, it is unfair to compare that to Kat*ang, because up to the end of Book 3, Zuko and Katara almost never meet, while Aang and Katara spend almost every episode together – of course they cannot do meaningful things all the time. But on the other side, with Kat*ang, there would have been a great chance to show a subtle, gradual build-up instead.

It also doesn’t help that the Zutara arc seems hellbent on sabotaging every romantic moment Aang is allowed to enjoy:

There is Kat*angs first maybe-kiss in the dark before the background of the Oma and Shu legend. But it does not lead anywhere. Instead, Zuko and Katara almost reenact the legend itself in the Book 2 finale as two real enemies to almost-friends, including a glowy rocks-backdrop and the right costume colours, just so nobody misses the message.

In Footloose The Headband, Aang and Katara have a really sweet dance together, and everybody can see how they almost intuitively know each other's moves. This could be a great hint on how well they will fight together in the finale. But is it plot-relevant? No, because the final tag team is Katara and Zuko! While Aang gets paired off with random rock™.

Then there is Aang’s riding off to battle- kiss in DotBS, which Katara is not even allowed to enjoy, because keeping her feelings vague is apparently more important than character development at this point. It is the only romantic moment that gets mentioned again, but in a way that sinks the former cute and wholesome ship into the deep ocean, and the reason is - Aang is jealous of Zuko!

If all of this was only done for the sake of shipbaiting, then it really went out of control at some point.

In the end, the showrunners still had their reasons to choose Kat*ang, maybe because that corresponded more to their own vision, and there are still enough people out there who agree with them. Which is absolutely fine! In the end, what matters most is how you personally connect to the characters and nobody needs to defend their personal taste. But the typical anti-ZK claim, that all the Zutarians with their crazy analysis and rambling meta essays are reaching and delusional and that they desperately try to construct something that isn’t there, is not only a very lazy argument but simply not true.

And I’d claim that in spite of the canon choice, Zutara is technically the better written relationship. By far.

[mrs-march-ahs]

Hi! I have a request~ The Evans reactions to losing in any sort of game. Can be board games or video games 😅

The Evans Losing At Games

Headcannons for all, imagines for some!

Cute idea, thank you! I didn’t write much for Jimmy, I’m sorry Jimmy I love you<3

Enjoy:)

Tate

-Clearly a teenage boy who lets emotions build up a lot -Definitely cheats if he’s had enough -If he keeps losing in the same part of the video game and rage quits, it takes him forever to get back into the game - “Ohhhh… I forgot that’s where I let off… fuck it” (quits) -Much better and calmer at playing cards, and generally prefers games were the two of you can talk and he doesn’t have to focus too much

--

You laid on your bed, scrolling aimlessly through social media, and occasionally glancing at Tate playing a video game he hasn’t played in a while. When you started talking about games, and you told him you had it, he nostalgically reminisced how much he used to play it when he was alive, so you set it up for him. Every few minutes, when a red screen would pop up, Tate would sigh, and with every passing death, his sighs got louder and angrier.

After only maybe half an hour of playing, Tate clearly couldn’t take it anymore, and threw the control towards the floor, before stomping over to shut the console and TV off. The sound made you flinch, and you had never seen Tate angry before. Nor his body language nor face showed his emotions, just his actions, and when he flopped by your side, he looked fine. If somebody had come in right now, they would just see two teenagers laying next to each other.

“Uhhh… you okay?”, you ask, before rolling over to face him. You poke at his chubby cheek as he stares up at the ceiling and tease him. “Sore loser”.

“Shut up, it’s your fault. You reminded me why I wasn’t allowed to play this game for very long”.

“Wanna play something else? Together? We could play Dragon Ball Z?”, you ask quietly, before going back to your childish sing-song teasing. “Be nice, and I’ll even let you win a few times!”

Tate looks over at you and huffs, before sitting up and getting the controllers, “Good thing you’re used to begging me for mercy”

Kit

-Least sore loser out of them all -Always up for a rematch -He’s pleasant even when he does win - “Want a rematch sugar? So you can have another shot at beating me?” - “Ah you were close, you’re getting good” - “You’re a good rival” - “If I lose, you can drag me to that Rom Com you wanted to see” - “If I win, we make more babies” -Pretends to be competitive when he’s playing with the kids - “I would say Team Girls vs Team Boys… but that’s not fair, the two of you don’t even stand a chance, right Tommy?” -If one of the kids beat him, he’d act super dramatically to give them as much satisfaction of winning -Laser tag is 34 years before Kit’s time, but if he played something like that, he’d try to let the kids win

--

You ran around the garden and chased a giggling Julia. Because of current financial issues, the power was out, but not wanting to worry the children to much, and not wanting them to ask too many questions, you and Kit decided to make the most of the sun and tire them out before it got dark. Kit, being the big kid he is, suggested playing a tag-like game Thomas invented, where you each get three pebbles each, and try to get each other out by throwing them. Gently. Unless you were throwing them at Kit.

Julia started slowing down when she reached the corner of the house, hoping to hide from you, but you were right behind her, making her turn around and burst out in giggles. When the 5-year-old laughed, the only thing you could see was the missing tooth she donated to the tooth fairy last night. Once you circled all around the house, you come back in view of the garden, and see Julia hiding behind Kit.

“That’s cheating!”, he exclaims, trying to run away from her and toss a pebble in her direction, only for her to do it faster. The second Julia’s tiny rock hits Kit’s tummy and bounced, he put his hands over his stomach and held it like a gun wound. He dropped to the floor dramatically, leaving the two little kids to die of laughter, and you walk over to him, Kit peeping open one eye slightly to see if you were watching him, and then stuck his tongue out to play dead. You picked up a stick from the floor and poked at his chest, making Kit chuckle but quickly hide it.

“Is it dead?”, you ask.

Thomas leans in closer to look at his dad on the floor, before Kit opens his eyes and pulls Tommy to the floor with him, rolling over to be on top of him.

“I win!”, Kit announces, before kissing his son on the cheek.

Franken Kyle

-He doesn’t particularly play complicated games, but he isn’t too patient and gets frustrated with himself pretty easily -If on one of his educational games, he messes something up too many times in a row, he’ll shut off the game and throw the tablet on the bed -He’ll avoid even looking at it -If he loses a tickle fight he’ll sit and whine, straddle you and then tickle you until you beg him to stop -Whines even if he loses at rock paper scissors -He likes colouring and drawing, and because it’s good for his motor skills, the two of you made a really simple game together -You drew out a long snake shape on a big piece of paper and drew lines in between for the spaces -Kyle carefully coloured them in with pencil and with a marker you wrote occasional things like ‘Go back two spaces’ or ‘Go forward three spaces’ -Sweet little Ky would roll the dice, and take his time, pushing his little figurine, which was something like a pencil sharpener or a bottle cap, and counted out the spaces -Got super excited if he won, but wouldn’t mind losing -He would insist the two of you keep playing, and you’re only allowed to stop and go to bed if you end on him winning -Sometimes he would try to let you win so that you could keep playing -Whine and pout if you had to stop playing, and how are you meant to say no to him? -You would have to promise you’ll play tomorrow -You’d be able to slowly make more and more complicated games, until eventually he’d be able to play things like checkers or Ludo

Jimmy

-Lowkey a sore loser -If there were loads of different people playing, he would be a lot more friendly -If he lost, he would still be super annoyed, but just wouldn’t show it -But if it was the two of you, he’d be super competitive -The type of person to flip the board game if he was losing -But he’d apologise straight away and pout if you didn’t want to play with him again - “C’mon let’s play again, I’ll be nice this time” - “Loser gets spanked” -Loves playing games like beer pong

James

-Unpleasant loser but also not a pleasant winner -Bitter compliments if you win at cards - “Well done darling, who would have thought with your high school education you were such a poker master” -Only willing to play the same 5 card games, because if you teach him a new board game he is not familiar with and he loses, he’ll claim it’s only because he’s new to the game -Absolutely infuriated if he loses at Monopoly, since he built a hotel after all -Don’t even bother trying to teach him how to play a video game -And of course - “Only amateurs keep score”

--

“What are you doing, dear?”, James said, fascinated at your little character wandering around a shop, on the screen in front of both of you.

“I’m trying to buy this plant, but I don’t have enough money, I want to see if I can sell anything I have”, you explain, pointing at your backpack filled with items that you can exchange for spare coins.

“Nonsense, darling, why don’t you simply stab the storekeeper and steal what you desire?”

“Because this is Animal Crossing, James, there isn’t a stab button”

Kai

-Kai likes playing video games or board games with literally anybody apart from you -He likes playing with Ozzy because he’s a kid so most of the time Kai can beat him easily -Definitely not the type of person to let the kid win, even if Ozzy is sobbing and Ally asks him to let Ozzy win once in a while - “Winning fairly will feel so much better for him” - “He won’t appreciate success if he doesn’t first taste failure” -Sometimes instead of story time with his troops he’ll play some board games -At first, everybody will keep letting Kai win out of fear -But eventually someone will win, and everybody else will be fearful for them, scared Kai will be angry - “Finally somebody capable, somebody strong, not scared to show their true capabilities” -But if you ask him to play a game with you, he probably won’t -If you eventually beg enough that he will agree to play a game with you, he’ll tell you he’s only playing one -If you win, he’ll be like, “Okay, are you happy now?” - “Finally it’s over” - “I let you win, are you happy?” -But if he wins, he’ll try to get you to play a few more games - “Are you giving up already?” - “Don’t be a sore loser, rise up to the challenge” - “I assumed you wanted to win, not just to play”

- (Kai loses) “See… you have to give a humiliated man a chance to redeem himself in his own ey-”

[devilsskettle]

also there are a lot of examples of horror that’s like yeah it’s “about love” in one way or another but it’s also about blood and guts and death and some guy chasing you with a knife through the woods. like sure, you can say texas chainsaw massacre is “about family” but an equally big part of that movie is. you know. the chainsaw massacre. audition is definitely “about love” but it’s also about social expectations for relationships and cyclical domestic violence and chopping off a guy’s limbs with piano wire and making someone eat vomit out of a dog bowl. the silence of the lambs is critically acclaimed and widely well regarded but as carol clover points out in the afterward of the 2013 edition of men, women, and chainsaws, at its core, it follows the same thematic and structural patterns of a slasher movie, it has all the same archetypal characters, it’s just much less direct in the way it goes about telling the story, splitting up aspects of these archetypes into separate characters and “elevating” the conflict to happen primarily at the mental level from a distance, mitigated by law enforcement. it’s still ultimately about someone who is skinning people and making clothes out of their skin, and a cannibal, and two young women whose combined roles in the narrative serve the function of a slasher movie’s final girl. is it less unsavory because it appeals to a wider audience? because it frames itself as a psychological thriller? of course there are plenty of other things to discuss about the silence of the lambs but the same is also true of slasher movies and many other forms of media that are automatically dismissed as low brow. i’m against the phrase “it’s not that deep” but like. sometimes it’s not that deep. and it doesn’t have to be!! or maybe more accurately, sometimes insisting to focus on the “deep” part of a piece of media that appeals to you actually means you’re missing the point and pursuing that theme leads you to less understanding of the story (@ what m*ke fl*nagan did to the haunting of hill house. it is that deep but not like that) or in that and many cases it’s projecting a theme onto a piece of media because it’s the only way you’re willing to engage with it. also like how much of it is because people want to see stories that are reassuring instead of discomforting? again, the way they adapted the haunting of hill house of course, but also the changed ending of we have always lived in the castle that gives the viewer closure rather than the more unsettling ambiguity of the book ending, which also retroactively makes merricat look better. it somewhat de-fangs her as a character. the sense of distance from the threat in the silence of the lambs also serves to reify the idea that law enforcement and social institutions are effective. in terms of religious propaganda in occult films, while the exorcist is clearly pro-catholic, there’s ambiguity especially in the film about like why does god allow this to happen how effective is his protection if two people are dead despite doing everything “right” etc vs the conjuring movies which have been very successful being much more explicit in the victory of good vs evil through belief in god where everyone is totally fine at the end of the movie. much more reassuring. anyway i will stop now or else i’ll never shut up but it’s a lot easier to latch onto themes like “love” than engage with the horror elements of horror lol. i just don’t care to see horror sanitized either by writer and filmmakers or by viewers

[absolutebl]

This Week In BL

May 2021 Wk 2

Being a highly subjective assessment of one tiny corner of the interwebs.

Ongoing Series - Thai

Lovely Writer Ep 12 fin - that was a long arse final ep, but solid performances. I liked that we focused on the fallout amongst the side characters. (Very clever of them to depict Chap with Tae, his Y-Destiny pairing. Especially as both actors are slated for new BL roles with different partners again, The Tuxedo and You’re My Sky.) The camera certainly enjoyed wallowing in Sib & Gene’s separation, but that’s an Asian drama for you. They like to DWELL. (Frankly, I like a bit of wallowing myself.) I thought the inclusion of the “actual” writer at the very end thoroughly unnecessary. I don’t think they had to beat us over the head with the 4th wall meta quite that much. Still, this is probably one of the best BLs we’re getting from non-GMMtV Thailand this year. RECOMMENDED 

Y-Destiny Ep 8 - (Thurs) I found the first half uninteresting but once Casper the Friendly Gay showed up it was fine. The ghost reminded me a bit of Fuse from MIR. 

Close Friend Ep 4: (Just One Life) - is it just me or is Talay insanely charismatic? Anygay, the director got ahold of a drone for this one and would like us to KNOW ABOUT THAT FACT. Look, I just don’t think YoonLay have great chemistry but this was alright, cute enough. 

Fish Upon The Sky Ep 6 - This was a better installment than we’ve had in a while. I like the obsession vs love explanation from Mork, insightful if creepy. Meen & Duean are okay, I guess. A bit annoying. Everyone in this show is a bit annoying. But the wipe toothpaste then wipe eye crud got to me. Toothpaste in the eye, yech! And then I was all, oh that’s basically this show: toothpaste in the eye. It just reviewed itself. (Also why do they keep switching aspect ratio between the two pairs? It’s like they were filming with two completely different camera types... oh. ah. Weird, GMMTV usually doesn’t make mistakes like that.) 

Call it What You Want Ep 6 fin - I skipped to the last ep on this, I told you I do that sometimes to find out what happened. So CIWYW ends happy for the main couple, but trigger warnings on: eating disorders, suicidal thoughts, depression, mental abuse, and a few other things. If you don’t mind your BL dark, gritty, self aware, and honest then you should be okay with this show. But if your preference is for fluff, then there are other fish in the sky. Speaking of... 

Nitiman Ep 2 - Giving me My Engineer vibes. This is OLD school Thai uni BL. I kinda feel like it was meant to come out in 2018, the gap year that was, but I am SO GRATEFUL we’re getting it now. Pay TF attention FUTS this is how you redeem a tsundere uke. Also I love that Bboom is just a terrible flirt and the football match twist was great. I love this show.  

Top Secret Together Ep 1 - it’s out there but no eng subs. It’s an office set romance with multiple couples all tangential to one building. A bit stilted and low production values but I’m intrigued. I hope we get subs... eventually.  

Ongoing Series - Not Thai

HIStory 4: Close To You (Taiwan) Ep 9 - gets the safe sex gold star for lube + condoms AND a verse discussion? Not to mention asking for sex advice from queer fam? Is this a first in BL? Might be. (I still think it’s weird that product placement hasn’t jumped on the lube bandwagon, too slippery perhaps?) I like the embezzlement drama. I always enjoy good outside conflict playing to setting, and this is the kind to be easily resolved in next week’s finale. What a roller coster this series has been. 

Papa & Daddy (Taiwan) Ep 5 - I LOVE THIS SHOW. A heartbeat after i thought, “they better address what he’s doing to the girls he’s dating,” they did it. Clever scripting that. The messaging is gorgeous, the idea that pride and media coverage and knowing about a changing world can broaden minds and lead to acceptance was basically Taiwan making a case for itself paving the way for marriage equality in Asia. Genius. 

Most Peaceful Place 2 (Vietnam) Ep 1 (AKA 4) - dropped with subs and improved production values, someone is learning (or got more dough). The younger brother’s drama is a bit confusing, but I am here for cute boyfriends being cute boyfriends together. And I love that they took the seme’s previous pair (from Nation’s Brother) to be the faen fatale, very crafty of them. Even though it’s not a trope I like, there’s great chemistry all around. 

My Lascivious Boss (Vietnam) Ep 6 - I weirdly love this show, okay? I’m just hoping Long has known Minh’s secret all along and is playing a reverse long con cat & mouse game, waiting for Minh to tell him the truth. Because that would be THE BEST. I could do without the faen fatale but ya can’t have everything. (I’m so glad it’s not the standard 6 ep arc, MOAR!!!) 

Gossip 

Rumor is GMMTV Thailand started shooting Baker Boys (here’s the teaser trailer). This is a remake of Antique (AKA Antique Bakery) a 2008 Korean movie (you can watch it on Viki) which is a remake of Antique (a 2001 Japanese series) with is an adaptation of wildly popular manga Antique Bakery. Knowing the plot I’m not sure this will qualify as BL. I’m still predicting Lee gets his first gay kiss in this series from Singto. More details about this series here. 

Breaking News

Love Area release pushed out, reportedly due to C19. (source DramaCool) 

Be Love In House: I Do (Taiwan, of course, with that title) got a new softer trailer (no subs). It drops next week, May 19, 2021 on Viki. All the information I have is here. 

Tangential to BL 

Two BL-adjacent shows, both from Taiwan. 

I’m watching Love is Science? on Viki which has a het foundation, but it’s a good one. There’s a BL side couple who are on an enemies to lovers slow burn trajectory; featuring a disaster bi slut meets elegant bad ass super gay. So there’s THAT. The mains are an older career woman and the sweet boy from her distant past who has pined for her for years. (He is the softest sweetest service sub you ever saw.) Props to Taiwan for a seriously underused het dynamic. As usual in Asian rom coms the straight boy love interest is a Perfect Cinnamon Role (yes I’m looking at you True Beauty & Love O2O) but I find Taiwan’s version more palatable than Korea’s or Mainland China’s. It’s not finished yet but... RECOMMENDED. 

Starting this week is Love Outlet a 50 (?!) episode show about a mall that sells relationships. It is supposed to have a main gay romance, but it might be a side dish. Very little else known about it. Coming to Line TV.

Honestly, I’m at the point where if Taiwan makes it, I’ll probably watch it. 

Next Week Looks Like This:

Some shows may be listed later than actual air date for International accessibility reasons.

Starting:

Be Loved In House: I Do (Taiwan) 

Golden Blood (Thailand) we think, like Love Area this may be delayed due to surging C19 cases 

Love Outlet (Taiwan) we think 

Upcoming 2021 BL master post here.

Links to watch are provided when possible, ask in a comment if I missed something.

[lunarfly]

Ok so I decided to finally post the promised: defending Romione (🥺💗💕💖💞💘) against Dr*mione (ಠಿ_ಠ) shippers.

So I've read a few posts about Dr*mione shippers, talking about why their ship is amazing (which had nothing to do with canon btw) and bashing Ron (for no reason) and I'm literally shaking out of anger.

Here are my thoughts:

1. "Ron is too dumb for hermione"

Stop- Just-

Stop.

RON IS NOT DUMB.

Yes, he might not be very interested in school subjects, but 👏 that 👏 doesn't 👏 mean 👏 he 👏 is 👏 dumb 👏.

He is actually very smart! He beat McGonagall's chess game, he is logical and quick-thinking. There's MANY examples of this that I won't name right now, but it's a canonical fact. Ron. Is. Not. Dumb.

And consider he was dumb. So? Would that stop Romione from happening? NO! Hermione didn't mind Ron not being smart. She was just upset that Ron was lazy and wouldn't study anything until the last minute. She wanted to get both Harry and Ron to study according to a schedule.

Is it clear? Intelligence doesn't determine love.

**And this is something that confuses me. This doesn't have anything to do with the point, but why does nobody realize that Harry isn't much smarter than Ron? Yes, he was better at DADA but that requires TALENT, not intelligence. And I'm pretty sure we all know that Ron is talented as well (hopefully everyone realizes that). Nobody uses the fact that Harry wasn't intelligent against Harmione, but everyone uses the fact that Ron wasn't intelligent against Romione. The double standards tear apart the fandom.

2. "Ron bought hermione perfume and Draco could get her something better."

Soooo, you're saying that just because Ron didn't have the money that Draco had means that Hermione didn't deserve Ron?

Wow, this just says a lot about you dr*mione shippers. You only care about the money that Draco has, not his personality. You don't like Ron because he's poor (and I know how FanFics give the "kind Draco" Ron's canon personality so the only "problem" with Ron is his looks and lack of money). And you don't see Hermione nor Ron the way they are. This "point" of yours is literally stating that Hermione should be a gold-digger and get Draco because he can get her the expensive presents that she deserves. Yikes.

3. "Draco can understand the emotional side of Hermione while Ron can't."

Wait

What?

WHERE DO YOU GET THIS IDEA FROM-

Draco is only EVER concerned about his own self, he is a NARCISSIST. He would NEVER care for someone (let alone Hermione) as purely and truly as he cared about himself. He didn't even care about Crabbe, Goyle, Pansy Parkinson etc. He was selfish. The only reason he could express his emotions was because he had to go through a lot since he realized that killing Dumbledore wasn't as easy as bullying Hermione. This would never ever work.

And even if Ron didn't understand her as much, he STILL comforted her. Take the beginning chapters of The Deathly Hallows as an example. You'll see.

4. "Ron is too immature."

I need help.

Of course Ron was immature when he was 11!! Yes, he acted immaturely many times, yes, he made many mistakes, but guess what? He changed! He changed for Hermione!! Draco didn't change at all, not for Hermione, nor for anyone else. He remained the same bratty bully.

If you could reread the books and read prisoner of azkaban vs deathly hallows, you will definitely see how much Ron has matured. He doesn't argue with Hermione anymore, he comforts her, he's there for her. Yes, he made a mistake but he was manipulated by the horcrux! We don't blame Ginny for what tom riddle's diary made her do, do we? So stop blaming Ron!

Anyways, I think if dr*mione shippers have read the books, they'll know what I'm talking about when I say Ron changed for Hermione. I honestly don't know how you could miss Ron's character arc.

5. "Ron would be jealous of the brilliant Hermione."

What?

If I remember correctly, the reason Draco bullied the trio was because he was jealous of them. His jealousy turned into a 7 year torture for the trio and now you're saying that Ron is the jealous one? Please.

But anyways, Ron has been jealous of Harry and has made a few mistakes. But there are reasons behind them and I can defend him for each of these with arguments other than "everyone makes mistakes" (cough cough* Draco stans* cough cough).

First of all, Ron has admitted being jealous of Harry's fame because he lives with 5 older brothers who outshine him. But that's not really a mistake because he never let it get in his way. There were only 2 situations in 7 years when he left Harry out of jealousy but I think these have different explainations.

No1 Ron left in goblet of fire. I think the real reason that Ron let his jealousy get in his way this time, was not only because Harry got to participate in the tournament which could bring him eternal glory, but more likely because he was disappointed that his own best friend didn't even tell him that he was entering and didn't even help him participate (which wasn't true, but Ron thought so back then).

No2 Ron left in deathly hallows. This one was 100% because of the horcrux and I think we should all accept this by now and stop hating on Ron for being affected by dark magic.

And just like that, Ron never let his jealousy get in his way of friendships. I can't think of a situation where Ron is jealous of the brilliant Hermione so if you remember, please let me know so I can argue against it. <3

6. "Ron and Hermione would break up and remain friends, it's easy to imagine because they didn't have a strong relationship."

This was actually said, someone actually said this-

I'm just going to say that Ron and Hermione are happily married to this day (which definitely proves that their relationship is strong) and give the dr*mione community a moment of silence.

7. "Ron didn't do anything for Hermione and was just a jerk."

Coming from a person who has read and reread the books multiple times, I can assure you that Ron did many things for Hermione.

Of course, he was immature at first, he was mean to her, but slowly he started seeing more of the good in Hermione and started changing for her.

And even when he was immature, he still cared about Hermione and would protect her no matter what.

Let's remember how many times rubbish Ron stood up for Hermione against the brilliant bully Draco. 🥰

Let's remember how cowardly Ronald faced his fears of spiders to help Hermione (and the rest of the school, just how jerkier can he get?). 🥰

Let's remember how ridiculous Ronniekins stood up for Hermione against sensational Snape and got himself into detention (oh yes, this is the book version of the movie moment where Ron agrees with Snape about Hermione being an 'insufferable know-it-all'). 🥰

Let's remember how rotten Ronny comforted Hermione when she was worried about Hagrid and Buckbeak (and he even let her hug him and cry on his shoulder, how rude). 🥰

Let's remember how revolting Ronald sacrificed himself to save Harry and Hermione in the chess game. 🥰

Let's remember how horrendous Ron attempted to hex Draco when he used a slur that was meant to offend Hermione. 🥰

Keep in mind that all of these were done when Ron was still immature and still argued a lot with Hermione.

And these aren't even all.

8. "Ron and Hermione have a loveless marriage."

What the-

I'm sorry, I'm trying to be respectful here but this is crap. And the fact that the person said they also had "proof" from the c*rsed ch*ld but didn't want to spoil it-

As much as I hate the c*rsed ch*ld, I can tell you that it did its job portraying Ron and Hermione's unconditional love. Even in alternative realities, where they didn't get married, they were still in love.

And why would you even think that Ron and Hermione would marry and have kids if they didn't love each other? I need explainations.

Next.

9. "Ron never listens to Hermione."

I'm sorry, what? I'm genuinely confused??

What do you even mean by this? Yeah, they used to argue a lot, and? Ron thinks Hermione is brilliant and wonderful and he follows her advice. I can't recall a moment where Ron won't listen to Hermione, doesn't agree with her and ruins her plans. Anyone else?

Since this one is a big mess and a confusion, I'll move on to the next one until someone explains the points and arguments.

10. "Draco could make Hermione laugh while Ron couldn't."

....

Do I really need to say anything for this one?

Ron was the funniest one from the trio, that's why Harry enjoyed his company so much! Don't you remember the line in goblet of fire where Harry thinks about how much he misses having Ron as his best friend, because without him there's less fun and less laughs? I do.

But what I don't remember is finding Draco's sense of humor funny. I'm sorry but his intellectual level is almost as low as Crabbe and Goyle's. His insults are none other than Potty and Weaselbee, he only got 3 O.W.L.s and all of his jokes were stupid and dumb and their only purpose was insulting people he was jealous of.

These fanfics have rotten people's brains...😬

Anyways, I'm going to stop here. I've delayed this post for very long and I'm so excited to finally post it!

I read a book on wattpad by a dr*mione shipper and it was nothing but a giant headache. That's where I got all of these statements from. Most of the garbage in the book revolved around Draco and Hermione being inseparable and getting over all obstacles (wth) and other stupid stuff like that which really annoyed me. The book was called "why we love dr*mione" and it was by Bittenwizard. You can read and enjoy! Trust me, you'll have lots of content to post about after that 🤠👍

*I always try to be respectful to all ships, but sometimes some of them really anger me because the ships are either toxic or the arguments are plain trash. I'm sorry if I offend anyone.

Thank you for reading this. If you're a dr*mione shipper, I hope I've convinced you to give up the ship or come up with better arguments for it.

If you're an anti-dramione I hope you enjoyed the post. I'll delight you with more anti-toxic-ships content. :)

Thank you once again! <3

[johannas-motivational-insults]

So I don’t mean this argumentatively, I’m just genuinely confused & would like to understand this. I also struggle with empathy & take things very literally, so that could be part of why I’m not understanding. But where is Catra shown to be empathetic or compassionate? I understand that her abuse informs a lot of her actions and that’s why she is impulsive, lies, and manipulates others in the earlier seasons- they’re survival tactics that she got from SW + growing up in the Horde.

But I didn’t notice her going out of her way for others unless it could also benefit her in some way. I’ve also seen people say that she died in the process of sending Glimmer to Adora, & therefore deserves redemption because she made the ultimate sacrifice, only to then be saved and effectively made to work on her behavior and become a better person. And that would be all well & good, except we don’t really see her working on her behavior, except in the scene where she’s telling Adora that she’s working on her anger, and in the scene where she asks her to stay. I’m also not sure that she actually died, though I have heard a lot of people saying that. And I get that it’s called a redemption arc for a reason, & that the implication is that she will continue to work on her behavior and be better, but I just don’t know that we saw enough of that in the show.

So the thing with Catra is that a lot of this is pretty subtle. And as I said in the other ask that I assume you’re referring to with this, she’s often driven by a mix of selfish and unselfish motives. You’re correct that a lot of the times she does things for other people could also be seen as selfish moves because there’s something in it for her too, but that’s not always true and even when it is it doesn’t mean that that empathy or care for other people isn’t there.

Some examples of times when she shows empathy/care for others while also helping herself:

Gives Adora the sword so she and Glimmer can escape in 1x09, which is a kindness to Adora but also allows Catra to keep her job and her power (even if it breaks her heart to give up on bringing Adora back)

Warns Entrapta to stay out of Hordak’s sanctum and chases Entrapta down when she defies her in 2x03, which seems to be a mix of not wanting to deal with an angry Hordak herself and protecting a rather oblivious Entrapta from getting into trouble

(Note that in both of these examples she does this in a rather brusque or mean way, hiding her concern, but the subtext is there if you watch closely)

However, there are also many instances where Catra helps other people despite there not only being nothing in it for her, but when it’s actually against her own interests. Here’s the ones I can think of off the top of my head (but I’m sure there’s more):

Lies about Adora’s whereabouts and then her identity as She-Ra early in season 1 to protect her from the Horde, even after she’s promoted to Force Captain, which is dangerous not only to her career but to her life and limb

Tries to comfort her abuser Shadow Weaver when she sees her in distress in 1x04 and 1x10, the former instance right after Shadow Weaver gears up to attack her and "drag the truth” from her mind (anyone less empathetic would run away or even gloat)

Brings Shadow Weaver her old badge in 2x06 as a final favor when SW is about to be shipped away for good, despite it possibly being something that could get her in trouble and there being nothing in it for her (and in fact if she’s as selfish and callous as some say she’d deny SW this closure out of spite)

Turns down Scorpia’s offer to break her out of prison in 3x01, which seems to be entirely for Scorpia’s benefit as Catra has nothing to lose at this point (people just don’t see the compassion in this because she drives Scorpia away in a mean way to ensure she actually leaves)

Doesn’t tell Hordak that Scorpia “broke the recordings” that were inside Emily in 4x06, lies and says there was nothing, which turns Hordak’s anger on her instead of Scorpia (this perhaps is also motivated by guilt over how she just yelled at Scorpia and said awful things to her -- like I said, Catra is complicated -- but alleviating her guilt doesn’t help her situation at all so that’s borderline)

If you want, there’s a whole tweet thread of instances of Catra showing care and empathy for others. Some of these are weaker than others and the list may not be complete, but they’re all there for your consideration.

In addition to the things she does for other people, a lot of this is in her body language. If you really watch Catra, you can see that being cruel does not come naturally to her and she feels conflicted about a lot of her choices (or is straight up haunted by them, like her nightmare about betraying Entrapta in 4x03). Likewise, you often see her expression soften when she sees someone in distress. There are so many examples, it’s something baked into her character and it’s evident throughout the show, even when she’s at her lowest. But I think people often miss these moments because she usually shoves that initial reaction down and reacts in a way that on paper just makes her look like a cruel villain. For instance, she has a particularly guilt-stricken moment in 4x12 when Kyle calls her out for treating her old squad badly before she reacts by shoving that guilt down and reasserting her power, as that’s the only thing protecting her.

You have to understand that Catra was taught both implicitly and explicitly that compassion and vulnerability are weaknesses. And throughout the show, oftentimes when she does open up or do something for someone else it results in her being hurt/betrayed. Shadow Weaver in 2x06 and Double Trouble in 4x13 teach her that trusting people and allowing them in is dangerous and only ends in pain and devastation (and with Shadow Weaver, it teaches her the same lesson about showing mercy). When she spirals into her homocidal/suicidal breakdown starting in 3x03 it’s because she finds out Shadow Weaver left her to join the rebellion, just like Adora, and that Bright Moon is now harboring her abuser (as she understands it). Thing is, that all happens just as she’s starting to open up to and actually befriend Scorpia, and even though Scorpia isn’t the one who hurt her it still reinforces that pattern that vulnerability and kindness comes before a horrible, life-shattering event. Because of all this, she hides the empathy and kindness intrinsic to her actual character under layers of power and cruelty to protect her broken heart from being hurt again and protect herself from getting removed from power, because that’s the only thing keeping her from becoming someone’s abuse victim again after so many years suffering under Shadow Weaver’s heel.

I totally hear you about wishing there was a bit more to Catra’s redemption arc, but much like the rest of her emotional arc a lot of it is implicit. I’m very glad they added that one moment where she talks about working on her anger as well as her mini arc with Perfuma in 5x10 that culminated in Perfuma’s speech about learning to be vulnerable so you can be happy. But there’s lots of smaller moments buried in the season too, where we see her conflicted and struggling with these impulses of protecting herself vs. opening up or showing kindness. I mean, her half of 5x06 was basically about that too, though that’s only the beginning of this journey. Having Melog around was great too because they not only mirror her emotions for the audience to see but also help her process said emotions. Basically, the redemption is a process for her and a lot of it is not super explicit but in the end I think we have all we need to understand who Catra really is and that she wants to do better and is going to continue to in the future.

Really, Catra’s redemption arc is not so much about making up for what she did (which I and many others wish there was more of but oh well) as it is about rediscovering her true self and honoring that, learning to be vulnerable and kind again. In the end, her willingness to open herself up to potential rejection and loss and her kindness and love motivating her to help Adora get to the Heart and complete her mission are what ended up saving the universe, and that was a very intentional choice by the creators. Catra’s journey is not about coming back to Adora, it’s about coming back to herself, and I think that’s beautiful.

[kaminohana]

the meme man full analysis

Yeehaw here we go. Analysis of Mikoto Kayano’s video and song, along with some theories about the many themes and symbols in the video. Note: If there’s any other supplemental material for him out there, I haven’t read it. This is just an analysis with the music video we were given. If I happen to miss stuff that was mentioned before, I may talk about it in another post lmao

I was SUPER invested in this video as I watched it and soon realized “Oh shit, I think Mikoto’s plural”. Cuz, you know, I’m plural too (not disclosing what kind) and it felt SO good to see some actual parallels to stuff I go through- though of course not to Mikoto’s degree.

That said, I feel I should make a disclaimer in passing: yes, portraying your only plural character as homicidal ain’t the best representation. But, you know, we’ve seen other cases like that in Milgram so I’m just gonna leave it at that. Personally, I’m not that offended because the execution is SO top-notch. Though, hey, I totally understand how this can be very frustrating to other systems to see plurality depicted in such an unhealthy light- if it’s not for you, it’s not for you.

Keep in mind the point of the Milgram series is to make you uncomfortable in so quickly incriminating someone; if you’re hesitating to determine someone as guilty, hey, that’s probably intended and good! It’s about personal decision, so I’m not going to judge you one way or the other in voting. I just find it fascinating how these videos can put us in such conflict. This is all just my own perspective, BTW, so if you disagree with some of these points, good! I’m just hoping to share my thoughts since I can make a lot of connections. I’m by no means an expert in plurality or tarot, I just have some background in both and decided to try my hand at this analysis, so I really don’t the final say on what’s going on in the video.

Now, onto the actual video analysis.

I’m sticking with the basic idea that Mikoto is split into two parts; his more loveable, gentler side, which I referred to in another post as Softboy Mikoto, and the more violent side which may be acting as a catharsis to his frustrations. I referred to this side previously as the Devil alter, as he is depicted with the Devil major arcana tarot card. I can see how this could be taken badly, so for now I’m just going to refer to him as the shadow alter. There are many themes of duality in the video, most commonly with the symbol of the half moon which appears so many times. Shadow of the moon etc etc. I’ll be bringing this up several times as I analyze the lyrics. I’ll be breaking down the lyrics as evidence to support the idea that Mikoto is plural, and to show how softboy Mikoto (and shadow alter Mikoto) view this particular relationship and how this culminates in murder. Sometimes I refer to Mikoto (as a whole), softboy Mikoto, or shadow alter Mikoto depending on what I’m trying to describe in the below.

First piece: the title. MeMe. Me x2. A dead giveaway, like Umbilical. Also, it can be a meme, which is interesting taking the definition of the word meme in this context: “an element of a culture or system of behavior passed from one individual to another by imitation or other nongenetic means” (Oxford Dictionaries).  HMMMM. I know memes are generally within the context of a community, but I think it’s interesting to actually apply this to Mikoto. What exactly is being passed on? Could we argue that Mikoto’s frustrations from one of his parts is being passed on to the other? Interesting to think about, though it may not be relevant.

Going into the lyrics:

So from here I’m guessing there was a point in Mikoto’s life where his plurality was not an issue; or, potentially, there was a time before his split. These were the good times.

Playing dead vs. being alive – representing duality. May refer to how, when one side has their way, the other is locked away in the headspace with no control, thus feeling like being dead. In the context of “if only”, perhaps he’s wishing that he just didn’t do anything if only to prevent things from getting this far.

“If” I could end- I believe Mikoto (particularly softboy Mikoto) is saying “Hey, I have no control over my other side. If I did, would things still be the same? Would I still be ‘letting’ this happen?”

“Keep it” and “hide it away” I feel like are both representative of his shadow alter and of the desires that alter represents. Many words related to destruction are tied to this alter, so it could be seen as Mikoto trying to hide those urges as well.

“’I’ will save ‘me’”- this is a very interesting line that I think very well encapsulates the shadow alter’s initial motives; he’s saying “hey, I’m going to take care of us,” I believe to try and convince softboy Mikoto to let him out. As far as if softboy Mikoto can actually “let” him out is TOTALLY up for debate.

Part of the reason I refer to the other alter as softboy Mikoto is because there are softer words I notice used by him in the song; here’s I’m seeing “snuggle”, so I think this side of him is more vulnerable and soft.

SWITCH, shake up that brain- wow couldn’t be any more obvious here

This is where the chorus starts. This I think is from softboy Mikoto’s perspective, PARTICULARLY when he’s trapped in the headspace. There are many forms of plurality IRL in which alters cannot simultaneously front, so one or more are “pushed” back into the headspace. This very act occurs several times throughout the song in the weird minimalist vaporwave shadow realm room, where the tarot cards are. During this time, we can assume that is when the shadow alter is fronting. Softboy Mikoto slowly starts to become more helpless and fearful in this space as the song goes on, and this is where he makes his celtic cross tarot spread that quite frankly defines the whole song. I discussed that in my other post.

Another facet of plurality that is applied here is amnesia, which is common, especially when alters are pushed back to the headspace. Within the headspace, there may be a lack of awareness to the outside world, which Mikoto seems to express in his confused sentiments like the above (in the video, he is also scratching his head, which as a gesture can represent being confused). “Why am I here?” can act as a double entendre, both referring to “Why have I suddenly been pushed to this headspace?” as well as the whole point of Milgram- “Why am I in prison?”. He may not be aware of exactly what he did, hence why he feels it’s a mistake. He may be experiencing amnesia of what his shadow alter is doing, so he doesn’t even know what crime he committed. However, he at least has enough awareness to tell someone else is present in his body doing things, so he begs the viewer “Hey, just watch whatever my body is doing and it’ll all eventually make sense. I don’t have access to this information, but you do.” I thought this was an interesting fourth wall break.

The truth revealing itself could also be the truth coming to light from the particular tarot reading he does in the headspace; note that the cards only seem to be appear in this place and not in the outside world. So softboy Mikoto is trying to figure out what’s going on this way. If he can’t figure it out himself, maybe the cards can give him some direction.

Another duality- “I won’t forgive you if you reveal the truth” vs. “However I know I’m right when I say I’m innocent”. Or he could be right about something else.

I’m wondering if the breaking here is just reflecting the shadow alter or is softboy Mikoto actually wishing he could end the shadow alter. He at least wants things to change; the way things are right now is not something he’s okay with. Though, it sounds like he isn’t getting help with this and has no idea if he can even arrest full control again. It seems at this point, this has been going on for a while so he’s stopped trying.

In the video, the shadow alter is doing a GREAT job hiding the evidence; while of course probably just trying to not get caught, the shadow alter may also be trying to hide his crime from softboy Mikoto so he’s none the wiser.

He’s hoping he can be rid of the shadow alter side, but I think he also is dumping all his difficult feelings onto the shadow alter. Maybe he feels its some sort of release, even if he can’t control it, so he feels a lot of guilt over the shadow alter’s existence, even though that alter is serving a purpose as a conduit for those emotions.

I really really think though that there IS some connection between softboy Mikoto and shadow alter Mikoto. Maybe they are both truly aware of each other, hence the scene where they are viewing each other through the mirror. I think here, softboy Mikoto might be admitting that it feels good to let the shadow alter out, like a hug. The “minus energy” probably refers to the shadow alter.

“Maybe it’s okay that we’re separated like this?” he wonders. There seems to be a sense of feeling alive at least that is conveyed through the shadow alter.

SPLIT IN HALF- yeah, again, pretty encompassing.

In the video, I think this is when we have a switch, as Mikoto’s expression changes in the outside world mirror.

The chorus again, softboy Mikoto is shoved into the vaporwave shadow realm headspace. He’s asking the audience to investigate him here, but I also like to joke that he’s like “uwu look at me I could never harm anybody, pwease let me out”, which may be true only so far as softboy Mikoto is out.

I wonder if in “I will NEVER forgive you if this is happening to me” is directed at the shadow alter instead of the audience? Like softboy Mikoto is saying “I swear to god if you murdered someone im gonna be so pissed, but I also already kinda know it’s happening.” Just another take.

In the video, softboy Mikoto is THROWN into the headspace, where he is gifted with just one hint of what’s going on: The Devil tarot card.

You DARE accuse Miette of murder? Oh! 1000 years jail for Milgram viewer!

Now the vaporwave space starts to turn into a bloody mess; perhaps now softboy Mikoto is starting to put two and two together.

“Hurting it, holding it down, it doesn’t change anything, does it”- I definitely understand this being plural, like if your alters are causing problems, you may try and chastise them, or you may try and lock them away deep inside, but that often doesn’t stop them from existing. It’s really cool how that idea is present here. Like YES that’s how it is quite often. So even if softboy Mikoto TRIES to smother or accuse his shadow alter, that’s not going to change anything.

It being the same anywhere he goes makes me think he’s been putting up with this for a long time, that it’s not about what environment he’s in because his shadow alter is with him everywhere he goes.

“It’s like what’s wrong isn’t wrong”- may be referring to multiple things:

-the shadow alter having a different morality (hence why murder is okay for him, his indulgence in smokes and…redbull/alcohol, etc)

-OR, how softboy Mikoto’s amnesia isn’t letting him understand the full picture so everything is okay when he’s out fronting (shadow alter cleaned the place up and stuff, perhaps hiding all evidence of murder)

-“I’m already the fake one”- a very common sentiment for plural folks, worrying if you as an alter aren’t “the original” or if you’re not actually split and it’s something you’re making up, etc. I think softboy Mikoto is having these feelings. Poor boy, wish we could get you some therapy instead :/ (all of Milgram would be very different if only most of these people could get therapy, let’s be honest)

Now, what’s special here is that BOTH alters are in the headpace, with shadow alter Mikoto looming ominously behind softboy Mikoto.

During this next instrumental, just a side note: we see what’s going on through security footage. The security cameras reflecting a third person perspective is kind of neat in context of pluralism, where someone else fronting can feel like a third person awareness to another alter. I may be thinking too much into this one, but it’s a fun connection.

Another thing many plural folk go through: DISSOCIATION FROM REALITY. Ah yes, my good friend dissociation. Especially like in Mikoto’s case, where the consequences of being split have drastic consequences, he could be running away from the truth which may always be partially concealed to him. Something’s VERY wrong, he knows this for sure, and it may be at this point he really realizes “Oh shit. I just committed murder.” But instead of taking responsibility in any way, he’s trying to imagine that it’s a fabricated reality. I’m not going to say if this makes him bad or not, but it is a known coping mechanism.

I know I mention that the bad habits of smoking and drinking may be the shadow alters habits, but they could also be softboy Mikoto’s own methods of escapism, which definitely fits with the above lyrics. “I need to wake up soon”- but he still realizes that he’s going to have to face the harsh truth of reality soon.

Now this point indicates a marked change in softboy Mikoto and shadow alter Mikoto’s relationship: I believe there may be a time when softboy Mikoto expects to come back out to the front, but now the shadow alter is starting to take over fully and keep softboy Mikoto locked inside. This is supported by the Outcome card in his celtic cross spread being The Devil. Not only does this card have its own meanings, but here it may mean that the more violent side of him takes over.

Again, don’t know if he’s talking to the audience or his shadow alter in never forgiving this outcome. I believe softboy Mikoto does have a clearer morality in that murder is NOT okay, and if he were to fully acknowledge that he as a whole was capable of that, I think he’d break down. So he’s like “it better NOT be true” because he doesn’t know how he’d be able to deal with that.

Interesting in the video is when Mikoto snaps and the headspace turns red again; I would think this is when the shadow alter is entering the scene and taking over. The snap here is symbolic of the switch.

Now presumably softboy Mikoto is like “PWEASE WET ME OUT MISTEW OBAMA”, which, again with the double meaning, can refer to letting him out of the vaporwave shadow realm headspace OR letting him out of prison. Both apply.

“That it’s a lie

That I’m right”- a nice duality here. Mikoto is having difficulty separating the truth from reality.

Also NOW he is forgiving. Forgiveness vs not forgiveness (grudge)

I think it’s gotten so bad that he’s like “okay fine. Fine if I committed murder, fine if you’re accusing me of murder, but please help me understand what’s going on. Let me out”. Maybe he’ll forgive the shadow alter if only he fesses up to the murder.

Of note for the scene however is that shadow alter Mikoto is holding up The Fool card, which represents softboy Mikoto in this case. “I’m right” may be the shadow alter’s sentiment.

-THE CARDS AT THE END-

Then, all the cards show up in more detail, all depicting weapons instead of the standard minor arcana that you might see in your standard Rider Waite tarot deck (which these are based off of). The Wands are baseball bats, the Swords are kitchen knives, the Cups are…poison cans? Acid? The Pentacles are….records but I can see these being rotary saws if you squint. The Wheel of Fortune has car wheels with a snake….GTA time baby (the snake being hidden danger, the devil’s temptation, etc). The chariot is a really weird motorcycle death machine. I was thinking how like, people would drag people along behind them while driving a vehicle as a method of torture so there is that.

Now we see some cards not in the original spread- I think this represents shadow alter Mikoto inserting himself into the headspace and changing things to fit his goals. We see a couple placed in the original spread, but some don’t and are just free-floating, but you’ll see below we have enough context to decipher their meaning.

First, it’s the Page of Pentacles, which has taken over the position of the 7 of swords as the current challenge affecting the issue. This card indicates “Manifestation, financial opportunity, skill development”. I think this means the shadow alter is finally learning to take full control.

Then we see the reverse 2 of swords, which represents “Indecision, confusion, information overload, stalemate”. This could probably represent softboy Mikoto not suddenly understanding why the shadow alter is ALSO in the headspace. Maybe his dual presence in the outside world AND the headspace is indicative of exactly when he learned to take full control. This was NOT in Mikoto’s original spread.

Wheel of Fortune again, which was in the original spread. “Bad luck, negative external forces, out of control”. Yup, that confirms it.

Next, the Five of Swords from the original spread comes up. “Conflict, tension, loss.png, defeat, win at all costs, betrayal”. Softboy Mikoto is now being completely taken over. There is a facedown card on the chair. This might be the one that reads as Death later, so it may be that softboy Mikoto is…KILLED OFF?

Cup of Ace, “Love, compassion, creativity, overwhelming emotion”. I think this one is also meant to represent softboy Mikoto, but it could be that the shadow alter sees it as an act of mercy to take full control for softboy Mikoto. Maybe he feels his alter can’t handle reality and he’s going to take over full time. Or more likely he just has ulterior motives.

Reverse King of Cups. “emotional manipulation, moodiness, volatility”. Softboy Mikoto was lead along, thinking it was okay to leave things to the shadow alter or to exist alongside him. Now we see that isn’t a viable solution.

Reverse Five of Wands. “conflict avoidance, diversity, agreeing to disagree”.  I went over this more in the other post.

Chariot is the last one, WHICH ALSO WAS NOT IN THE ORIGINAL SPREAD. “Control, willpower, success, action, determination”. The shadow alter Mikoto has taken full control. Which is very quickly followed by…

Shadow alter Mikoto drawing Death. Also not in the original spread. Perhaps effectively “killing off” softboy Mikoto and betraying him.

Concluding Thoughts.

Now, I understand I do take most of these lyrics from softboy Mikoto’s perspective, but I’m sure there’s a layer of deception added on by his shadow alter. The Challenge card of the 7 of swords did represent betrayal. So softboy Mikoto’s only context into what’s going on outside may be his headspace tarot reading. If you want to question some of the lyrics, or even think one of the alters is lying, that would add SO much to the complexity of the situation, and I wouldn’t put it past the Milgram team to add something like that.

Common Themes/Symbols:

The mirror, both in the headspace and in the outside world bathroom

The Hanged Man- in a painting in the headspace and on Mikoto’s shirt. Indicative of being wrongly accused or martyred. Softboy Mikoto is likely represented with this, as well as The Fool. The Fool painting probably is there to show that he doesn’t know any better, that he is without the knowledge of what his shadow alter is doing (or doesn’t believe he’s doing anything wrong)

The Half Moon- a light side and a dark side. Pretty self-explanatory. Symbolically, it can also represent life and death. NICE.

Sorry if the conclusions end up being kind of vague. That’s the way a lot of this video is; what’s really going on, as it usually is, is up to viewer interpretation at this stage. I was just hoping to provide a bit of context into the images in the video, plural life, and narrator interpretation. I just really love this video and after this full analysis hope others can at least appreciate the work that went into it.

[whoacanada]

I can hardly choose, but I'm a sucker for identity porn and/or supernatural shenanigans (watch this turn out to be a gay Jack lookalike being media trash in Vegas.) Doppelgänger AU?

Actually, this is the overarching file for my habs!jack au! if you’ve been following me for a million years, this started as a halloween prompt where Jack meets a ‘perfect’ version of himself and that double tries to kill him and take his place. Fun right? That evolved into the much more stable habs!jack au — but the homicidal drama of the original lives on.

There’s seriously about 70k of various versions of this au floating around on my computer. Once I throttled back the murder and started thinking about the practical applications of a Jack that ended up playing for the Habs and an Eric that kept skating, things just kind of steamrolled. Unfortunately this led away from my main goal of writing a story where Jack confronts a version of himself that has ‘succeeded’ and has to deal with the emotional fallout, and turned more into a deep character study of what would have happened to Jack Zimmermann if he’d never truly gotten the support he needed to overcome his vices.

Of course, now the beast of the project is editing because there are so many raw versions I’ve tweaked a little here and there. Supportive Bob vs. Distant Father. Substance Abuse vs. Alcoholism. A dozen different takes on how Jack could crater a secret relationship with Bitty (usually sacrificing Bitty’s public image to save Jack’s). 

It’s definitely my favorite project and it’s almost too big, now to be stitched into a Frankenstein’s monster of a fic, but I’m trying. In the interim, here’s version one from all the way back in 2017:

Bitty looks up and finds Zimms watching him intently, eyes pale as ice chips, gaze sharp and calculating. “You’re beautiful,” he says coldly. “You’re beautiful, he’s out, and you’re his.”

A shiver runs up Bitty’s spine, because the other man’s fingers are twitching and ‘beautiful’ doesn’t sound like a compliment; not to this Jack. However, his tone is as foreign as it is familiar, reminding Bitty of his freshman year and a Jack Zimmermann who couldn’t seem to process his emotions.

"I need your help to understand because I think you’re why I'm here."

“I am?” Bitty swallows, startling when he realizes he’s backed himself against the counter. In a heartbeat there are hands on his neck, a pair of recognizable lips hot against the curve of his cheek.

“I could have given him everything,” Zimms whispers, softly enough that the stubble catching on Bitty’s cheek feels like a threat, “You don’t even know, do you? You’d never have to work a day in your life.”

“I have everything I want,” Bitty presses a firm hand to Zimms’ chest though the action does nothing to dislodge the larger man. “I don’t need his money, or yours. I’m happy.”

This isn’t the answer Zimmermann wants.

“No, see, you think you’re happy, because you don’t know anything else,” Bitty flinches when Zimms rests his cheek against the top of his head. “You don't even know what you could be." 

“That’s enough,” Bitty gets his palm against Zimms’ ribcage, the sensitive spot left over from an injury in Juniors, and shoves, hard. Zimms stumbles back with a breathless curse, and refocuses on Bitty with a wounded expression.

“Please,” he begs. “I want to know what I’m missing, what I did wrong — why does he get to have you and I don't?”

The version of Jack Zimmermann with three Stanley Cups and a substance abuse problem currently cornering Bitty in his own damn kitchen does not deserve affection. Not if this is what it does to him.

Bitty's rearing up for a fight when a thought stops him cold: "Wait, do you know me?"

Of course this is the moment Bitty's true Jack steps in from off the balcony with an excited flourish. 

"Papa had a few ideas on how to resolve this and he's heading to the airport now. He should be here in a few hours."

Beside Bitty, Zimms stiffens.

“You called Bob?”

.

Bob moves in for a hug, or a handshake, or something, and Zimms leans away from the touch, sliding back a few inches. Bob's smile falters and Zimms seems to immediately realize what he's done and laughs it off. 

"Sorry, sorry, just, ah, worried about making this worse," Zimmermann stumbles, clapping his hands together to wring his wrists.

"Of course, of course," Bob says cautiously, "better safe than sorry, eh?"

Bitty leans into Jack's side and whispers, "What just happened?"

“I don’t know.”

.

Jack frowns, his expression too harsh for Bitty’s liking, and he says something hurried, accusatory, in a language Bitty still hasn’t quite learned to speak. He catches Bob’s name, the Canadiens, and possibly something about leadership? No, wait, it’s  ‘management’— Then Jack scrubs a hand through his hair and paces like he wants to be angry but can’t find the energy. Bob isn’t doing much of anything but he’s pale and there’s an unfamiliar furrow between his eyebrows.

Jack notices Bitty staring and explains, carefully, in English, “The Canadiens asked my father to be the GM in 2009 — he turned it down when I dropped out of the draft.”

It takes a moment for Bitty to understand the issue at hand, but when he gets it, the realization comes with an unfriendly twist of concern in his gut. 

“Zimms plays for Montreal — isn’t that a conflict of interest?”

“That’s not the point,” Jack stalls out, trying to find the right words and failing long enough that Bob takes the reigns. 

“It took a lot to make me change my priorities when it came to my legacy, my family,” his father’s voice is thick with regret. “If those events didn’t happen, the other, ah, me, is still chasing glory.”

Jack leans in, nudging his father with a sympathetic shoulder, and Bob knocks him back with a tight, wavering smile, clearly unable to continue. There’s a lot of history here, more than Jack ever thought he’d need to share because most of it had been buried and forgotten. Or so they’d thought.

It’s Jack’s turn to pick up the thread of the conversation, at least while his father pulls himself together. “If Zimms is playing for the Habs —” he starts, drawing Bitty’s attention away from the hockey legend tying himself in knots, “— and his father is the GM, he’s not getting the support he needs. It’s not possible.”