#Detailed Writing Analysis

[sonshinegreene]

AI-Powered Feedback for Your Novel: Free Prompt for Deep Dives

Hey y’all, Sumo Sized Ginger coming at you today with a free tool. After crafting my own prompt to assess my story, I decided I wanted to use it to share with the community. Like many of you, I’m constantly thinking about how to make my stories better. We pour everything into our writing, especially when we’re tackling challenging themes, using specific stylistic approaches, or aiming for a…

[jamtamart]

what will it take to be more than just a man

[clfixationstation]

ngl I cannot bring myself to agree with the "Catra's redemption was rushed" crowd, whether they like the show overall or not. Perhaps I have a different view of redemption than most. To me, a redemption arc begins when a character experiences guilt and remorse for their actions, which Catra expresses in early season 4 when she has a nightmare about how she threw Entrapta under the bus and activated the portal. Catra's nightmare shows her images of Entrapta and Adora questioning her, placing the onus for her actions on her: "What did you do to me?" "Why did you do it?"

Derailing: Why did she do it? Not because Adora made her. Catra can't use that excuse anymore. "Why did you do it?" Adora also asked Catra this as a child (s5ep3 Corridors) after she hit Lonnie. Back then, it was because Catra was terrified of losing Adora's friendship and thereby being "discarded" by Shadow Weaver. She was scared for her life. But now? Catra didn't activate the portal for safety; she did it to win. She did it to prove to the world she could be victorious, to Shadow Weaver, Hordak, Adora, to everyone who refused to believe in her. Yet after pulling that lever, Catra's true desires were revealed; she wanted to be relatively safe, surrounded by friends, allowed to love Adora, and recognized for her worth. She didn't need to dominate. When that false reality shattered, Catra's hope was shattered with it. She fell back on her sense of injustice, reduced to her own agony, inflicting it upon the world and herself. After the portal, Catra had to face that her goal of ascending through the Horde was hollow.

One could even argue Catra feels regret at the end of season 3 with this look she gives Adora of "ohhh I fucked up, I fucked up big time." Catra looks sickened, with herself and with how Adora now sees her.

From this point in the story, it was blatant to me that Catra was headed for redemption. Catra clearly knows that she went too far and may have completely burned every bridge and ruined all hope of redemption. But she can't yet confront that her ambitions will not fulfill her. So, she doubles down. In classic sunk-cost fallacy fashion, Catra seemingly strengthens her allegiance to the Horde, taking control and commanding operations. Despite herself, Catra's guilt creeps up on her, not only through the nightmare but also in her approach to Adora. Unlike in s1-3, throughout season 4 Catra avoids Adora almost entirely, only engaging from afar. Catra evades confronting the amount of pain she's caused Adora, the seemingly irreparable chasm she's clawed between them, focusing solely on strengthening the Horde. She still cares, but denies herself that regular interaction.

This suppression poisons Catra's fragile friendship with Scorpia as well. Catra continually lashes out at Scorpia, projecting her own insecurities and frustrations onto her. Her behavior pushes Scorpia away and causes her to leave the Horde, to leave Catra. This is the first time someone left because of her. It almost feels like self-sabotage, Catra pushing Scorpia more and more, becoming crueler, creating reason for her to defect. Catra doesn't feel worthy of Scorpia's friendship, of anyone's. And so Scorpia's kindness enrages her, reminds her of how far she's fallen, and how much lower she will go. Catra also lashes out at her former comrades, Lonnie, Rogelio, and Kyle, further isolating herself from anyone who cares about her, pinning her entire existence on proving herself through Horde victory. She failed in the friendship department; the Horde is all she has left.

But Catra can't fool herself forever, and she certainly couldn't fool Double Trouble. After defeating Hordak, who does Catra have left to prove herself to? Horde Prime? Herself? Neither of those people care. For the first time, Catra is completely alone, and Double Trouble doesn't let Catra hide from how she got there. They read Catra to filth, summarizing what I wrote above: Catra pushed all her friends away in pursuit of a villainous role she didn't desire; her heart laid elsewhere. Now both goals are in ruins. Depleted, with nothing left to prove, Catra asks Glimmer to kill her. Catra's guilt permeated season 4, seeping into all her relationships and degrading her mental state. But guilt is meaningless without action. Which brings us to season 5.

I got soooo off track, so I'll try to wrap it up. So yes, Catra's redemption arc started in s3/4 when she first felt remorse for her actions - not in season 5. Even then, her change took time to develop. Initially, Catra still tried to align herself with Prime, but convinced him to spare Glimmer, indicating her shifting allegiance. The girls begin to empathize with each other and Catra sees how much Glimmer cares for Adora and the life Adora has built for herself. Fully expecting to die, Catra chooses to throw away the small amount of favor she earned with Prime and save Glimmer, therefore protecting Adora. Catra apologizes to Adora for everything. Her body is stolen from her and she dies as a consequence of her actions. She's revived and chooses to join the Rebellion. She slips up but genuinely tries to make amends, not for her own conscience but because it's right. She wants to do better. She accepts ire from the Princesses without retaliation. She defends Adora from Shadow Weaver. She gives Adora the strength to choose to live and allow herself to desire, and together they save the world.

This redemption is not immediate. It was given time, the foundation established across seasons. Catra does not have a sudden change of heart. It builds gradually, even within the final season. Nothing about Catra's arc was rushed and nothing about it was easy. Each day, she fought the harmful instincts cemented in her from years of abuse to become a better person, experiencing realistic regression and growth. Catra was tormented by others and herself for her entire life and all it did was make her worse. She deserves a soft universe, the new world she and Adora created together

[iwillstabyou]

TMAGP 31 - A Computer Nerd’s Breakdown Of The Error Logs

It’s round 3, bitches! (tumblr crashed twice when I was writing this so I’ve had to start again multiple times. I do in fact see the irony, considering the subject matter)

I was listening to TMAGP 31 and as a computer nerd, oh my god those error messages just HIT DIFFERENT. There are so many subtle details hiding in those lines that a typical non-computery person would probably miss, so I feel it is my duty to explain them and their possible implications. So that’s why I’ve decided to fully break down each part of the error report, complete with what they could potentially suggest — think of this as “the TMAGP theorist’s guide to deciphering Chester’s yapping”

So without further ado, let’s get this party started…

(NOTE: lines from the transcript are in red, ‘translations’ are in purple, jmj specific stuff is is green, explanations are in black)

Starting off with Category: fatal programmer error, notice it says programmer, not program. There is nothing wrong with the code - the user has truly fucked up. Uh oh, Colin has made a big mistake…

Also, clever double meaning here with the word fatal. Obviously we know it was fatal to Colin (RIP king 🥲), but error logs also typically have a criticality level describing if immediate action needs to be taken. There are 6 commonly used levels, with the most critical being, yep you guessed it, ‘fatal’ - this means that whatever Colin was doing was a critical threat to the system. In other words, Colin had figured out the problem and was dangerously close to fixing it so Freddie just went “oh shit, we need to deal with this guy quickly or we are in serious trouble.”

Then we’ve got the next line, attempted host compromise (the Errno611 isn’t significant - error codes vary from system to system). When it comes to network terminology, a host is basically just any device on the network, so in full this line basically means “somebody’s tried to damage part of the network.” Importantly, “host” seems to suggest that the computers aren’t the source of this evil but merely a vessel for it. Freddie is just the mouthpiece for these supernatural forces - a bit like a non-sentient (as far as we know…) avatar. Whatever these forces are, they didn’t come from within/they weren’t created by Freddie.

(NOTE: I will come back to jmj=null in a bit)

The program traceback, Traceback <module> by extension BECHER, is rather interesting. A network extension is a way of providing network access to remote users (think along the lines of a VPN) by creating a personal direct ‘route’ to the network. Therefore if it’s the subject of an error report, it means there’s been an issue with data transmission along that path. So this bit means “there’s a problem with this specific network route that’s allocated to Colin.” However, the darker implication here is that Colin is an extension of Freddie. Although he wasn’t initially a part of all of this, he’s become tangled in the web (no pun intended) to the point that he and Freddie are inseparably intertwined. The OIAR employees may be able to quit their jobs, but they’ll still be a part of Freddie…

There isn’t much to say about Host=self.host in this context. It’s just convention when it comes to object oriented programming. Not important here.

Extension BECHER compromised isn’t just saying “there’s an issue here.” It’s saying “there’s an issue here that is a serious threat to network operation.” In other words, Freddie’s going “uh oh. Colin needs to be dealt with.”

The next bit is pretty self explanatory. I really don’t think I need to explain what <hardware damage_crowbar> means for you guys to understand. This bit made me laugh so hard. One thing that’s interesting though is that it gave it a DPHW, so Freddie processed this like it was an incident… Perhaps this fully confirms that the ‘thing’ controlling Freddie is of the same origin as the cases - it’s not something else entirely?

And now onto Administrator privilege revoked. This was the moment when I fully realised “oh no. Colin is fucked,” because any control that Colin may have had over the situation is now gone for good. Freddie’s basically just said “fuck you Colin. You’re not in charge anymore. I am.”

As you can probably guess, Unexpected data isolated/resolved just means that the crowbar’s been dealt with and the program can run as usual. Similarly, the Colin threat is fixed now he’s not an administrator i.e. he can no longer control the system. However, it then gets weird with Independent operation permissions revoked… It’s not saying Colin can’t use the network independently, it’s saying that Colin can’t be used independently of the network. Remember what I was saying earlier about Colin being a part of Freddie? Yeah, well now he purely is a part of Freddie. They’re turning our boy into data!

NOTE: I know in the audio it said everything was discarded but I’m going by the transcript. Idk why they’re different

You know it’s a bad sign when you hear Re config: self.host - Freddie’s evolving. The network is literally reconfiguring itself to now include Colin. And then Freddie goes through each of his alchemical elements one by one and fucking deletes them! How rude. You go and eat this man only to spit everything out!? I guess he’s feeling generous though, because he decides to keep the sulphur, which in alchemy, refers to the soul… If this isn’t just a coincidence, then that means Colin’s actual soul has been uploaded to Freddie. That could be really cool. And messed up. But mostly cool.

Starting with the final line, everyone knows what New administrator permissions assigned means, but we don’t know yet who they’ve been assigned to. Maybe it’s Gwen? Maybe it’s a new character? Maybe there is no system administrator anymore? It’s a mystery.

Now that’s out the way, let’s get on to the real juicy stuff…

The top few lines are pretty simple - it’s Freddie’s way of saying “Colin was a problem. We ate him. Now he’s not a problem anymore.” The next line, however, is a reminder that none of this is simple” - .jmj error not resolved. There it is again. The infamous jmj error. What does it mean? Jon? Martin? Jonah? Is that you???? Nobody knows. One thing we do know though is that jmj=null (from the start of the error log). Now when it comes to interpreting values, null is weird. It’s not zero, it’s not empty, it’s sort of nothing but it’s not nothing. It’s just null. It means no value, but it doesn’t mean that the variable doesn’t have a value (if that makes any sense to you guys???). Ooh I think I know how to explain it?? Imagine you’re Jonathan Sims, head archivist of the Magnus Institute and you’re digitising some archived ID photos when you find one without a name. The recorded name in the database would be null - you can’t put anything in particular, but that doesn’t mean the person in the photo doesn’t have a name. I guess null means unknown or missing here. So basically, what jmj=null means is that the jmj is unknown and that is a problem because it can’t get ignored/it is important. So what it’s basically saying is that jmj is a mystery not only to us, but also to Freddie.

Take a look at Data integration cycle ongoing <0.02%> - Data integration is the process of combining data from multiple sources into a single source of truth. There are 4 stages: data ingestion, cleaning, transformation, and unification. Thanks to the whole Colin ordeal, I’m sure you are all quite familiar with these stages by now (and that, students, is what we call a case study!). The peculiar thing here though is that we’ve just witnessed most of the data integration cycle - surely it should be higher than 0.02%? Yes, that’s correct. It should be far higher than that. It makes no sense. UNLESS this isn’t about Colin. Most of Colin’s data has probably already integrated. This is something else entirely - something so much bigger and foreign than these computers were designed for (the only comparison I can think of is trying to run the sims 4 with all expansion packs on a 15 year old laptop. It really shouldn’t work, and it probably won’t, but it’s gonna try regardless). This seems to follow on nicely from the jmj=null comments above, because Freddie is clearly struggling to integrate something (hence System function margins down to 82%), and when you try to read data that hasn’t been fully integrated with the system, you end up with a lot of missing & unknown values. Sound familiar? Yep, that’s right - until more data is synchronised, many values will be null, like our good friend jmj. Why is it taking so long to integrate jmj? We don’t know. Perhaps its origins are so supernatural and otherworldly that it’s simply not tangible enough for Freddie to process it? That’s what I think at the moment, at least.

So yeah, that’s my line by line analysis done! Hope you found that helpful/interesting. This podcast is so well written I’m actually going insane! Jonny and Alex, you are the guys of all time! As I’ve already said, feel free to expand on any of this - I’d love to hear your theories

Signed, your friendly neighbourhood computer nerd who is very autistic about TMAGP :)

[iamhereinthebg]

I've been thinking a lot about Hakubo lately because of the season's annoncement and the importance of flowers for him.

His youngest appearance is him watering lotuses showned by the only thing he could have called his family

Flowers crowns have always been associated with Sumire in his life.

They are also always showed next to the Kannagi statuettes. He even brings flowers to Sumire's when he is not able to hold them for too long.

It's the first things he offers to Aoi, having the whole boat filled with them, to calm her after bringing her into an unknown place. Knowing that Sumire used to love them a lot and not understanding why she doesn't seem pleased with this offering.

Hakubo also spared the children who were weaving flowers baskets, creating the school rumor and tradition because of it.

He is the mystery confirmed to have been assigned by Sakura who is clearly associated to flowers (hence the Cherry tree in this chapter guiding Sumire to make them reunite)

Flowers are a leitmotiv throughout Hakubo's whole arc especially compared to any other mysteries which don't have any flowers in their boundaries, his being the only one with so many in it. (Yako's doesn't have flowers when it's under her command)

I just think it's so sad that he can't be in contact with something that has been present his whole life and reminds him of the only person important to him.

[beargregor]

wait i'm curious, what makes you say that gregor doesn't like everyone else (if i read that post right)? just curious since i've never seen anyone else say that

i don't necessarily think gregor dislikes everyone else at lcb but i do think that gregor is an incredibly petty person that isn't nearly as close to the rest of the sinners and even outright dislikes some of them cough cough rodya cough cough which a lot of people just Refuse to see because he's as much of a doormat as he is. there's several examples i could get into to try and prove my point however i'll just focus on what i personally think to be the biggest ones.

additionally, this is going to be kind of long, so i'm adding a read more. read more! read it. sorry for being so wordy. i have several diseases.

Pt1. gregor is the type to try and get along at least decently with everyone, especially if he gets a good first impression from them.

this is less a point in favor of gregor's distance w/ the rest of the sinners and more just a contributing factor to it. once again there's several examples i could point to here but i think the most in your face one happened in canto I with yuri, as several people have pointed out. even before gregor comes clean about growing attached to her as quickly as he did because she reminds him of his sister, we get this interaction.

i'll go ahead and make the disclaimer now that i don't necessarily think gregor is the most reliable of narrators, especially when it comes to his feelings and interactions with most people, but from the way he acts when the topic of yuri comes up (and the way we still see him act even all the way up to c7, nearly a whole year after yuri's death) i don't see reason to question his sentiment here. gregor immediately got that aya and yuri were close, potentially even taking note of their traded belts, and went out of his way to get something nice for yuri despite hardly knowing her.

i feel like a lot of people have forgotten as much, especially since it's been so long since c1, but gregor actually spent a good bit of season 1 doing the exact same thing with the other sinners! gregor reads a connection between him and ishmael pretty quickly despite getting off to a rocky start

mostly because gregor can tell that ishmael is pretty sardonic in a very similar way to him. there's been multiple instances where ishmael and gregor have essentially expressed the same sentiment at different moments, most notably gregor's little argument after ishmael got shot with a decay ampule in c4

and ishmael's response to pilot talking about self-sacrifice in c5

i could go ahead and pull up more examples, but in general pm has gone out of their way to show us that gregor and ishmael are pretty similar, so it makes sense for gregor to assume that they're friends, right?

this will be pushpin 1. keep note of this for Later.

ishmael's only the first sinner we see gregor trying to do this with in s1, we also see him try it out with heathcliff, sinclair, and ryoushuu

he's tried to get along with charon, being one of very few sinners that we've seen actually try to establish a connection with her at all

even rodya, despite my insistence that gregor doesn't like her nearly as much as the fandom thinks he does

all of these seem pretty fine and dandy, right? sure it frequently leans towards self-degradation, micromanaging, and commiseration, but gregor can at least be pretty chummy with most of the sinners, can't he?

Pt2. hell's chicken was more than just comic relief guys please

i'm fully aware that this is quite the hot take, but i think hell's chicken deserves a lot more credit for character writing than the fandom gives it. hell's chicken gave us foreshadowing for several events, such as the donqui bloodfiend reveal

heathcliff's distortion in c6 (as well as hong lu's highly speculated distortion at some point in the future)

and ryoushuu and sinclair's continued connection by making him the odd one out on her team

which, hey! that implies something about gregor's odd one out, don quixote, too, doesn't it? yes. yes it does. that's pushpin 2. keep note of that for later.

speaking of pushpins, hey! that's pushpin 1!

splitting into teams is one of the major events in hell's chicken, and most of the sinner's choices are either motivated by very little, backhanded, or motivated primarily by not wanting to be on the opposite leader's side. i didn't include all of the picks, just because i feel like including most of them already gets this across, but i think gregor took one major thing from this: most of the sinners, when push comes to shove, will only side with gregor when they refuse to or can't take his opponent's side.

now, don't get me wrong, i'm fully aware that this is primarily intended to be comedic relief, but when gregor is being described as having his trust broken by ishmael or nearly crying because no one on his team properly sided with him for him, i feel like it's pretty fair to read into this.

something that i think is pretty important to remember in conjunction with this is that we know that gregor is the type to hold a grudge, both from his general attitude towards the G corp soldiers in c1 as well as his continued distaste for vergilius

even beyond the splitting into teams of hell's chicken, the sinners have given gregor plenty of reasons to feel bitter. i feel like this is something people have noticed but haven't really put a finger on, but it's kind of wild just how often the rest of the sinners make gregor the butt of the joke

and sure, we could argue that a fair few of these aren't really made with any ill intent. quite a bit of it could have been meant as harmless teasing, but with gregor being more sensitive than most, it coming from nearly all sides, and as often as it does? yeah, i think he's prone to taking it a bit personally.

Pt3. yes i do still think gregor was the third most important character in canto VII you guys gotta hear me out okay

of course, all of this leads up to the bit of the story i highlighted, doesn't it? c7? i totally get why people haven't really picked up on all the gregor things i did in it, seeing as they were mostly not *directly* said about him or by him.

personally, i think that gregor's distaste for talking about himself on any serious level and thus leading to him getting sort of "sidelined" narratively (which i take issue with that claim, but still. it's effective for getting what i mean across atm) is supposed to lead players to take a deeper look at the times gregor gets held up to other characters and compare and contrast what's being said about them by the matchup. as i showed earlier with his immediate latching onto ishmael, i think this is something gregor himself is at least partially aware of too.

so, that begs the question, who was gregor compared to in canto VII that makes me think it's one of the most critical pieces in understanding his character?

really, i'd like to avoid getting too lost in the analysis of this canto specifically, since i'd like to do a proper post about this later, but i figure i can bury the lede a little before doing it properly.

c7 features several characters being made to perform in sansón's play, acting out the relevant backstory for this segment of the plot. a lot of these characters have rather direct, degrading reasons for playing the roles they do.

outis, a character with an inflated ego who wants her journey to have a purpose, is made to play an aimlessly wandering villager with a single line.

hong lu and ryoushuu, two characters for whom families and the expectations placed upon them are likely going to play a major role, are made to play bloodfiends.

rodya, a character who resents her lot in life and is constantly shown to be eager to leave her destitution behind her and become someone special, is made to play a helpless villager that's too poor to even offer any money to the hero that saves her.

heathcliff, a character that has spent most of his life getting dehumanized by comparing him to beastly animals, is made to play a literal bear whose sole purpose in the plot is to get beat up and then quickly left by the wayside.

sinclair, a character that has two opposed parties essentially treating him as a macguffin to procure for their side, is made to play the character who was arguably the catalyst for this entire canto, not to mention playing a decently major role in ruina.

our star don quixote is made to play her father, the first kindred, but there's someone by their side the entire time, isn't there? don quixote's dear, steadfastly loyal companion. a character which don quixote has tasked themself with getting to come out of their shell?

hello again, pushpin 2.

gregor has been made to play our unreachable star, sancho. someone had to, of course. you can't really tell a story without it's main character, now can you?

now, i should once again give a disclaimer. i am not trying to say that i think adapting what happens to donqui/sancho in c7 to gregor is the road pm is going to take here, not only would that toe a bit past the line of foreshadowing, but it'd also just amount to rehashing that plotline again, which i don't think would make for a particularly exciting story.

what i DO think is that we can take a lot of the things that are said to either directly be the case for sancho and use them to inform how we see gregor.

and god, does playing sancho have some fucking implications for our favorite ossan archetype.

starting off, the earliest moment we get to see of sancho is quite literally her just waiting for death to take her in a pile of ashes.

which, i should remind everyone, is actually pretty damn close to what happens to gregor's literary counterpart at the end of the metamorphosis. gregor samsa experiences one final breaking point that pushes him over the edge and makes him decide to just wait for starvation to take him.

gregor and sancho both consider themselves to no longer be human, something which sancho goes out of her way to highlight repeatedly throughout the canto and gregor is quick to get defensive on her behalf for when outis starts really tearing into her

sancho spends quite a lot of this story denying herself the joys of community and friendship, despite knowing that, even with the rest of the sinners frequently making jokes at her expense and outright insulting her, they were things that she desperately craved.

and, while this is getting into my "outis is a red herring meant to distract us from gregor's eventual betrayal" theorizing, i also think it's worth noting for this discussion that sancho's fellow kindreds, her family, all seem to be under the impression that she dislikes them and ultimately her departure was an act of betrayal

and that, despite gregor being one of LCB's resident mood makers and attempted conflict de-escalators, one of the sinners that's most prone to making appeals to the bonds they've all forged together, only him and faust remained silent during everyone's speech

so yeah, i think there's quite a lot of little details and hints building up to the reveal that gregor's not quite as fond of everyone as he presents himself to be. i do think a lot of this ultimately comes down to gregor getting in the way of his own happiness, similarly to donqui, particularly because he's been frequently portrayed as something of a self fulfilling prophecy, especially by giving him as many christ allegories as they have by way of priest and garden of thorns. gregor is convinced that the rest of the sinners don't like him because he's not convinced anyone could like him, so he convinces himself that he hates them because why should he care if someone that he hates hates him too?

a lot of this ultimately ties back to my personal interpretation of what happens in the metamorphosis as well as my own theories regarding all the times gregor has made weird callbacks and references to lobcorp and ruina, but yeah. i think about this guy and his deeper characterization a fairly normal amount, i think.

to end this off i'll highlight one of my favorite little "gregor is fucking seething and trying so hard to keep it cool" moments, in the credits CG for c7 we see rodya teasing him by drawing a little horse on his window and actively pointing and laughing at it, which gregor really doesn't seem all too pleased about.

i personally think this ties into the other cruel part of sansón forcing gregor to play rocinante, which is the more literal "he's actually just straight up playing rocinante" side of things. gregor was quite literally made to play something less than human, less than even animal really, as he was reduced to nothing more than the shoes don quixote wore as she got to play the leading role. sansón directly makes jokes about gregor being nothing more than shoes in the play twice, which adds to this reading, i think.

this, imo, really plays into the adaptation of the metamorphosis! i've seen a lot of readings for the book that posit that, despite being the protagonist, gregor samsa can't really be considered the main character due to nearly everything he experiences in it being used to further his family's character development at his expense, which i think fits nicely with limbus gregor seemingly having the most said about him through indirect means by holding him up to other characters. also it's rodya carelessly making fun of His Big Major Insecurities™ again like she did in c1 which i always find fun. rodya i love you but god you're the worst.

[x-enocyon]

My niche hill that I’ll die on is that Cyberpunk gets too much flak from its initial launch and has some of the best writing in the last decade of gaming.

I just finished my most recent run last night and have some Silverhand thoughts. Some spoilers ahead, mostly abstract character analysis

We can criticize CDPR for how messy Cyberpunk was at launch, certainly. But I feel like that’s largely already been done to death and the game has been so vastly improved since that point that, personally, I can’t be bothered to hold that grudge. It’s a damn good game. It fumbled to get there but I will acknowledge it for the worth I see it at now.

Anyway. Johnny. Part of how I measure the quality of an RPG character’s writing (or really any character’s writing, but especially pertinent within the genre) is how strong and how sincere an emotional reaction I have toward them is. I can still enjoy an RPG if I can see the eventual plot twists and character arcs from a mile away. Breaks the immersion but I can give some suspension of disbelief. I don’t mind too terribly if I can tell what the writers want me to think of a particular character because, after all, this is a video game. Certain things have to be simplified or made especially trope-y for sake of accessibility to players and streamlining the plot.

Johnny though? Went through many ups and downs of my opinion of him. For my first two playthroughs of this game I couldn’t decide how exactly I felt about Johnny. I don’t trust this guy as far as I can throw him. I agree with him. I don’t agree with him and his inflammatory language makes me dislike him. But he’s funny. Okay wait I did agree with that. But he’s mean for no reason, but he believes the people deserve a voice. I think he has a good heart, but wait he’s a prick to everyone he’s ever loved. He ruined his own life. He wants to fix it, he wishes he’d fixed it sooner. He’s an asshole. He’s a bleeding heart. I trust him with every fiber of my being, I would give everything for him even as he shouts in my face. I know he would do the same.

He’s a complicated person in a way that is both extravagant and very well-grounded. Which suits the archetype he’s filling; rebel rockerboy with big dreams and a lot of anger. Johnny says brash and inflammatory shit more often than not but his moments of calm, kindness or sadness stand out so starkly that, after a while, I can’t be deterred by the mean front anymore. I see you, asshole. And I care about you.

One of the biggest stand-out things to me about Johnny is the way he insists not that he wants to save you but that he will and that you should let him. He’s set his mind on it, and I think it’s an indication of his guilt and a sense of urgency to finally do something right for someone else. He’s fucked up so many good relationships in his life that by God he’ll do right by this one even if it means dying again, even if it means you’re left with only months left to live. And I like that if you give Johnny a second chance at life and give him your body, he’s so fucking angry. He fights you all the way down the bridge. He plays dirty, he insults you by claiming you’re giving up. But he still takes your hand at the final goodbye— he’s not letting someone go without a goodbye again, even in anger.

All of Johnny’s big feelings and overbearing opinions tell me that he’s a man with a lot of love to give. I don’t think he’s a hateful person. I think anger, recklessness and rebellion are easier to manage than desires and feelings he otherwise has no outlet for.

I mean, hell— Johnny is so driven by his feelings for the people he loves that if he gets close enough to V, he convinces himself that the pair of you alone can storm Arasaka tower. Even after he already died doing that once! For the same reason— to save someone he loved! But the people around him give him the sense that he can do just about anything. And because he’s really and truly close to someone this time, he (and V) pull it off. Which also narratively speaking just punches me in the gut. Real connection, real love, real openness no matter how badly it stings— it’s a powerful force.

I like to read late game Johnny as madly in love with V and determined not to fuck up a relationship again. Even if it means that he can’t be with V. I like to think that despite Johnny literally being in your fucking head, he second guesses himself out of knowing for sure if V reciprocates his feelings. It’s reminiscent of feeling very certain of something in your own head and second guessing it anyway because of insecurities, trauma, anxiety etc. I like when a hugely confident character becomes wary around their most tender feelings.

I think saving V is Johnny’s final act of proving that he really, truly, sincerely and selflessly loves V. And I think that’s how he proves it to himself, too.

[da-janela-lateral]

Every time I see a shounen fan say that the Confession Arc conclusion was bad because "it never showed how the government dealt with an esper obliterating a city", I lose a bit of sanity, because while it's a great thing to think about in a post-canon context... you know it's not necessary for the plot, right? Implications are fun, sure, I love those, but most stories don't need to elaborate on every single one of them, much less when they're about something that isn't the core of the story.

Mob Psycho 100 is essentially a story about interpersonal relationships and internal conflict. The supernatural worldbuilding permeates most of the plot, but it doesn't define it: in fact, it acts more like a means to emphasize the themes. Not even Claw – a terrorist organization that uses powers as an excuse to take over the world – is "about" superpowers: it's strongly connected to the themes of "people needing people" and "no one is special". The conflicts transcend the paranormal elements because they're character and theme-driven in nature. Besides that, the story actively questions why powers should be a big thing by itselves (ex. Mob criticizing Claw members for feeling superior when society was built by normal people). Turning around and putting a random plot point that suddenly makes them so would be quite the opposite of what the anime is about.

That being considered, there is no reason for the Confession Arc to dwell on the government being after Mob or on a Big Threat to Espers for the sole reason of showing some consequences. The rest of the plot didn't work like that. Confession Arc solves the most important conflicts of the entire anime, all of them being internal, so adding a whole arc after it would not only be awkward: it would be completely useless theme-wise. What is there to add? What would the plot mean by this? How would it affect characters who already learned what they needed to? It’s a fun thing to think about, but it would bring nothing to the table. Claiming the ending was rushed or wasted potential just because of this is kind of a misunderstanding of how writing works.

[lyxchen]

Okay so I've heard this said a bunch of times and I'm gonna admit I thought like that too for a while but no, Gi-hun did not win the games because he was lucky. A lot of people think that's how he won because he never killed anybody but that's really not the point. Gi-hun won the games because a) he's smart and is able to look at things from a different angle, b) because he is a good and kind person who also believes in others and c) because of the goodness and care get got back from other people.

In the first game he survived because Ali saved him and that wasn't luck, that was Ali being a good person and helping somebody not get killed. Ali could've not caught him, let him die, he didn't even know Gi-hun at all at that point and he put himself in more danger too by having to hold on to a person while standing completely still but he still saved Gi-hun because Ali is a good person.

In the Dalgona game he quite literally Was Not Lucky. He decided to go with the umbrella which is the worst shape to pick and he probably would have died if he hadn't looked at the game in a different way and decided to change his strategy. Gi-hun is smart. He is also optimistic and so he tried something new and found a different way to beat that game.

In the third game he survived because he was smart and kind enough to listen to Il-nam. The other people in their group dismissed him as just an old man speaking but Gi-hun didn't and that way they had a good strategy to beat the other team. The same goes for him listening to Sang-woo's idea of running three steps and then stopping, which ultimately was what saved them. His group also chose him as their leader (who, as Il-nam said, needs to not seem weak or loose hope because then the whole team is doomed). His team trusted in him and his optimism and they were right to do so.

In the marbles game he won because he was once again kind and decided to team up with Il-nam and also because in the end Il-nam decided to "sacrifice himself" for Gi-hun because he showed him kindness before. Yes Il-nam didn't actually die but he also knew that Gi-hun had cheated and still let him continue on to the next game, probably because Gi-hun had been good and kind and caring towards him before, even though he really didn't have to be. Gi-hun also didn't know this but by teaming up with Il-nam he inadvertently ensured that Il-nam had a lot more fun in the games than he would have had, had everybody just ignored to "old, fragile man". Gi-hun was good to Il-nam throughout all the games and it ended up saving him in the marbles game.

In the fifth game it's only some small moments as Gi-hun isn't really involved in the game because he's the last number but still it wasn't just luck. First of all he was kind enough to give the number 1 to the player that asked him for it. Yes, that number was bad but he didn't know that and had he been selfish enough to say no to that other player he wouldn't have survived. Being the last to play in any game can end up being bad for you, still he decided to give up the number he picked because the other player asked him to. Secondly he also survived that game because Sae-byeok was kind enough to remind him of which glass tile to step on after he had forgotten which one it was. It's only small but she didn't have to tell him and still she did. Sae-byeok btw is also good to him because before that he was good to her and protected her (even though he was angry at her at first) and that way he was able to gain her trust.

Lastly he won the Squid Game because Gi-hun was kind to Sang-woo and because Sang-woo deep down was still a good person. There were probably many reasons as to why Sang-woo decided to kill himself in the end but part of it, I'm sure, was also because Gi-hun was a good friend to him. I mean Gi-hun was even willing to give up all the money and go back home with nothing gained if it meant that Sang-woo didn't have to die and would be able to come home with him. Gi-hun deserved that win and that money and in the end Sang-woo knew that. He also knew that Gi-hun would make sure to take care of Sang-woo's mother and that he wouldn't just take all the money for himself because Sang-woo knew that Gi-hun is a good person. (Gi-hun technically also won the Squid Game because he was good at it which is also him being smart)

So in conclusion and I hope y'all haven't stopped reading yet: Gi-hun didn't win the games because he was lucky. He didn't just sit around doing nothing and won anyways. He won because he was smart but even more importantly he won because of the kindness and goodness that exists in humans and that is especially present in him. He won because he had empathy, because people trusted him, because he got back from them what he gave to them first. He never killed anyone and we can clearly see that he Could Never kill anyone in those games but that's not his weakness. Just because he didn't let himself get corrupted and turned into what the games wanted him to turn into doesn't mean he won because of luck. Him not playing by those subtle, hidden rules that are made to force him to be bad, to not care about others and to give up his kindness actually means he was better than the games. He won because he didn't let them turn him into a monster. They tried really hard and they failed and that's how he won!! But also on top of that he also won because he isn't the only good person in this show. He also won because other people helped him, were kind to him and gave a shit about him. Each and every person that helped Gi-hun didn't have to do that. They all could have not helped him, Ali could have not caught him, Sae-byeok could have not told him which one was the correct glass tile, hell, she could have Lied to him about it and the only difference it would have made for the other players would have been them being one more dead person closer to winning all that money. But that's really not how humans are and act which is why all these people helped Gi-hun, helped each other in small or big ways and in the end his own kindness and the kindness that exists in other people is what lead to Gi-hun winning. That's not luck. That humans being good

[ethereal-feline]

"Twilight was the main character because she represented the Element of Friendship."

"You interrupted my busy schedule-"

"I'M NOT DONE."

"And Rainbow Dash was like the sporty girl."

[arscorpii]

touga's story in adolescence of utena was a clear parallel to the story juri told to the student council members in episode 39 about a boy drowning from trying to save juri's sister who almost drowned in a river. but, i find these little parallels to be interesting too.

the chapel and the castle being in the background of the scene where the girl was drowning.

[quicksilversnails]

There's something about how The Cage fits into the larger narrative of Slay the Princess through how it approaches cycles, choice, and endings that makes me keep coming back to it in my mind.

The Princess' core belief in the chapter is that she/TLQ have no agency and that they are forced to repeat an endless cycle of events. While Cage herself only has knowledge of the 3 chapters in her route, and her pattern can be proven wrong within that context, her words take on a greater meaning when viewed in the context of the larger game. Because Slay the Princess' narrative structure is cyclical in nature:

Chapter 1. You wake up on a path in the woods. She wakes up in chains. You die.

Chapter 2. You return. She changes.

You continue until the world unravels and Memory returns. You talk to Her. The glass shatters.

Chapter 1. You wake up on a path in the woods. And so on.

No matter what you do, this gameplay loop must continue. Your choices are inherently restricted by the construct confining you both to a limited environment, or on a more meta level, by the dialogue options given to you by the game itself. No matter where the story goes, you will always find yourself in the Long Quiet, and meet the Shifting Mound. As you play, the fleeting few options you have to subvert this narrative progression are closed off (with the Good Ending and Oblivion becoming inaccessible after gifting 1 and 2 vessels respectively, and waiting forever only temporarily pausing the loop, not breaking it. Even millennia mean nothing in the maw of forever...)

As if this wasn't heavy enough, if you consider the implications of the "You're on a path in the woods..."/construct reset ending, then you playing the game might not even be the first time these events have occurred: the cycle of you and her meeting and hurting and growing and forgetting each other continuing for longer than you or the Shifting Mound/Princess could possibly remember.

(And considering how, even when getting Stranger as your very first vessel on your very first playthrough, you can still experience "the endless repeating patterns and emotions of the journey, a continuous march to a destination long forgotten", I'm inclined to believe that this ending probably has happened before, likely many, many times...)

What was already a bleak chapter becomes even bleaker when viewed from this perspective: no matter what you do in the Cage, you cannot break the pattern of the game. No matter what you choose, the ending is always the same.

So this ties back into Cage's mindset: If the outcome cannot change, what's the point in trying to escape it? Why does it matter what choices we make?

It's a rather existential question for a choice-based visual novel, isn't it? Its significance to the wider game is only strengthened by other questions asked in the similarly metanarrative-centric Stranger route, and when meeting the awakened Shifting Mound at the end of the game:

While Cage herself is asking you this rhetorically, you can still respond to her, in a way, through the outcomes of her chapter. And if the Cage's "endless cycle" reflect STP's gameplay loop, then the outcomes of the Cage reflect the outcomes of that gameplay loop ie. the endings. So, we can draw connections between Cage's endings and the game's endings, in order to answer this question that hangs over both.

Going back to the reset/path in the woods ending, it actually has a lot of parallels with the Cage & Prisoner routes in general. You get it by entering the cabin's heart with the blade in hand, but not slaying the Princess: like the path that led to the Prisoner in the first place. You are aware of the cycle you're trapped in and embrace it - giving her your implement, letting go of your body, and going through it all over again. Importantly, by bringing the blade with you, it has to be a part of how this ends. Your options were limited by the choices you made before even entering the basement. It fits that the "default" ending to Cage if you don't do anything to prove that things can change is so tied to the ending that is most likely to have happened many times before that seemingly undoes all your choices throughout your playthrough.

It's a bittersweet outcome: your circumstances force a distance between the two of you, but within that distance there's also a mutual understanding, and as the two of you contemplate it from your detached perspective, even a beauty to it all. Although neither of these endings are the most joyful, I'm still very fond of both of them.

There is one major difference between these scenarios: while Cage believes that the cycle repeating itself removes choice, reset ending actually emphasizes your ability to choose it. Where Cage asks why your choices matter if they lead to the same ending, reset ending claims that they matter because the time spent together as a result - the dance, the patterns and emotions of the journey - is meaningful in and of itself, regardless of what those choices lead to, and whether or not they ultimately change the outcome.

(Saying this, I can't help but be reminded of a certain other indie video game with themes of choice, freedom, endings, and determinism... Even if the ending is the same, that doesn't mean your choices and resulting experiences don't matter:)

But that isn't the only way the Cage can end, nor is that the only way that final encounter in the cabin can end. We can respond to Cage's question by challenging her assumption that things will all end the same way. What's interesting about it is that there's not one, but two ways to disrupt the cycle, depending on whether or not you have the blade:

If you kept the blade, you gain the choice to sever the cycle by "giving her your implement" and slaying her once and for all, should you (literally and/or metaphorically) cut yourself free from her.

These are the endings where you both follow the script: leading the pattern to its logical conclusion and completing it, taking on the role the Narrator had given you from the very beginning. In some ways this was the expected outcome: this was what you were made to do, after all, it was in your nature.

In a more hopeful interpretation, these endings claim that your choices matter because it proves that there is a way out. You don't have to submit to oblivion, forced to endure a painful and deadly cycle forever, you just have to trust in something better.

But regardless of how much hope you have for the Narrator's vision, there's always a sense of loss to this ending. There's the obvious loss of life for the Princess herself, and of the previous connection you had with each other in earlier chapters. There's also the finality to it, like by making this choice and accepting the role that was assigned to you, you've destroyed the possibility to become anything else. (The capacity to change, if you will).

It's also worth noting that this is the only Cage variant that Shifty doesn't describe as having been freed, which makes sense in relation to Unending Dawn. In Her eyes, a world where She loses is a world that is forever trapped.

Meanwhile, if you left the blade, then you have already stepped out of the script, breaking the cycle before you even arrive. It's uncharted territory, and the Princess doesn't know what to do with herself at first.

In all this talk about lack of choice, where the only possibilities are seemingly already written, reaching for something you want of your own free will feels pointless, unthinkable, terrifying. Why bother hoping for something impossible? Why risk the pain of failure?

But that first push against the walls - leaving behind the blade that symbolizes your role in the narrative - shows that you aren't completely choiceless. In doing so, you also empower her to make her own choice and express her vulnerable desire: for you to leave together. So, there's nothing else for you to do. (Wait, all this talk about free will and you're locked into a single outcome? That can't be right....)

In a way, it doesn't matter what happens once you step through the cabin entrance or what outcome it leads to, because you aren't choosing what happens after. The choice you're making is simply to express that vulnerability and take that chance even if it seems impossible, and to do so alongside someone who gives you the hope to believe in it. Nothing that lies on the other side can take that away from you.

It's about refusing the roles that others would have you follow and pushing the boundaries of choice as far as you can take them, and then finding that its limits are further than you thought possible.

(Tbh I have so many more lines connecting these two endings, but this post is long and I'm currently staring down the barrel of Tumblr's image limit so these are just some highlights)

So to quickly summarize, Cage's three main endings parallel the three endings you can get by returning to the cabin at the End of Everything: one where you take the blade and embrace the cycle, one where you take the blade and slay her, and one where you toss the blade and leave it all behind. In every ending, we see the ways in which our choices are important, even when so much of this setup is designed to take choice away from you.

Even though choosing different endings to the Cage doesn't stop her from being taken by Shifty, or TLQ from having their memory reset, they still have an impact. There's still a tiny fragment of TLQ that remembers them (you, the player, who is affected by the experience and makes different decisions in Chapter 1 influenced by those experiences, even without TSM's interference). Meanwhile Shifty remembers whether her heart is an open or watchful one, and her dialogue changes depending on whether she was satisfied & freed, showing how she learned from that experience.

Even when considering reset ending, there's still the fragment of TLQ that remembers the endlessly repeating patterns and emotions of the journey, and the fragment of the Princess that holds the buried memory that draws you back together.

Even if you can't always change your external circumstance, you can change each other. It's this relationship, where you continuously influence each other and grow in new directions, that brings this game meaning to so many people. And through that growth, there's always the possibility that eventually, at the end of everything, you finally can choose freedom.

(...Ok ok fine, I'll also talk about Free Will/dropping the Cage's head here, although it doesn't fit quite as neatly into this framework. If anything, the way it branches off of Allegory of the Cage reminds me of the old theory that the mystery Pristine Cut ending would branch off of the Unknown Together by using the blade after initially not bringing it into the basement. Kinda glad that one didn't end up happening if only because that final conversation in the cabin is so uniquely emotionally honest that even the option for a betrayal after would've took away from it for me, and from the significance of leaving the blade in the first place.

Although, dropping the head does also fit with the new ending we actually got in Your New World... a similarly out-of-the-way ending, that seems like it shouldn't be possible, that isn't possible unless you actively seek it out. An ending that thoroughly and violently rejects the Princess, and equally rejects the terms set out by the game by entirely avoiding using the term "Slay the Princess", or using the Pristine Blade.

An ending that uses cruelty to assert your agency and control at the expense of everything else, including the very relationship you spent the whole game building. Of course it's isolating. Of course it's painful.)

[meamiki]

Happy Anniversary In Stars and Time!! Have some Friend Quest based drawings :D

(These have specific quote picks related to them! And there's also a long ramble on why I like those specific quotes below if interested)

(And by long, I mean roughly 2k+ words of proper ramble total, so be warned before clicking keep reading this link right here to the rb!!)

[iamhereinthebg]

Heya Anon!

Tbh I don't really know, Akane is a character who has been dealing with a thousand death flags leading to nothing since his most serious appareance in the manga. And this new timeline is not an exception.

Especially since we know that Kako and Mirai gave him 'You have to try to stay alive' rule as one of his duties

Implying that it is dangerous to altern the past and be the Clock Keeper of the Present, that they have to stay alive to make sure everything goes according to plan.

It also ties to my theory that Akane is the first human clock keeper of the present; Because after all if Kako and Mirai have been asleep since they changed the past in this new timeline, they couldn't have chosen anyone during 1968 and the current events in the manga (2015).

Akane is the only person who is directly coming from a different timeline even compared to Nene and Teru who just remember the stuff from the previous one, being on a time limit before their memories are erased. Akane brought along with him the fact that he is a clock keepers and mystery n°1, something he couldn't be in this new timeline in the first place since both of them don't exist.

But I digress.

Akane has been a little bit different since they came back from the boundary closest to the far shore. It's not that surprising with how much the previous arc must have taken a toll on him. Understanding that Aoi wanted to die, losing her, being impaled, having Teru confirming that he will lose years of his lifespan by turning back human too soon, being beaten up twice by number 6, etc...

Akane is like Kou and Nene on this point, a character who wants to do a lot, but is always a step behind when it comes to supernaturals. And like the other two, it is starting to show in his attitude.

Akane has been shown more unsure of his choices and of his opinions when it's something that never posed him a problem before. He is more scared of Teru (when he knows the exorcist by now) and of being hurt in general,. Something he hasn't showed as much before, liking and enjoying life of course, but never being afraid to be in the first line even if it meant being hurt; Now he acts like he is truly scared of dying.

And he lets things involving Aoi not being his first priority. Refusing to listen to Natsuhiko plan to even try to heal her. Akane has always been showed to be really proactive anyways, that's one of his main character trait. So seeing that he is putting something for a later date and it involves Aoi can be seen as a little bit strange. Akane still loves her deeply and all but he seems to have other plans now, which we learn later in the clock keeper arc. He is not even looking at her directly, having an air of melancholy when he announces he will heal her but not now

That's more of a stretch now, but I think it's pretty safe to assume that Akane has known since a long time what it meant to be the clock keeper of the present, that they had the power to change the timeline. But nothing special has been happening to make the clock keepers take this drastic decision, especially since we know that nothing has been ever changed since the Yugi Twins 4th birthday at least. Which is why he probably never thought about it before. But now that he knows the school mysteries are more important, not just dangerous supernaturals but are protecting the land, and that Hanako has been destroying the yorishiros (which to me, seem to be the seals to keep away the God from the pit/the God Sumire was supposed to marry) he seems to be more aware of this duty in general.

Or if he was made aware of it recently anyways, it's something that the clock keepers must have brought up before the fall festival, being something that even someone as 'Carpe Diem, it is what it is' Aoi Akane may not be able to entirely ignore.

He has been forced A LOT in his role lately too and he clearly doesn't really like it, even if he is good at it.

He finally say 'we' when talking about the clock keepers, and consider even himself as the biggest threat of the school. He doesn't know what to think directly of the supernaturals or seven mysteries now. Knowing that they have an important role to fulfill but still not trusting them at all, knowing of their dangerous tendencies to hurt humans. He can't even look Teru in the eyes when he asks him if the clock keepers are planning to change the timeline over and over again. His feelings for the clock keepers being clearly a difficult case for him to tackle down even if he pretends it's not.

I always said this kinda as a joke, that Akane had the role of a Chosen One but went 'fck no' with it. But I think that it really is this kind of stuff now. Like for Nene who is 'the Kannagi' of the current time and get to make choices and stuff she doesn't want to do. Akane is the same with his role as the clock keeper of the present. Because no matter what he says, he kinda has accepted this fate now, preferring to know what is happening (since he realizes how ignorant he was in the "to the far shore" arc), and having a way to be able to change things. Sacrifying his chance to be 'a normal student'.

But he is not happy with any of it, being the one on the front row to endure all of the supernaturals choices, even knowing that if they don't change back the timeline, he will be the last one to remember. And as said previously, he is now a part of it! He is of course still more human than supernatural but he still acknowledges his role way more than before. Akane hates the way supernaturals work and now what he is doing? Being one of the reason the world is in this state. Of course it's taking a toll on him.

Of course, he doesn't accept everything right away, like Aoi's engagement, it's at first played for jokes but even then, it's understandable with how far their relationship evolved in the previous timeline. He is now thrown into the role of 'the childhood friend who never stood a chance in the first place'. I do think he has a right to be a little bit upset

But after understanding that technically, it's not that much of a big deals in the current events of everything else, since at first most people seems okay, he goes right away to do what the clock keepers asked him to do. Even going to go ask for Teru's help when he knows how much he destroyed his trust.

To finish this long stuff, I think the real big ''death flags' for what is happening right now is of course the fact that he got cursed by the red house (which is a supernatural who has already tried to fool him in the og timeline btw) .

And that there is a chance, like said earlier, that there is only one Akane like him for now, and that he could get stuck here or at least not coming back entirely as the Aoi Akane we knew in the manga (a chance for him to become a full supernatural for example, to be forever now the clock keeper of the present) But for this tbh we don't know a lot it's really more speculation because we know nothing of what could happen to him particulary.

My fav 'suspicious af thing he said' for now in the new timeline is this.

The official translation goes " .. And will love my whole life to the day I die and even beyond that."

When he starts the manga with this.

With the same belief than Hanako that 'death is the end' and now he is considering the After Death, with everything he saw of course, but specifically for him in this case.

Bonus: a thing that is apparently confirmed to be a lie, or he can bend the rules, but he didn't say this in front of Teru and Nene the first time.

And something that I truly think he doesn't know anything about too (my brain truly think Kako and Mirai choose him, and I have some delulu proofs but I digress) Akane do not know sht about the clock keepers and especially doesn't see when people show clear interest in him

[vryfmi]

[major book spoilers!]

a mildly long analysis of skull and Lucy's relationship in TEG in light of recent Stroud's interview answer.

also i need this video on my blog

[audio transcript of The Writing Community Chat stream:

CJ (host), reading a question from NeeveDaFoe: I need to know why Skull is more powerful than Ezekiel!!!

Jonathan Stroud: Well, I think the power that he has is through his connection with Lucy. I think, ultimately, the message of Lockwood & Co books, and indeed most of my books, is that you get your strengths through the connection with others, love and mutual support. So, our friend, the skull, ultimately, gains his power through the relationship he's built up with Lucy over the course of the books, despite all his rude comments.

CJ, laughing: Nice!

/end transcript]

it's not like i didn't know it beforehand, the message is very clear in the books and especially in how skull and Ezekiel are juxtaposed in their confrontation. that skull looks almost like his alive self minus transparency and gauntness of his features, while Ezekiel has barely anything that would make us think he used to be human. he's disconnected from reality, he views himself as an ascended being. meanwhile skull is there to be a sarcastic menace and definitely not to save Lucy bc he definitely didn't grow to care for her.

but the thing is that Lucy tried to put her trust into skull only now. it wasn't even her first decision when confronting Marissa and Ezekiel, far from it. she'd freed skull only when Lockwood came in and she wasn't afraid to face whatever was at hand alone. being strangled by insane old woman possessing her granddaughter's body or get ghost-touched by Ezekiel or skull at that matter — doesn't make much of a difference. she did promise skull to free him, she got the taste of what it's like to be stuck on The Other Side, so she delivered, trusting that skull won't hurt her nor Lockwood when the two of them were seconds away from taking Marissa down, even if it was the last thing she did.

saying that skull payed back Lucy for freeing him just doesn't seem right. she was feeding him empty promises the whole book to the point where both skull and Lucy knew that they had this same conversation over and over again to no avail. but skull kept bringing it up. while Lucy couldn't bring herself to trust skull even after all help he provided for her and her friends.

but her attitude changes once she meets skull on The Other Side, the person that he once was. or at least that what she thinks in that moment because that's the same skull she was talking to for the past 2 years. Lucy has a clear disconnect: seeing not just an obscure grimace in the jar but a whole person before her. it strikes that The Lucy Carlyle Formula™ button and she aches with sympathy describing skull's appearance, acknowledging that he passed away at young age, at her age. whether she sees her situation and her inevitable demise in him, or is simply struck with "there's more to just the skull (a literal bone), there's a person before her", Lucy has a full 180 on skull from that point forward. but it's too late and it's her fault. skull gets taken away and Lucy is left alone in the kitchen. how much did she regret not listening to skull, not trusting him, not getting to know him? apparently a lot judging by their second (technically third) run into each other on The Other Side:

A wave of something washed through me. Relief? Pleasure at seeing something familiar in this dreadful place? Whatever it was, it made me warm. (TEG)

[i know what you are]

but if Lucy had time to ponder, so did skull. it makes sense that he'd say 'Shared names come with trust'. i believe he told the truth there and he forgot his name for good but still made it clear for Lucy — it's a bit too late for getting to know each other, especially after Lucy was giving him a cold shoulder, when that hammer was still on her belt. for all he knew, Lucy and her friends could've had not made it across Dark London and he'd be forever trapped in Fittes basement or worse. in any other situation he'd have no one to blame but circumstances, but here it would've been Lucy's fault.

and yet, despite all that, despite all rude comments and headbutting, skull's more human than Ezekiel because of Lucy, and he's stronger than Ezekiel because he cares for and loves Lucy. not my words, Stroud's. whatever sick manipulations and control Ezekiel had over Marissa and vice versa, it stood no chance against two mean teenagers that fought their way through trauma with humor, sarcasm and gratuitous bum jokes.

now leave me alone to sulk over skullyle

[lotus-pear]

bsd fic authors i understand yalls pain SO well right now why is it so fucking HARD to write dazai. like i have a whole fucking spreadsheet dedicated to tireless analysis i have done on my part so i can accurately characterize him but he is such an unpredictable and morally gray character that it's hard knowing his limits and boundaries and where he draws the line for himself.