#and any possible lore implications

[monitorkernelaccess]

does anyone remember when team salvato had that “for fans by fans” fanart merch contest, but like it had a backstory that monika “wasn’t allowed to participate” cause “she always wins and it would be unfair :(” but like all images of her and mentions of her name were glitched out, and in the background of the promo art there was a piece of paper with her poem “Hole in Wall” mostly erased (and not even in her font asset, just in the neutral/MC handwriting font) so all signs pointed to monika’s file being deleted

but then literally none of that was ever directly acknowledged in the posts or the merch for the contest, or in ddlc+ lore, or on other posts from team salvato’s twitter or monika’s twitter account? so, though it probably wasn’t intended to be lore to begin with, we never got any context for it, even within the constraints of the “backstory” for this specific contest?

…no? just me? ok.

[nishihii]

rennala marika toxic yuri i cant get you out of my head

[fruitsofhell]

doodle i did in a small fit of hysteria

[bezierballad]

What we know about Susie's home life (so far)

MAJOR SPOILERS FOR DELTARUNE CHAPTERS 3-4 (and Chapters 1-2 if you haven’t managed to complete those before Chapters 3 & 4 were released.)

The topic of Susie’s home life is something that’s been floating around in the Deltarune community for quite a bit. It’s only ever vaguely touched on in the games themselves.

But from what little we can gather (including a bit of lore reveal from Chapter 3) Susie’s living conditions are very much implied to be less than pleasant.

Chapter 1 introduces us to the characters of the Deltarune universe, including Susie. In short, she’s brash, she’s abrasive, she’s mean to others, she’s physically violent, she wears ragged clothes, and she eats a lot. A lot lot. Including inedible things such as chalk. At one point she mentions that the only thing she ate that morning was chalk.

The ending of Chapter 2 only fuels the implications of the above traits: Toriel invites Susie to stay for the night, to which she gladly accepts after some hesitation. After that, Toriel lets her use the phone to call her parents and ask them for permission, to which she also agrees.

However, when Toriel is out of frame, Susie never actually does that. Hell, she doesn’t even reach for the phone. Instead she just… kind of stands there for a few seconds until Toriel’s out of the room, then she flops onto the couch.

Many people caught onto this and thought “well, maybe she’s an orphan” or “she’s homeless.”

Chapter 3 kind of debunks both of these things. (For those who haven’t played this far, this is your final warning.)

For the first time in the game, Susie talks a bit about her personal life: she was never able to make any real friends of her own both because nobody wanted to be close to her and because her family moved around a lot.

So, this at least confirms that she does have parents (or at the very least, moral guardians) and that, no, she’s not actually homeless.

Nonetheless, her living conditions are implied to be less than pleasant.

There’s something else that comes up way earlier in Chapter 3 that hints at Susie’s living conditions.

Remember this weird empty bedroom that comes up when Ralsei is explaining to Susie and Kris that everyone in the dark world is merely an illusion?

The walls are cracked, there’s only two pieces of furniture—a bed and a chair, the latter of which seems to have a torn mattress and a stained bedpost—and the shelf is completely empty.

What’s especially noteworthy is the poster on the wall: a godzilla-like entity tearing through a city. Kind of looks like something you’d see in Susie’s room, doesn’t it?

Of course there’s no confirmation that this is her room, but if it is, it speaks volumes about what her life at home is like.

There’s other stuff that further pushes this theory; in Chapter 2 when Ralsei is showing her and Kris that he made them their own bedrooms in the castle, she has this specific reaction:

Her wording and expressions seem to imply that she either doesn't have her own bedroom at home, or that, she's never been given "her own room... like this" (as in she's never had a cool-looking bedroom with a lot of stuff in it, instead only ever having a drab empty bedroom with cracked walls.)

And there's also her reaction to seeing the interior of Ralsei's completely barren bedroom in Chapter 4:

And then there's the letter she writes to "Alvin" at the request of his father, Gerson, who she meets and forms a bond with in the church Dark World.

Alvin Your old man was proud of you. The reason he didnt come to church alot is beacause he wanted you to follow your dream. Hes sorry he never said that right. So write your own story's. Its okay if even if there not perfect. Sinserely a friend

Notice how many typos and punctuation errors there are for someone who's supposedly in high school.

There are many possible interpretations to this: maybe she could have an untreated learning disability that she never got help for, or maybe she's been in and out of school throughout her life (since again, she's moved a lot and was never in one place for a long time) and was never educated enough on writing. Or she's just bad at grammar, that's also a possibility.

The biggest nail in the coffin that speaks volumes about Susie's home life would have to be the ending of Chapter 4, where we (along witht the characters) get hit in the face with this:

Kris and Susie arrive home to find Toriel jamming in the middle of the living room with Sans. On a first playthrough this seems like a funny awkward moment tossed in to break up the constant tension and grimness of the third act... but you realize Toriel is drunk here. And we know she's drunk because she's giggling hyperactively and rambling and is holding a wine glass for a split second.

Susie appears to realize this immediately, because she actually refuses Toriel's offer to stay another night at their place.

Her discomfort, the way her eyes widened when Toriel inadvertently calls her "honey", and her slamming the door on the way out pretty much implies that at least one of her parents is an alcoholic. And that she's likely experienced this sort of behavior before.

So what's going on?

Deltarune is only at its halfway point, so we can't say for certain. But going over what we know, Susie likely

doesn't get to eat a lot at home.

has moved from place to place a lot.

has an almost empty bedroom and other poor living conditions

has below average writing and spelling

and likely lives with an alcoholic guardian(s)

If I had to make my own theory based on this it evidence, it seems that whoever Susie lives with is struggling with poverty (which is not helped by the implied alcoholism). They're unable to afford staying in one place permanently, hence why Susie's moved around a lot and why she's obsessed with food (her family not being able to afford much.) We don't know if her parents are abusive, but they're definitely hinted to be either negligent or alcoholic or both. And that Susie would prefer to be far away from them and sees more of a mother figure in Toriel (who offers her comfort, food, and a safe haven) up until seeing her drunk at the end of Chapter 4, where that mother figure image completely crumbles the moment Susie walked through that door.

Of course, this is all pure speculation: for what I know, Toby Fox could confirm that Susie's parents and home life are actually far different that what we're shown. Who knows-

[ghelullu]

Not saying Papa V wasn't maybe raised Catholic, because there's lore implications in the interviews etc. that leave that as a possibility, and telling people what HC to have, but the guy in the Satanized music video is not Papa V before he became Papa. Papa singing about something doesn't necessarily mean it's him. A similar thing can be easily seen in the He Is music video where they're criticising the behaviour of sects etc.

Tender Father says so himself in the Brent Porche interview (YT Link for those without a Vimeo account here) at around 5:20. Here's a clip of the important part:

"We have a ton of songs - Satanized being one - where technically our singer, in this case Papa V Perpetua, is singing pretending to be a fictional other person.

So any time that you hear our singer, whomever I've sung in the past, singing the word "I", or a song that's in I-form, it doesn't mean that it's that character singing about himself.

In this case, same thing, Satanized is written in I-form from a perspective of a, technically like, simply put, a religious person, who confuses the feeling of being in love with being possessed by an, you know, some unearthly being from another dimension possessing his, in this case, soul and tearing it apart. Because that's how it feels."

It's also been thought, that feelings like that is the devil's work.

So, when it comes to making a video for that, it becomes a little weird if you put Papa there just singing that song. So therefore we had to essentially (chuckles) get an actor in to serve as the main character, in the I-form."

Again, I'm not saying "Don't have this or that headcanon", or "He's 1000% never been catholic". I'm just pointing out basic stylistic devices such as the Lyrical I.

[spread-the-influence]

OH COOL ! A MASTERPOST !

a horror-comedy fan comic based on The Amazing Digital Circus where ragatha's the host of a parasitical virus and it becomes everyone's problem ! neat-o beans !

* this is also a VERY buttonblossom / pomni x ragatha-centric AU so if you don't enjoy that ship i don't recommend engaging with this sorry

[DISCLAIMER!] while this comic is mostly lighthearted in tone , this comic and au will contain topics that could disturb sensitive readers ! this includes ; graphic violence , depictions and discussions of emotional abuse , depictions of mental health issues , self-harm implications and imagery , obsession , and discussions of suicide . any more specifics will be tagged in the pages , but these are the ones that encompass the Entire comic basically !

( also i hope it's a given that i'm not romanticizing the toxic yuri in this au , )

if any of these topics make you uncomfortable , it's alright to click away or block the #tadc influence au tag .

!! if you want to support this comic , try sharing and talking about it in other platforms OR throw some money at my ko-fi page ! it'll be radical either way !!

LINKS

>> READ THE BEGINNING !

or , if you prefer ...

* TABLE OF CONTENTS ( returning reader or just someone who's not up for scrolling through the tags ? here's the table of contents ! contains links to the comic pages all in one place , any extras , and possible relevant posts in the >>info; tag ! )

* FREQUENTLY ASKED QUESTIONS ! ( questions that i have constantly been asked ! )

* AU POST ! ( for those who have read the comic and are curious about the au — and people that want to spoil the first half of the comic for themselves . i don't judge ! )

** OFFICE LORE POST ( not a necessary read , but would be cool to read if you're interested in the backstory for ... some reason ! )

* INFO CARDS ! ( info cards for the characters , just for funsies ! will contain blank templates for any ocs (: )

TAGS

[ highlighted are those of relevance + may be interesting ! ]

>>COMIC; - the comic ( be warned things will be out of order )

>>INFO; - specific asks about the au answered !

>>ASK; - old roleplay posts if you want to see em

>>MISC; - answered asks / non-comic stuff

WARNING: ESSAY - mod rambles

>>DOODLES; - doodles from yours truly

>>PRE-FLUENCE; - stuff before the horrors

>>POST-FLUENCE; - stuff after the horrors

>>ANIMATIONS; - ... animations

>>OFFICE LORE; - pre-circus

>>REBLOGS; - ... reblogs !

>>EXTRAS; - some extras or ' ambiguously canon ' comics !

GUIDELINES & BOUNDARIES

READ THE FAQ , PLEASE ! there are some questions that are , well , frequently asked ! so please read the faq and only send an ask if the question's not there

this is NOT an ask blog ! i will sometimes play along with ask blog-esque asks , but that's only just once in a while — so just please only ask me , the mod , for anything about the au !

you can call me mod bee . i go by she/her in this account

keep it impersonal please ! i would prefer if the asks are related to the au , my art , or tadc . i'm fine with being asked about my interests or what i think of something but otherwise , i appreciate if you do not ask about my life or what timezone i'm in .

my art is free to use ! feel free to use it as an icon , in an edit — anything really as long as you don't sell it or it's not used to spread hateful messages ! my only condition really is to credit me

reposts are fine ! just please make it clear that you did NOT create the art and LINK the account . i gave the free rein to repost the art , all i'm asking is to please respect these conditions !

please do not dm me . i do not like dms . any form of communication is only through the ask box .

this is not a tadc art requests blog so please don't send me any , i am Not going to draw your ship or draw ragatha as that animal . any requests should be about the au itself , or if you want me to draw a particular character .

i am uncomfortable with nsfw asks so please don't send them . i am fine with suggestive humor , though

remember to spread the influence.

[inthefoxholes]

veilguard, i hated it.

So i finally finished veilguard, and guys, what. a. shitshow.

So apart from the fact that it feels like a half-finished game (which it probably is), I mostly hated it on two accounts: 1) the overall lore implications (we knew this from this reddit q&a, but I'm still angry, and I won't stop talking about it) BOTH in regards to previous games and this one and 2) how this was not at all a roleplaying game. (sorry, english is not my first language and I'm tired and enraged)

Let's look a little closer, shall we.

One: The Lore Implications. This pisses me off in two ways:

First, the amateurish attempt at a "clean slate". This is just so insulting. If they wanted to make a game without any of that icky baggage, then the should have chosen a new ip for this. I get that it's complicated after three games with a lot of moving parts, I get that the decision to move away from southern thedas was an attempt to curtail a lot of this, but COME ON. Walls of nonsensical (seriously, they read ai created) text from the inquisitor, that mainly tell you that everything you fought for, all the people, all the places, is gone? And not for effect, not for the story, entirely offscreen and nonsensical, just so the writers don't have to care for this anymore? This does NOT get me invested into the story. No mention of who your Divine is; no mention of who sits on the orleasian throne - and it should matter, shouldn't it, whether or not your EXILED the grey wardens, whether or not you have an elf with a SPY NETWORK close to the orleasian throne, whether or not you DISBANDED the inquisition. All of that does influence what happens on the world state, or at least it should. (And if you want to ignore it, why not do in a way that's less obvious, less bad, why not have your protagonist be someone with no ties to the inquisition, who genuinely does not know whats going on in the south? Why have a world state when you don't want anything to do with it?)

Second, and that's even worse: you cannot take a fully established world, and then alter it to your weird specifications. THE FUCK you mean, there are no slaves in Minrathous, the goddamn slave capital of the world?? Why THE HELL is there a whole questline where we try to find disappeared people, snatched from the street for the ritual, when it should be perfectly possible to buy a few batches of slaves and have them express delivered to your ritual site. (So we can show up and fuck up your slave operation.) But no - I get shamed when I don't save Minrathous?? Well, fuck you, Fenris sends his regards, I hope you all burn.

To this ties the overall simplificaton of the world: Nobody is really bad, just the few super bad guys, but they are so evil as to have no real motiviation, they are basically Thanos or otherwise racist cartoons (totally believable that the Qunari, or a sect thereof, would be on board with mad sorcery). They rest, they are good guys! The pirates are very mindful of cultural heriatages! The crows are just your friendly neighborhood assassins (I remember the stories Zevran told slightly differently), and, as assassins, they naturally wear uniforms, so you see them coming (as do the "secret" "underground" "rebels" from Tevinter). I'm not saying that everyone should be evil, but the fact that whole organisations are presented to us as benefical is so insulting, ESPECIALLY when it was always a point of pride for the Dragon Age franchise that it was morally complicated. There is slavery and poverty and darkspawn. NOPE, you can stand knee deep in blight, not a problem anymore. (if only Carver had known) There is racism against elfs. (well, as the elfs seem to be respnsible for EVERY problem thedas faces, from the veil to the darkspawn, maybe that was precient? - also, always nice to have everything tied in such a neat bow, everything tied to one ONE causality, that makes things really believable and realistic) The Templars are fascists, sure, but abominations are a problem that does not get solved easily. NOPE, not anymore! When before, even a spirit of JUSTICE got corrupted in this world (therby making the valiant and sublte point that abstract concepts rarely hold up well when coming in contact with messy reality), now you can be possessed by a demon of SPITE and HE DOES NOT DO ONE SPITEFUL THING AT ALL. Nice, if only the mages knew that, you just have to accecpt feelings or whatever and then everything's well. SO NEAT!

This brings me to point number two: Why do we play this game? The complex and previously established word is gone; what's left are cartoons thereof. And then, there's not even a hint of role-playing left. Why can't I be mean to Harding?? I loved her in Inquisition, now her overly-girly manner grates on my nerves and I want to be mean to her. I can't, i have to be everyone's friend. In the end, I cannot decide anything, except the slight configuration of the final companion armour (why would I care, I don't know these people, I could not ask them a single question), and some slight cosmetic change regarding Solas - there is not even talk about tearing down the Veil. We've come full circle back to Mass Effect 3 and the groundbreaking decision we get to make is what colour the magic space beam is gonna have. Except, Mass Effect 3 was still a much better game, because you knew your crew - in this game, I have acutally no idea why Rook should lead anybody, why anybody would follow them, and why the literal fate of the world should be in the hands of this bunch of (after 100 hours of gameplay) near strangers. There ARE narrative work-arounds for this kind of shit; the writers just didn't care enough.

There are a hundred more small things I could say about this, about the story (Solas' prison was made of regret and he wanted to put Elgarnan there?? Who feels very good about everything he does?? Is he stupid? And then everyone is so impressed about Rook getting out to quickly, but seriously, what the fuck did Rook have to feel regretful about? They did not get to make a single decision. They did not order anyone to sacrifice themselves; they did not use people, or cities, as pawns in a war or whatever, BECAUSE THIS GAME HAS THE EMOTIONAL DEPTH OF A SMALLISH PUDDLE) and the in-game approach to the player (how often do i have to be told that i need to take care of my companions business?? This got so repetitive and made them seem like imcompetent children. Why wasn't there a better way to make me care, or better yet, trust the player to want to play this game), but I stop now. Fuck Bioware and EA.

[lizzybeeee]

Personal take: One of the weirdest things Veilguard did, outright baffling, in fact, is how it feels like they reset the status quo of the world to Origins - even further back, if anything.

The game avoids (at all costs) meaningfully delving into exploring what these events/lore reveals mean to the world and characters at large. But the entire time I was thinking: holy shit this is bad.

What happens in game has very, very bad implications for the rest of Thedas and how they're going to look at groups like the Elves and Mages. I'm looking at this from the perspective of someone whose played all three previous games, not from the perspective of datv which really brushes over all moral complexity and sociopolitical issues. Of course, it's just my interpretation but its based off what happened in previous games.

Elves

The Elvish Gods of legend came back, blighted, and ended up wiping out the majority of the South - I find it hard to believe that the elves would not be 'roped in' as being responsible somehow.

Elves could sneeze in a previous game and people would blame them for causing a plague and purge the alienage -> life is shit for an elf and the events of datv would have absolutely made life a thousand times worse.

Would there be purges of alienages? Are there groups like the chavaliers or mobs of humans going about an killing elves because 'It's your Gods. It's your fault.'

Obviously, it isn't. But there are plenty of examples in Thedas' history of people acting rashly/cruelly out of terror and anger - and it's the most vulnerable people, like the Elves and Mages, who are targeted.

The Dalish Elves, what remains of them, would likely be perceived as 'Blight/Old God worshipers' - people would chase them off for the 'crime' of living too close to them in the woods in DAO.

Terrified, angry people would not care if the Dalish said they had nothing to do with what's happening - there would be bloodshed.

If anything improved for the elves from the time of Origins -> Mahariel, Tabris, Lavellan, or Briala...it's likely back to ground one as the best possible outcome, and closer to the Exalted March on the Dales at it's worst.

Mages

Mages could, potentially, have been living a life of unprecedented acceptance if Leliana was Divine -> along come the Evanuris, mages, who are allied with the Venatori who are causing devastation in Orlais and the Free Marches specifically.

Missive - Message from the Front -> The Tide Turns "The Venatori and the Orlesian royal armies clash daily in Orlais. Val Royeaux is now under control of the rebels, and from there the Venatori launch attacks as far east as Kirkwall."

The original magisters (evanuris) wielding the Blight and Old Gods 2.0 x2.

Any templars who remained, who had the old mindset and outlook of how mages should be treated, absolutely would be pointing at the venatori and saying "we warned you what would happen without the Order."

Normal people wouldn't give a shit that it's only a 'few' mages -> their entire home is gone, their families are dead, and the people responsible are wielding magic.

Fear of magic would likely be at an all time high - If the Order doesn't exist people would likely be demanding for them to come back.

The mages - whatever goodwill they earned - are likely being faced with suspicion and terror because this is proof of what magic can do in the hands of power-hungry douchebags.

Maybe they help to fight and people don't get so suspicious of them - who knows! This game doesn't want to address the previous games so it's in limbo.

Spirits

Other people have done great posts about how the spirits were completely tossed aside in this game. Three games worth of humanizing spirits, with Justice and Cole, only to go back on it with Solas reinforcing the Veil and...maintaining the status quo?

He so earnestly discussed with us his perspective on spirits and how they're just as 'real' as those on this side of the Veil - we saw it with Cole firsthand. But I guess they can all chill in the Fade till Solas dies or whatever.

I'd argue that the elves and mages are in an even worse position than they were in Origins. It's just not fulfilling, to me at least, to see the World I got so invested in just regress to the status quo after three games of challenging it. For it to not be meaningfully discussed or spoken about in-game, just brushed aside...I may not have liked the decision to do this but it could have been interesting (at least) if they actually discussed it.

Also, people don't just 'band together' because of the Blight - Origins showed us very well that in times of strife and pressure peoples petty/deeply ingrained beliefs, prejudices, and values come to the forefront. Alistair's comment about “You know, one good thing about the Blight is how it brings people together" -> was him being snarky about how everybody as Ostagar was on the verge of throwing hands with each other. They were united in cause not in belief - the cause being to eradicate the darkspawn.

It's just so grim, and with how they handled sociopolitical issues and moral complexity in datv (not at all) I have no hope that they'll be able to address this at all, if they even bother to and don't just...ignore it, I guess.

Maybe this is what the devs meant when they said that the 'tone' was similar to Origins - just straight up erasing whatever strides was made in the previous games and setting it back to square one lmao

[scarletskiesinthepaths]

i do absolutely think Levi having some sort of sexual trauma has been built upon over the years. There’s just so many small things that point to that kind of trauma, and Bad Boy just compounds on those things.

his aversion to sleep has always been very strange to me, he doesn’t even lay down to do so and only ever gets a few hours. it could just be a general unease/feeling a lack of safety but Levi isn’t exactly an outwardly anxious person. im sure his ability to sustain himself on only a few hours of sleep has something to do with his Ackerman power, but he almost seems to have a tendency to avoid laying in beds as a whole. i’m not sure we ever see him in one (perhaps the barracks in No Regrets?) outside of his major injury towards the end.

honestly even though his obsession with cleanliness can be associated with growing up in a dirty environment like the underground (very common IRL w people who grow up in poverty or hoarding etc) something about it always raised an eyebrow to me. feeling somehow “filthy” in a way that is difficult to shake is a very common trauma response for SA victims. He’s also particular with human gore in a way he isn’t with Titan gore. to be fair Titan blood literally steams off, but idk the elaborate get up in the torture scene stick with me, why is a guy who constantly cuts down giant meat monsters full of blood and sinew suiting up with an apron and rubber gloves to punch a human?

When Kenny finds him with Kuchel’s body he’s only wearing of one of her old shirts (if i remember right) which could also be just associated with the neglect he faced as Kuchel’s health declined and she wasn’t able to keep working, but it could absolutely have much worse implications. he’s surely under-clothed for a child that age.

and speaking of Hange i think this is also a huge indicator of how important their friendship w Levi was. i think the “Levi has to knock Hange out to bathe them” lore was mostly a joke, but i absolutely believe that Hange would have a knack for working themselves into exhaustion and neglecting their personal hygiene and the fact that Levi, who is adverse to dirtiness and probably physical touch, would still be willing to help Hange take care of themselves on that level is very important to me.

idk, again there’s just so many small things that compound. i think ppl who refuse to even consider that possibility are ignoring a huge subtext in his writing.

the writing in Bad Boy reminds me a lot of an RPG character from Dragon Age called Zevran, who has a very similar backstory (prostitute mother, grew up in a brothel after she died giving birth) and SA/sex trafficking is a huge part of his writing, it’s never explicitly said but he gets incredibly close to saying it multiple times.

Absolutely, anon, I'm really glad you brought this up. I agree with you. Your observations are thoughtful and deeply grounded in the subtle, but persistent, cues throughout Levi’s characterization. There’s a strong case to be made that Levi’s childhood experiences, especially as hinted in Bad Boy, suggest sexual trauma as part of his backstory, and I agree that this thread has been quietly but consistently built over time across multiple Attack on Titan texts, including the main canon itself, Bad Boy, and the A Choice with No Regrets manga and OVA.

I’ll be honest, though; I sat on this ask for a little while. Not because I disagreed, but because I’ve grown cautious about diving back into this particular conversation, lol. I hope you're still around to read my response! There’s been pushback in the past, and it’s easy to get worn down by the defensiveness and bad-faith interpretations that inevitably come with it. But ultimately, I don’t want fear of fandom backlash to silence a valid reading of the text.

Just to be clear, I’m not saying there’s any explicit confirmation that Levi was sexually abused. What I am saying is that there is a consistent body of subtext—textual, visual, and behavioral—that makes this interpretation both plausible and worth discussing. It’s one lens among many, and it’s one that aligns with real-world trauma responses in a way that deserves thoughtful attention.

For anyone curious and looking to read more on this topic, including some of my older posts and others’ contributions, here are a few links:

To actually address your message and your points, anon:

When Kenny first discovers Levi, the imagery is haunting. Levi appears severely malnourished, neglected, and ghost-like. He’s wearing only a shirt, which not only suggests poverty but also emphasizes how profoundly vulnerable he is. While it’s never confirmed whether the shirt belonged to Kuchel, the idea that it might have is a valid and plausible headcanon. What is confirmed is that Levi is shown curled up on the floor in the same room as her decomposing body, completely alone. In the context of a brothel—where Kuchel worked as a sex worker and where strangers would have regularly entered and exited the space—Levi’s state of undress takes on more disturbing implications. We never learn who had access to that room after Kuchel’s death, nor how long Levi was left to fend for himself there. And as you pointed out, for a child that age to be so underclothed in such a setting is more than just a sign of deprivation—it casts a shadow over the kind of dangers he may have been exposed to during that time.

Now, I’m aware there’s some debate in the fandom about whether Levi and Kuchel actually lived in the brothel where she worked. Personally, I do believe they did. But even if they didn’t, Kuchel’s notoriety as "Olympia"—a well-known prostitute—means that clients familiar with her could very well have come looking. Regardless of the precise location, the threat would have remained the same.

It’s also important to consider how the Attack on Titan universe establishes the Underground as a site of rampant exploitation, especially sexual violence and trafficking. In "Chapter 6: The World that the Girl Saw", we learn that Mikasa, who lived on the surface, was nearly trafficked into sexual slavery. The traffickers planned to sell her specifically to the Underground, where such exploitation was evidently common and profitable. If that was the fate planned for a surface child, it paints a grim picture of what life must have been like for children born in the Underground. Levi wasn’t just born there—he was the son of a sex worker, raised alone in a brothel after her death. In Bad Boy, we see that even as a child, Levi was almost sold into the same system by thugs looking to profit off him. On top of that, he was well-known locally as a “whore’s son,” a stigma that would have marked him as vulnerable. Given this context, and considering how openly the narrative depicts trafficking as a real danger even for children with more protection than Levi had, it’s tragically plausible that Levi endured violations that the text never directly names. Whether or not his trauma is ever confirmed in explicit terms, the setting, circumstances, and behavioral cues all suggest that he was not spared from the kind of exploitation that was normalized in the world he grew up in.

A Choice with No Regrets further deepens this portrait of Levi. As an adult in the Underground, he’s strikingly hyper-independent, emotionally guarded, and instinctively distrustful. His stoicism goes far beyond what would be considered adaptive for someone in a harsh environment—it reads instead as the psychological armor of someone who learned, early and brutally, that vulnerability is dangerous. What’s telling is how this contrasts with Furlan and Isabel, who also grew up in the Underground but retain a more open emotional register. Levi, by contrast, keeps himself closed off—even from those he clearly cares about. Another subtle but telling detail is his relationship to sleep. As you noted, Levi rarely lays down to rest. Even after Return to Shiganshina, when he’s critically injured, we only see him in bed when he’s completely incapacitated. His irregular sleep habits suggest that rest—and the vulnerability it entails—is something he instinctively avoids. It’s also worth noting that Isayama has confirmed in interviews that Levi typically sleeps in a chair. That choice feels significant: what is it about beds, specifically, that feel unsafe to him? It’s a small detail, but one that subtly reinforces the idea that Levi's avoidance of rest is tied not just to environmental danger, but to deeper psychological trauma.

One moment from A Choice with No Regrets that I think is often overlooked—or, worse, completely misread—is the scene in the manga where Levi kills Isabel’s attacker. There’s a strong implication that the man had either raped or was planning to rape her. Isabel returns visibly shaken, and the fact that her hair was forcibly cut—while some try to minimize this—is itself a physical violation. That kind of act doesn’t happen without bodily restraint, humiliation, and intent to dehumanize. Levi’s reaction isn’t casual vengeance or impulsive rage. It’s swift, cold, and deliberate. And it stands out all the more because Levi is consistently portrayed as someone who does not enjoy killing, especially when it comes to other humans. He doesn’t take satisfaction in it, and he’s shown to feel the weight of taking lives. But in this moment, he kills with no hesitation. That’s not just about protecting Isabel; it’s also about what that kind of violation represents to him. This scene adds another layer to the subtext that Levi may have experienced sexual trauma himself. His actions suggest not just outrage on her behalf, but a deep, visceral recognition of what was done to her. When you consider his background—being raised in a brothel, growing up in a community where sexual violence was commonplace, and being personally threatened with it—his response in this scene becomes far more layered. It's not about bloodlust; it's about survival and protection.

As for his obsession with cleanliness, I completely agree that it likely stems from both his impoverished upbringing and something deeper. Like you stated, the trauma of feeling “unclean” in a psychological sense is a known marker in many survivors of sexual abuse. Levi doesn’t just value hygiene—he’s almost compulsive about it. In chapter 15, when he enters Trost HQ, his first instinct is to clean, even in the midst of military chaos. It’s a trait that speaks to more than just surface disgust; it feels ritualistic, like he’s trying to scrub away something intangible. We also know from the Smartpass AU Levi Close-up Report that part of the reason Levi cares so much about cleanliness is because he associates filth with disease. That alone demonstrates that the cleaning is a coping mechanism for something greater.

The A Choice with No Regrets OVA also contributes to this subtext in a subtle but unsettling way. In one sequence, a group of thugs corner Isabel, and after she bites one of them, he implies he wants to assault her—saying, “She’ll pay for bitin’ me. Lemme have some fun with her before we do anything else, ’kay?” Levi isn’t present for that threat, but it establishes that these men are sexual predators and underscores how normalized sexual violence is in the Underground. Shortly afterward, when Levi confronts the same group, one of the thugs touches the collar of Levi’s shirt. Levi immediately recoils and snaps, “Keep your filthy hands off me. I don’t want you smudging my shirt.” His tone is cold and sharp—disproportionately intense for such a minor touch, unless read through the lens of trauma. What’s especially notable is how Furlan quickly intervenes, almost too casually, saying, “Sorry, 'bout that. We're clean freaks here. You prob'ly shouldn't come back, but if ya do, be sure to wash your hands first.” It’s a strangely timed comment, bringing up hygiene in the middle of a tense confrontation, and it reads more like a deflection than comic relief, at least to me. Furlan’s response seems like a practiced redirection, as if he’s accustomed to covering for Levi in moments like this, aware that Levi’s aversion to touch and obsession with cleanliness may stem from something deeper. The way Levi reacts to even an incidental touch, especially from a man he clearly perceives as threatening (and was established as a sexual predator earlier), raises red flags. Within the broader context of the Underground, where exploitation is rampant and children are especially vulnerable, this interaction adds another layer to the growing subtext that Levi’s boundaries around touch aren’t just about personal preference, but about learned survival.

A common counter-argument I’ve seen is that Levi couldn’t have experienced sexual abuse because, in Bad Boy, when the thugs threaten to sell him into sexual slavery, he awakens his Ackerman powers and kills them. But I think this interpretation misreads both the mechanics of his awakening and the emotional weight of that scene. Levi doesn’t react violently when the men first threaten to traffic him. In fact, he stays relatively passive through much of the assault, even as they kick him and beat him down. What ultimately triggers his Ackerman powers isn’t the threat of trafficking alone—it’s a combination of two far more visceral elements: first, the insult to his mother (“whore’s son”), which cuts directly at the only attachment and source of comfort he’s ever known; and second, the imminent threat to his life. When the men begin slamming his head into the ground, it’s not just brutal—it would have been fatal. That moment of near-death, combined with emotional provocation, is what pushes him to awaken. This is consistent with how Ackerman power is described elsewhere in canon: it’s often activated in a life-or-death situation.

Importantly, most sexual trauma, especially in childhood, is not marked by that same level of immediate physical lethality. It’s often coercive or normalized within the environment, particularly when it occurs repeatedly over time. If Levi had experienced prior instances of sexual trauma, there’s no reason to assume his powers would have activated. The context simply wouldn’t have matched the threshold required. What Bad Boy shows us, in fact, is how long Levi endures violence without fighting back. His gentle, quiet demeanor in that scene says a lot; he’s not someone who reacts with aggression instinctively. He internalizes pain. He withdraws. And that, in itself, is a trauma response. The idea that Levi could only have been victimized if he had physically fought back or "activated" sooner misunderstands both trauma and how the Ackerman lineage functions in canon.

And yes, the way Levi interacts with Hange is one of the clearest examples of how touch and boundaries operate differently for him with people he trusts. The oft-joked “Levi knocking Hange out to bathe them” anecdote, while humorous in fandom circles, does imply a certain level of trust and care on his part that cuts directly against his usual physical avoidance and aversion to filth. If you believe Levi is touch-averse because of trauma, then the fact that he’ll tend to someone else’s body—grime, sweat, and all—speaks volumes. It reflects a profound emotional bond.

Btw, I've never played Dragon Age, but I agree that the situation with Zevran sounds similar to the situation with Levi. Isayama never explicitly states that Levi was sexually abused—but neither does he shy away from leaving the space open.

The resistance from some parts of the fandom to even consider this reading is telling. It reveals discomfort not just with the possibility of Levi being a victim, but with the idea that masculinity and vulnerability can coexist. For some, Levi must remain a stoic archetype of masculinity, not someone whose past might include being violated or exploited. But the reality is that Attack on Titan is saturated with trauma, and Levi’s trauma is one of the most underexplored and underacknowledged parts of the narrative, precisely because it’s so coded in subtext.

In short, the subtext is there. The behavioral patterns are consistent. And your instinct to read between the lines is absolutely justified. Bad Boy doesn’t explicitly confirm that Levi was sexually abused, but it significantly strengthens the already persistent implication. Acknowledging that possibility isn’t reaching—it’s a valid interpretation of the character and the narrative choices surrounding him.

Thanks for the ask, anon! I hope my answer was interesting to read.

[maesterchill]

3+1 HP Wandlore recs

Raise your wands 🍆 for three Drarry fic recs containing delicious wandlore, plus one bonus non-Drarry ficlet!

🪄 1

Pathless Woods by @shealwaysreads /onereader (30k, Explicit)

Harry finds himself unexpectedly reacquainted with Draco Malfoy when his work as an apprentice wandmaker takes him to Wiltshire. Amongst the trees Harry finds magic, growth, and a man who might finally be proving he’s worthy of the wand that chose him.

Hawthorn, Unicorn hair, 10 inches, reasonably pliant.

A story of found family, trees with feelings, belief in the power of growth, wandlore, and gratuitous description of Handsome Estate Owner™ Draco Malfoy swanning around in white shirts and leather boots.

Wand nerd Harry! Tree nerd Draco! Amazing wand lore and 'forest lore', beautifully and lushly described by Bella, the queen of magical atmosphere. Bonus points for Mr Darcy-style Draco tromping around his estate. Quote that made me snort: "Any promotion of your business will absolutely be based on how gorgeous your wood is.” Harry smiled reassuringly, then blanched at how ridiculous his wording sounded. “Er. I mean. The wood, not your wood. The wand wood, that’s yours.”

🪄 2

A Hag, A Hex, A Tale of Redemption by @aibidil (43k, Explicit)

A fuck-or-die fairytale in which Draco Malfoy lives a despicable and unapologetic life — that is, until he's cursed to die unless he can fall in love with and fuck Harry Potter.

Not only does this fic have fabulous wandlore (wands for non-wizards!), but it's a twenty-four carat fuck-or-die curse fic (in a CONSENT fest, so think about the implications there). It features a a deliciously unredeemed and furious Draco and, of course, is crammed full of Aib's impeccable humour and smarts. The deft use of a folklore-y fable adjacent narrative style rounds off what is simply an excellent fic.

🪄 3

Body Electric by @lastontheboat (8k, Mature)

“What could you possibly want?” Harry asks. "Would you believe I’m here for assistance with my wand?” Malfoy replies, still refusing to meet his eyes, and Harry snorts. “There are other wand makers,” he says tightly. “Unless you’ve slept with all of them as well.”

Packed with magical theory and both wandmaking craft AND Veela magic. The characterisations had me kicking my feet (these boys could bicker for England), and the insanely hot UST had my heart racing. Absolute banger.

🪄 Bonus rec

Ollivander & Thomas, Makers of Fine Wands by @rainstormradish (584 words, Gen)

“Spruce and unicorn hair, eleven inches.” This was how Garrick Ollivander greeted Dean, voice faint and croaky, in the dungeons of Malfoy Manor. Dean nodded, before realising abruptly that the spruce wand was no longer his.

A glimpse at Dean’s life after the war, his relationship with magic and the wandmaking art he learned to master.

Utterly glorious and fascinating worldbuilding from Radish, featuring Dean Thomas as a wandmaker. This fic is the loveliest thing, chock full of feels, and you'll fall in love with the fabulous goblin girl! 500 words of sheer gorgeousness. Why, why *thumps fist on table* WHY do we not have more Dean fic?

✨Enjoy!✨

[nishnormp]

conagher brainrot

Sometimes I think about the fact that in Loose Cannon, dell's father never gets alluded to . like at all . Fred as the shabby little bridge between radigan and dell makes me a little sad though, so I'll just be looking at weird implications and make a poorly organized set of points

With how confidently Dell talks about his grandfather's personality and the state of his blueprints, I can only assume that a)he was practically raised by him or, b)his dad talked a lot about him (and by extension fred and radigan were close) while radigan was off doing...whatever

Dell is a genius, but a lot of his gear (most, actually) comes from his grandfather's blueprints (gunslinger over there was radigan's original design). Hell, even dell's iconic sentry gun was radigan's blueprint.

If you look at the first panel I showed, dell is immediately hesitant of his ability to fix it, but switches up just as fast when blutarch mentioned radigan's blueprints, blutarch even mentions that they've plagued him for 60ish years bc they were written in complete gibberish. HOWEVER, bluetarch has also been shown to be a complete idiot, so its possible that the blueprints were in english, but just completely incomprehensible to him.

Now, lets go back to the A and B scenarios earlier. The reason I mentioned some estrangement between family members is because things start to...not make sense. Let's say that all three conaghers were quite close (with fred somehow not having any time conflicts with his job and all), how come dell never alludes to him at all when referring to a 'mr conagher' in the field? How come fred never told him that radigan's blueprints were exhumed after his death? Dell's spy domination voicelines drops the lore that it was his dad that taught him how to deal with backstabbers, so if they were open about the nature of their work how come that one important tidbit was never told to him? There could maybe be some physical distance due to work and whatnot, but I cant imagine fred not revealing that about his father to his own son.

There's also...whatever this picture is. This is a photo of radigan in the years proceeding his influence under australium, which conflicts with the comics' and dell's portrayal of him. Its possible that this is merely him a few more years down the road, when both fred and dell are fully grown and out by themselves- but in that case that would be a TIGHT window for his death, blutarch's 60-year stressing over deciphering his notes WHILE fred's still in BLU, and the news to reach dell by the time HE'S the new engie.

The fact that fred is still up and kicking in the current day (hes pushing in the 70 at the VERY LEAST) also makes the timeline stricter, since theres no way he was born during radigan's youth (makes the estrangement thing more likely too cuz are you telling me that fred never corrected dell at all/dell dgaf that radigan was more like a jolly aussie than anything, or that they BOTH didn't know too much about him)

The hundred years thing is maaybe an exaggeration, I did the math and there's no way a literal hundred years had passed between the creation of the first LEM and dell's employment (this is with the consideration of 1890 being the absolute earliest time, and even then it reached 1990). HOWEVER the half a century (or 50 years) thing is probably, as it lands square into the 1940s-- a decade into fred's employment in BLU.

The 1890s was when Radigan was called to create the machine, and its also the time that is referred to right after the 60 years thing. So if the machine was built 60 years ago, but only started to malfunction around the 50 year mark; then there would be one entire decade of the thing just breaking down with no one to fix it.

Did fred get access to the notes? I'm not actually sure. There's this moment in the comics where he flubbs with the immortality machines, but I think there's more to it

"more biology than engineering" my brother in christ you have fully functional prosthetic LEGS and your guy best friend (who btw is a sniper aka guy whose profession relies on eyesight the most) let you pluck out his eyes and replace them with better ones. There's also the offhand mention of "lookin' at the old man's robots" aka probably referring to radigan's creations, but if we go by the thinking that radigan's notes were never shown to him-- that would mean he was reverse engineering them.

And honestly? It makes sense, esp if you consider tfc engie's gear in his own game.

TFC was created waaay before tf2 so the lore implications were most likely not intended at all, but just. Compare fred's sentry guns to the blueprints that radigan has on the walls of his workshop. The dispenser and the teleporter? Way different, and the dispenser even functions differently (it has to be restocked, but it can also damage people when it is destroyed by tfc engie). Fred had big shoes to fill, but he managed to live up to them anyways; I think cheavy would have kicked him out otherwise. The TFC gen is more militant than tf2's, and with how tightly cheavy runs his crew + is concerned about formal standards (like him not wanting to hire tf2 medic due to a history of medical misdemeanors), fred would have been long gone if his creations weren't up to par.

Keep in mind that most of the world is still kinda bummy while australia (and ig new zealand) have all the super fancy stuff to themselves (with the way aussies act with other non-aussies I highly doubt that they would just hand over their own formulas for Teleportation Tech) (these war-loving guys even canonically hid up the existence of australium too, and there's a newspaper clip showing a headline of the aussies calling the discovery of magic gold a false alarm) so fred figuring out all that shit on his own is kinda impressive.

But lets say that he DID have access to the blueprints. Did he deviate from them out of stubbornness? The want to be his own man? Was he smart enough to figure out the fundamentals, but eventually failed to understand the sheer complexity of the LEM? Or did he actually do work on it, but ended up not being significant enough? If the LEM started breaking down by the 1940s, is it really possible for it to STILL keep chugging for an entire decade without human intervention? Did he knowingly lie about the immortality machines cuz he didn't want a deranged cheavy to live forever, or was he actually thinking ahead and taking the potential australium shortage into account (esp since the thing cheavy was holding was a more greedy, simpler model)?

Still, whether or not he had access to the blueprints doesn't change the bits about virgil's eyes or his prosthetic legs. I know they knew each other before the war (gravel war, world war, idk) but it would still be a huge risk for a sniper to just let someone pluck his eyes out; that sort of trust takes a looot of time and experiences.

Tldr; fred is a smart little cookie and I think he gets underestimated too much : ( . also my math isn't the best so if I get anything wrong pls pls pls correct me

[raining-anonymously]

alright let’s do this.

see here for the pages on trespassing, soul suckers, and the grim reaper (yes, the grim reaper is canon to the beetlejuice cinematic universe).

yes, i know the page is unreadable. the shot lasts maybe two seconds and the words aren’t in focus for any of them. but, eyes be damned, i need the lore, so check the alt text for a transcription.

ugh. that was a pain to try and read.

implications under the cut!

for whatever reason, it is important that the rectangle is completed. they state it twice on these pages. if they’d gone with rule of three i’d be convinced that something terrible happens if the rectangle is incomplete.

“Sandworm” is a proper noun.

betelgeuse surviving the sandworm was not a fluke. sandworms can’t permakill ghosts.

therefore, delores WILL reform.

we see from beej’s and delores’s terrified reactions to the worms that eat them that sandworms are, in fact, feared by ghosts—even by the older ones who should know that they won’t be double-dead. same for the page, which calls the sandworms dangerous and says only to summon them in emergencies. ghosts can be physically harmed, as shown by betelgeuse cutting barbara’s hand and adam hurting betelgeuse’s foot, so it’s reasonable to believe that being eaten hurts a TON.

also, being eaten by sandworms sends ghosts back to the waiting room, which i can’t imagine is a thrilling prospect. it also potentially diminishes power—betelgeuse can’t defend himself against the witch doctor, although he’s possibly just less powerful in the netherworld. sandworms are also said to be soul sucker’s weaknesses, so maybe soul suckers also lose their power? and maybe, just maybe, they also lose the souls they’ve sucked? MAYBE BOB IS OKAY????????? let me dream

the term “fleshbag” is official handbook language, not wolf jackson language.

the language in the book implies that living people have died to sand worms before.

rory formed in the afterlife as a million tiny particles. (deserved.) maybe he can shapeshift like he’s made out of sand, that would be cool. he doesn’t deserve to be that cool.

sandworms are theorized to have sensitive eyes! this isn’t an implication, really—i’m directly paraphrasing the book—but i think it’s neat!

[sabianandocs]

DELTARUNE SPOILERS (kinda)

They make me sick /j

Toby converted me to soriel sorry guys (I'm (half) kidding but they are cute)

Genuinely though my personal take is that Soriel is super cute for Deltarune and Sansby is my fav for Undertale AND HERES WHY

In Undertale, Toriel and Asgore are OLD AS HELL. In the kindest way possible they've been around super long and seen so much. In my interpretation, Sans is like, 40? And Toriel is over 100. (He even calls her 'old lady', not that that means he can't like old ladies but still) That's still fine and shippable, for the record, and I don't have any gripes with people who ship it- I totally see it. But for me personally, I like to view her more as a mother figure to him & Papyrus (& everyone else really). Partly because I feel like non-romantic relationships don't get as much attention as they should so I project that onto Sans & Toriels relationship in Undertale and choose to interpret it differently.

I ship Sansby for shits and giggles tbh it started as a joke and then I got attached after seeing other people's fanart etc. I think it's a fun dynamic & could be plausible if you wanted to read into things

HOWEVER

In Deltarune, Toriel is aging at the same rate as the other monsters (because her son is alive, and if I'm remembering my Boss Monster lore correctly, that means she'll age as long as he does) so she's more on the same maturity level as Sans, in that she doesn't have literal decades of living over him. They're both middle aged people (I hc at least 40s, maybe 50s) just doing their best to keep their lives together & the people they love happy. They're at a much more similar place in their lives; they're both dealing with change (Sans moving to town, Toriel with the divorce and Asriel going to college) and they're both trying to keep a family afloat. It makes a lot of sense that they'd gravitate towards each other!

So yeah! I might draw more soriel in the future, but fear not my sansby lovers, those two aren't going anywhere either

EDIT:

I know literally no one is complaining about this but I did want to add that Soriel is NOT a perfect ship in DR either- the way that they're acting is super irresponsible for the actual situation that they're in (Toriel your child has been missing all night are you not concerned? & Sans being so dismissive of Susie is a red flag) I won't do a whole rant here but know that I am acknowledging that as cute as this scene is on a surface level the deeper implications kinda aren't great

[agarisky]

just imagine the sheer amount of survivor’s guilt and religious trauma induced ptsd that clancy probably wouldve felt when he found out that KEONS of all people was the one to essentially be the only catalyst that allowed him his freedom, and that he DIED for it as a result.

someone that is essentially your god

part of the same group that enslaved you and turned you into their weapon

who was probably complicit in that for presumably ages

and you find out that they’re the only reason you were even able to escape at all.

they DIED for YOU.

isnt that soul-crushing? having to deal with his conflicting devotion to the bishops (which personally i dont think ever fully went away), recovering from imprisonment, having to navigate (haha) part of an island he knows nothing about completely by himself and then hearing this news on top of it? and yet he still has to do his part in completely betraying these same people that he probably hasnt even fully made up his mind on.. i doubt that with all the pressure of the rebellion he could possibly get a single moment to himself to even THINK about any of these feelings at all.

he probably still feels like he owes them. all of them. prays before bed every night crying and begging for forgiveness. what if he feels like a traitor to both sides? keons wasn’t just his region. TONS of people lost, again, what is basically their GOD because of CLANCY and probably view him as the DEMA antichrist or something like that because of it. people that he probably once knew too. and he probably thinks that about himself. he probably wishes keons wouldve never saved him, and instead left him to rot and die of starvation under imprisonment.

and on the more headcanon-y side of things… he probably never wanted to become this symbol of rebellion at all. he was made one, he didn’t ask for any of these huge things to happen to him. he just wanted to live a better life, and the world has essentially punished him for it.

god… im so ill…all the implications of dema lore are so incredibly heartbreaking.

[raticalshoez]

I just feel the need to get this out there because this has been sitting in my Google Docs brainrot document:

I will always believe that Scar is the saddest, most tragic Life Series character.

I'm unsure whether this is an unpopular opinion or not, but I feel like if I were to ask people who they think the most tragic member is they might say Grian, or Martyn, or Jimmy simply because of #lore implications, but when I'm bored I like to reflect on the Life Series characters and...like...

3rd Life had Grian indebted to Scar, creating a narrative based around loyalty that inevitably had to end in tragedy when they were the last two standing, neither one of them wanting to be to one to lead to the dekise of the other. Everyone knows the origin story of Desert Duo, come on now. I'd argue this is one of Scar's less tragic seasons though because throughout the entire thing, he had the unfaltering loyalty of a person, and that loyalty didn't waver on his end either. One might be tempted to bring up the Bdubs friendship pass, but that was all part of a plan Scar formulated, and Grian just never happened to see the secret message sent to him. All in all, a story of companionship that's only tragic towards the end.

Then, Last Life comes, and he is lonely. People are really quick to point to Joel for being lonely this season, but if anything, I'd describe Joel as manic over just lonely. This whole season, Scar tries to make friends after losing his only one to the curse of a red life. Time and time again he's seen trying to help people, he acts as a life dispenser, and at every turn he us either dismissed and never truly seen as an ally, or he faces death, whether by natural causes or by the hand of another player. In fact, instead of making friends, he seems to make a sworn enemy out of Team BEST. This season is really what kickstarts Scar's progression into being one of the staples of Lonely Characters ™️ of the Life Series, for even his final death is practically alone, with no happy reunions with allies, and no boos from any sworn enemies either.

I could argue this is another case of Scar being faced with lonliness because his once closely knit ally in Grian, has now shown scorn for their new fated bond. Scar is left behind as Grian goes to be with BigB, and out of them two, BigB has the guilt to tell Ren the whole secret soulmate ordeal, but Grian keeps his mouth shut. Scar finds out about the whole situation on his own, bitterly offering gifts for Grian to give, and hanging out with Pearl, the girl who is quite literally the commonly accepted poster child for all aspects of loneliness depicted in the Life Series. In this series, I think Scar gets some sort of closure in Grian and him working together again towards the end of the season, but even so, the two of them die apart, in a way symbolizing the disconnect they had all season long.

Limited Life is quite possibly Scar's happiest season, and therefore I don't really have anything to say about it. I think to some degree, everyone in the Life Series has the ability to be an asshole, and I think every single character is morally grey, and with all that being said I think the person Scar needed most was Cleo. Sure, they enable him to be as chaotic as possible, and yeah, being around Ckeo thus season quite possibly made Scar the snarkiest he's been, but the connection he had with her, and just the Clockers overall was so strong. Yes, there's the whole Etho dad thing, and you could argue that's another tally for Scar's abandonment board, but really, that whole bit has always been more comedic to me than it has been entirely dramatic or angsty.

And everyone knows Secret Life. Once again, Scar finds himself in the role of the lonely merchant, running a shop solo, and constantly trying to make friends, but there is always something stopping him from doing so because something in this world HATES him. Scar doesn't make friends, no, in fact, the Secret Keeper screws him over so much that by the end of this season he is literally embracing the role of a villain. He goes on a killing spree, more successful than he's ever done before, and he finds himself face to face with Pearl, who wants him to take her life. He calls it lame, and not fair because if Pearl's good at the game, she should own it and between me and you personally, I think Scar's just got a soft spot for a fair fight between the last two standing. I think the saddest part of Secret Life is the lack of closure Scar gets because he is the only winner that doesn't get to die and meet in this sort of afterlife where everyone reunites and talks like friends again, as if they all hadn't caused each others' demise. Scar doesn't get that, and is instead stuck in, at least in Martyn's interpretation, an endless loop of pressing that succeed button over and over as he goes mad.

This is a ridiculously long post, but I just NEEDED to get it out of my system. I feel like people could argue the curse of having allies is more tragic because you have to witness their deaths, or you can make the argument that maybe trying to fund the most tragic Life Series character is redundant because with how this game is, everyone is bound to be tragic either way, and to which I say true. I just feel like in a game where it's so natural for people to split up into groups of 3, 4, sometimes even 5, Scar's a character that has ended up alone so many times. It's honestly quite insane. I will always say that Pearl and Joel are the lonely dog girl and lonely dog boy of the series, but if there was ever just...the Lonliest, that title would probably go to Scar.

[not-freyja]

New Zelda Game!

Okay cool, cool cool cool cool, I am calm, I am so fucking calm. Looks like Nintendo is staying true to their word that Wild is not getting another game, so now the questions are, what Link is this, where are we in the Timeline, and what information about the game itself can we pick out of these crumbs?

Whose Zelda is it anyway?

So two options:

New boy.

Legend. It’s fucking Legend again sucks to suck bro

Case for new Link and Zelda:

Less messy for the Lore

That’s it, that is the only argument

Case for Leggy boy and Fable:

LA animation style! While it can be fun to bring back older styles of animation for nostalgia/artistic reasons, that seems like a poor choice for *LOZ* games, which are always on the edge of what a game can do. Moving “backwards,” so to speak, in any aspect, would be a disservice to the franchise. However, doing it to maintain consistency for a particular character, and to use the animation style to make sure the audience knows this is the same character from LA is a very simple but effective tactic.

The map! So that shot was so BOTW and so fun, but the view we got wasn’t just recognizable as “Hyrule,” is was, down to the relative heights on the mountain cliffs against each other, the map from ALTTP/ALBW. Nintendo has never repeated a map without it being the same Link. So! Checkmate motherfuckers.

The character designs. That… that was just Legend and Fable, come on. Look at the dress. Every Zelda has a slightly different costume design, and that was hers. Look at Link. Baby boy!

I want this. Let me have it.

Timeline positioning

Okay so if we assume that this is in fact Legend, the next question becomes, “When is it?” Leggy boy currently has 5 games that are canonically his. (Triforce Heroes could be a random other Link, so while we like to say 6 we can’t *prove it.*) So. Let’s break it down.

ALTTP: canonically his first game, can’t be before this one.

Oracles: canonically happen after ALTTP, and he is very much still a child in here.

LA: the game this one is artistically modeled after. Narratively this fits nicely right after Oracles, and in the canon timeline, fits between Oracles and ALBW, so I think a whole new game being crowbarred prior to this one would be… not great for the narrative.

ALBW: This is trickier. No canon time between LA and ALBW is given, it could be a week, it could be years. It is entirely possible that Echoes of Wisdom occurs prior to ALBW, which would make it a direct sequel to LA, which makes the art style make even more sense. It could also be after?

…hang on a fucking minute, lets get the fucking map.

Left, ALTTP. Right, ALBW

Basically the same map! Duh, it’s the same Hyrule. But. BUT. Bottom right, in the lake. Do you see that?!

ALTTP: no log bridge. ALBW: Log bridge. Now, let’s look at the pretty picture from the EOW trailer.

NO FUCKING LOG BRIDGE!

This is before ALBW. Therefore, the game order for The Hero of Legend is

ALTTP, OOS, OOA, LA, EOW, ALBW, TH(maybe)

*cue manic laughter*

Lore Implications

Ganon.

There being a Ganon at all actually has me pointing my finger at the Oracle games and screaming. The TL;DR in those is that there was a plot to resurrect Ganon, each game Twinrova gets closer, but Link stops them. Now, there were also supposed to be three of those games, which means that it is entirely possible that the third unseen Oracle plot—please Nintendo let Link and Farore hang out, I am on my knees barking like a dog—could have resulted in his resurrection. This is the only explanation I have that doesn’t break the Lore or involve Time Shenanigans.

Also, Link does KO the bitch in that opening scene in the trailer. His presence is either just that—a set-up plot point—or him and Link are currently duking it out in the hole. Fun!

Link and Zelda

Now this game is going to put their relationship in the front in the “I have to save them because I love them” way that we usually see from Link’s POV.

Getting it from Zelda’s POV is going to be very interesting. We might be getting a look into her head, into her feelings and thoughts about the whole ordeal of the Legend itself. I hope so. But also, this isn’t just Link and Zelda, this is *Fable and Legend* specifically. The two that were meant to be be siblings but the dialogue that established them as such was cut from the final version of ALTTP. So. This game has the possibility to do three things

Canonize the Prince Legend thing, like they were going to do in the nineties.

Not address the topic at all, leave it nebulous.

Zelink.

None of these are bad choices, but option two is definitely the safest. Both options one and three will cause an uproar from part of the fan base. I can already see the ship wars. Please don’t do this people. Please.

The Holes 🕳️

What are they? Where did they come from? Ganon’s Trident Where do they go? No actually, where do they go? The Dark World (doesn’t make sense in the Lore)? Lorule (that would be a choice)? The Twilight Realm (I am convinced that Lorule and the Twilight Realm are the same place actually and you cannot change my mind)? Some new never seen before parallel dimension? A non-place, like a gap between realities (sexiest option)? I have no idea!

Fun!

That fucking “Fairy”

Tri? Don’t trust it. Will not trust it. Never trust that a companion in a LOZ game is what they first appear to be. Who does Nintendo take me for? A fucking amateur?!

Anyway, I am about 40% convinced that’s Link. I have evidence, but it is circumstantial.

I AM HANDLING THIS NORMALLY.