#and this is all with the caveat that all of the characters' choices are for plot

[ksfd892]

Last night I was discussing with @ernestonlysayslovelythings that one of the things Gilmore Girls does really well is nuance. In terms of conflict, most characters will be a little bit right and a little bit wrong (as it tends to be in life), and yet many viewers will automatically side with one particular character. Lorelai and Rory (Rory in particular) tend to often be seen as in the wrong, and this intrigues and frustrates me. While a lot of the time they are 'in the wrong', so is the other character, and yet this is rarely acknowledged. Information which the other character has (and the audience has) is not given to Lorelai and Rory and yet they are still criticised for it (which other posts have gone into).

Emily and Paris are fan favourites and it's easy to understand why; they are funny, sarcastic and outspoken and yet also have vulnerability. Viewers will often take Emily's side in an argument with Lorelai and Paris's with Rory, which I find frustrating, because the reasoning seems to be either that Emily and Paris are 'more funny' or that Lorelai and Rory are 'annoying'. Emily and Paris are funny (Paris in particular is exaggerated as a side character) but they can also be very mean. Lorelai and Rory are not intentionally mean, generally speaking, yet a key element of Emily and Paris's characterisation is unkindness. Of course, this is largely for comedic effect (such as Emily firing maids and Paris making Brad cry), and yet Lorelai and Rory seem to be held to a higher standard. Emily and Paris can be very cruel to Lorelai and Rory (ie Emily's ongoing disgust over her daughter's romantic life or lack of and Paris bullying Rory at school) but it doesn't seem to 'count'. Viewers identify the reasons for this; such as Emily's hurt over Lorelai running away or Paris feeling intimidated by Rory, but do not extend the same understanding to Lorelai and Rory. Lorelai can be immature and shut out her parents, which is due to an unhappy childhood, and Rory sometimes wants space (which I don't personally find unreasonable), but that apparently means they're 'arrogant'.

This lack of nuance is also notable with Jess. With non-Literati shippers, many viewers write Jess off as the asshole exboyfriend who has 'exaggerated' his unhappy life with Liz and is 'ungrateful' to Luke. On the flip side, many Literati shippers take the view that Jess never does anything wrong and Luke is a total jerk. Again, there is nuance here; Jess is not infallible and, like all the characters, he is right and wrong about certain things. While there is zero evidence that Jess exaggerated anything (although some fans seem to exaggerate for him), he can be rude and perhaps seem ungrateful, but it is understandable. He acts this way because he had an unreliable mother who sent him to live in a strange town with his uncle without any say, and he lashes out because he is angry and not listened to. In S6 when Jess has grown up, he appreciates what Luke did for him, because he has the maturity to see it. Luke, for his part, did his best and also messed up because he stubbornly thought he knew what he was doing, and didn't think he needed advice. It does not negate the fact that he cared and tried his hardest. As with Lorelai and Emily, Luke and Jess are both right and both wrong with their reaction to things.

It's also interesting that within Literati shippers, the majority of people will take Jess's side in a conflict with him and Rory. Jess and Rory are flawed people (who are also very young) who manage to hurt each other deeply. Rory runs away after kissing Jess because she does not know how to handle her feelings, which Jess perceives as her thinking he isn't worth staying for and, a year later, Jess leaves town without saying goodbye, which Rory also wrongly perceives as a rejection. Neither of them intend to be cruel and yet, according to numerous Lit shippers, Jess was hurting and Rory 'couldn't see it'. Of course she couldn't see it - Jess never communicated to her that he was in trouble at high school and had to drop out, or that his father showed up, or anything else going on with him. She could see something was wrong but couldn't help him. Likewise, Rory never communicated to Jess that she was feeling mixed up about being with Dean and later with Logan, but somehow this understanding isn't extended to Rory. Jess and Rory are both fallible and are both written with excellent nuance.

One of the best things about Gilmore Girls is how well it reflects growing up and our relationships in real life. Situations are rarely binary and, as we mature, we can often look at conflict more objectively and see 'the other side'. Lorelai and Rory, along with most of the characters they interact with, are written with depth. When they mess up or miscommunicate, it doesn't mean they 'wrong' or not worth caring about - it means they have something to learn from. They are funny, frustrating, vulnerable and have moments of clarity, just as with real people.

[spock-adoodledoo]

fei ren zai's comics are becoming(/have become) less visually interesting and imo more lazy (lol) but at the same time all those characters are my silly idiots so it's not like I can drop it

[teambyler]

How the Duffers likely will make the general audience AWARE of Byler and CHEER for Byler

First the TL;DR. They'll probably do it with:

Revealing the Painting Lie

Will comes out to Mike

Will gets bullied for being gay, and Mike must make a choice

Mike and Will face danger together, alone, for the 1st time

And I'll spell out exactly how and why!

(CAVEAT: I can't claim to know 100% what will happen of course! This in the spirit of fun analysis and speculation.)

We in the Byler fandom have our theories: Flickergate, Lettergate, Churchgate, etc. While totally fun and while it would be amazing if they became reality, they don't answer the question of how the Duffers would manage audience expectations to make them accept and cheer for Byler.

Because we all know the reality: on a surface level, season 4 ended with a grand "love confession" from Mike to El. It appeared to have culminated a four-year arc that started from the show's beginning. For the vast majority of viewers, a Byler relationship will be a HUGE SURPRISE.

This isn't just heteronormativity; it's also the fact that in every slow-burn romantic relationship in fiction, the story needs to openly tease "Will they or won't they?" for a while first. The audience needs to start thinking that these 2 characters (1) MIGHT be together, and (2) eventually that they SHOULD be together and cheer for them!

For Jonathan and Nancy, there were a lot of moments suggesting they MIGHT be together in Season 1. Then in Season 2, we had THIS episode (where Steve left Nancy wasted at the party) that made the audience think Nancy absolutely SHOULD be with Jonathan instead of Steve:

The show then dragged things out MORE before their first kiss.

Anti-Bylers raise a fair point that there "isn't enough time" to replace a relationship that seemed to have been "fulfilled" at the end of s4, with an entirely different one. Of course, the ground has been laid for four seasons, but HOW EXACTLY can the Duffers make the audience accept and cheer for Byler, after seeming to have "built up Mike and El for 4 seasons"?

Showing Byler is POSSIBLE:

First, the most obvious (and elegant) way for the Duffers to accomplish this is by revealing the Painting Lie.

The main things that make the General Audience/GA dismiss the idea that Mike likes Will back are that he (1) confessed "I love you" to El and (2) said things like "it's not my fault you don't like girls" and "we're FRIENDS" that suggest he can't be gay or bi.

The show has to address these two things, and there are ways that are pretty obvious.

The fact that El had no role in the painting COMPLETELY undercuts the "I love you" confession in the GA's mind. Milevens completely underestimate how this will affect Mike and El's relationship and how the audience will view it. El didn't commission the painting. When Will gave the painting, he wasn't describing El, but himself. Mike confessed his love to this false picture of El, one that was actually WILL.

When El finds out, she'll realize that Mike said he loved her based on a LIE. She'll realize that she accurately clocked Mike for not loving her when they argued in s4. It's likely that she'll want to break up or take a break in their relationship. (El taking the initiative will assuage concern that Will would "betray" his own sister by being with Mike.) Mike might desperately try to repair things. Even if he does, this will show the GA that Mike's struggle for an entire season to say he loved El -- already very concerning for a romantic couple -- was a complete fiasco, and after two whole seasons of them breaking up and trying to fix their relationship, this third breakup in the LAST season means they'll PROBABLY NOT end up together.

Mike (and the GA) will be confronted with the fact that Mike felt romantic love for the first time because Will described HIMSELF. It will be apparent that Will would be a more suitable romantic interest... if he were a girl. =) It's just too bad that "Mike is probably straight"!

Now how to deal with that misconception?

We come to our OTHER Chekhov's gun that needs to fire: Will comes out to Mike. Will is still closeted at the end of s4, and his right to be out and find happiness is clearly central to his future arc. This HAS to be resolved. And he HAS to come out to his mom and his BEST FRIEND SINCE KINDERGARTEN.

When he comes out to Mike, he of course won't spurn Will. Will probably explains he didn't come out earlier because he was afraid Mike would be homophobic because of what he'd said that summer, "It's not my fault you don't like girls":

If Will does, then Mike will have to explain why he said it. Mike probably apologizes and makes clear he accepts Will. The show (maybe Mike himself) might remind us that he defended Will from homophobia in s1. But this makes the GA wonder "Then why did he say it then?" And Mike might be exceedingly defensive when explaining himself. Will coming out to Mike is a golden opportunity to show the GA that NOT EVERYTHING IS AS IT SEEMS, and Mike might be dealing with internalized homophobia.

That's one way to signal that Mike might be gay or bi. And there's another!

We've been told that Season 5 returns to Season 1 themes. The Core Four are probably bullied for the Hellfire Club, and Will might be bullied for being gay. Ross Duffer says that s5 will center on Will's "emotional arc" and his "coming into his own as a young man," so his confronting homophobia in an 80s small town is quite likely. Since Mike and Will are joined at the hip in s5, the same accusation could easily extend to Mike. All this means that Mike will be confronted with the CHOICE of whether he'll stand up to anti-gay bullying. (Perhaps this is why there's a BTS pic of Mike with a bruise on his face?) It might be strongly implied to the GA that Mike is standing up, not only for Will, but for himself. Shrewd viewers would see the parallel to Mike defending Will from homophobia in s1, making them rethink that scene as well. (Defending Will INTENSELY would simultaneously suggest he's closeted AND clearly parallel Jonathan fighting Steve in s1, which showed Nancy that "only love makes you that crazy sweetheart, and that damn stupid.")

How Season 5 can make the GA CHEER for Byler:

Showing Byler is possible is the main obstacle; next is the much easier, and FUN (and agonizing) part!

First, the show has put Will through so much trauma and made clear how selfless he is, that the audience already wants him to have a happy ending. He almost certainly will suffer again in s5. We probably are reminded that as a gay person in the 80s he believes he's "not gonna fall in love." Meanwhile, the show has made clear that his love for Mike is PAINFULLY deep and won't simply go away: "[I] need you Mike, and [I] always will."

Once the GA sees the POSSIBILITY of a Mike/Will romance as per above, their mental floodgates will open. As Jancy shows, It doesn't take much to get the audience to root for a relationship, after the seeds are planted. And Byler has FOUR SEASONS of seeds for the GA to look back on with fresh eyes!

How to recall those 4 seasons of material? We already know that Will is in danger and we'll see a return of "leader Mike" in s5. This likely will include callbacks (and maybe even flashbacks) to Mike and Will's relationship in s1 and s2. There's the newly-filmed flashback from when they were young kids. This all will bring their long-time closeness to the fore in viewers' minds. But with the artifice of Mike's relationship with El knocked away, they will see it as potentially romantic and realize that this show seems to have been secretly building them up as a romantic couple all along.

Add to all that: we likely will have Will and Mike facing danger together, alone, for the first time:

It was Jonathan and Nancy facing danger together in s1 that made the vast majority of viewers ship Jancy. Mike and Will facing danger will put their LOVE (remember: the audience already accepts them as best friends who love each other!) and their willingness to RISK THEIR LIVES for each other to the fore. Callbacks, flashbacks, and dialogue will remind the GA of their sacrifices for each other: Mike putting Will before everything in s1 and s2, and Will sacrificing his feelings to help Mike be with El. They might hug each other after a near-death experience and have a mutual Gay Panic, which will be a callback (and contrast) to their non-hug at the airport. Millions will say "They should just kiss already."

There are SO MANY WAYS to get the audience cheering for Byler.

Will probably lives in Mike's house because the Byers don't have their own house in Hawkins anymore. Mike, if he doesn't know already at the season's start, will KNOW the painting came from Will and wonder if it was romantic. The tension between them in s5 will make s4 look like nothing in comparison.

When Will comes out to him, Mike might ask, "Is... there anyone you like?"

He'll ask NERVOUSLY, like he once did before:

Will probably won't answer honestly; he might make up another boy! ("I met him in California. We like a lot of the same things. He even likes D&D...") To which Mike says, "COOL." (BTW, this could echo the airport scene and make viewers reassess and understand that as another miscommunication!) This leads to a new cycle of these two boys thinking their love is unrequited LOL.

Only this time the General Audience will be fully aware of it. The miscommunication trope widely used in fictional TV romances will not only tell the GA that Byler should happen, but WILL happen. Will and Mike become THE "Will they or won't they?" couple that everyone is talking about. Mike's sexuality and his feelings for Will probably aren't officially revealed until mid or late season in order to let the excitement build. If Season 5 is released in more than one volume, there will be a flurry of videos and articles revisiting past seasons, finding evidence of Mike's feelings for Will that we Bylers have curated for years. Barring a few vocal homophobes, the show will make the GA (even people who don't watch analysis videos online) fully onboard with a Byler conclusion before it happens; the SHOW ITSELF will set-up and tease it and make the GA desperately want these boys to "just kiss already."

Season 5 will be messy. And glorious. And the most Byler season of all.

-teambyler

[astral-herald]

Viktor's (subverted) Aristotelian Tragedy

A common sentiment I’m seeing throughout post-finale Viktor discourse is an understandable concern or distaste for the element of choice lost throughout his story. I know a lot of us – myself included – expected more time spent on his transformation, along with emphasis on the anger/rage/betrayal fueling it. But seeing him allow Singed to “begin the process” in episode 8 reminded me of Arcane’s origins – tragedy. Bear with me for another long analysis :)

Aristotle wrote the following on the tragedy: “A tragedy is the imitation of an action that is serious and also, as having magnitude, complete in itself…with incidents arousing pity and fear, wherewith to accomplish a catharsis of these emotions.” He also emphasized that the true tragic hero couldn’t be perfect, and his downfall into such catharsis-inducing circumstances was reliant on a fatal flaw, oftentimes pride.

Viktor fits this mold, as do many Arcane characters, and it stands to reason that this was intentional since the writing team has reiterated that the show is a tragedy, at its core.

Regarding Viktor’s fatal flaw, I’d argue it’s pride, but it manifests very uniquely. He never makes any grand declarations about his success and doesn’t draw attention to himself in any clear way throughout season one (“Progress Day” comes to mind). Instead, his pride manifests as staunch independence and self-reliance that lead to his downfall; his unwillingness to break his stoic mold arguably led to his use of the Hexcore…so it goes.

Fascinating caveat: Viktor’s pride is a defense mechanism, a necessary tool he built in order to survive and succeed in a hostile environment to people of his station. His self-reliance is increasingly desperate as his illness worsens. He’s cornered by fate but banks on the sanctity of choice at every turn – in season one, Viktor is bound by the conviction that we all have a choice. It’s why he’s so distressed when Jayce makes the wrong one regarding weaponizing Hextech.

“There is always a choice.”

Viktor’s choice to fuse with the Hexcore is the classic Aristotelian fatal flaw moment, the singular incident that opens the flood gates for eventual catharsis. We watch Viktor make an irreparable choice, one that we know to be bad, and endure the repercussions. He then makes the choice to abandon the Hexcore, and end his life, but audiences can’t shake the feeling that those consequences aren’t leaving anytime soon.

So why is Viktor so anti-choice in his final season 2, act 3 form?

Choice is Viktor’s weapon. Pride is what leads him to abusing it. Despite how uncomfortable and depressing it is to watch, Viktor’s slow descent into the Herald is a perfect twist of fate. The Arcane is even so insidious that it meshes with his original intent, to help those suffering in the undercity, while convincing him that their subservience is healing. He becomes responsible for their choices. He knows what’s best because he’s relieving the Gloriously Evolved of their suffering, right? The utopia is for the greater good, yes?

Admittedly, it was really hard watching act 3 Viktor descend fully into his choiceless ethos. But we can still relate it to his tragic flaw – his pride has mushroomed into coldhearted omniscience; not only does he know what’s best for everyone, evolution, but he also has the sense to make the choice for them to supersede their “baser instincts.” The grief we feel upon seeing this perverted, violent version of himself, as far removed from Viktor as possible, is the culmination of Aristotle’s treatise on tragedy. The catharsis is the rock-bottom Machine Herald.

"Choice is false."

But then Arcane decided to basically make Jayvik canon (get out of here, Christian Linke) and destroyed the early drafts of this post. I’m going to rapid-fire this next bit:

Jayce forces Viktor back to life. Viktor has no agency in his season 2 inciting incident. Again, it’s distressing when we mourn his agency, but it remains in accordance with Aristotelian tragedy.

Viktor clings to humanity as long as he possibly can. When Jayce calls out Viktor’s trajectory, alleging that his old partner had died in the Council chamber, whatever is left of Viktor gives way to the Arcane because his last tether has been snapped.

Jayce knows the game – Old Man Jenkins Mage Viktor told him so. Jayce becomes the linchpin in subverting Viktor’s tragedy. He knows what must happen. He understands now.

Machine Herald Viktor is given the chance to undo his fatal flaw, to reverse the catharsis, when he sees Old Man Jenkins Mage Viktor. With Jayce’s help, he takes it.

Given that it’s a version of Viktor who ultimately frees him from himself by empowering Jayce, we can gather that Viktor has liberated himself from his tragedy.

Aristotle’s catharsis is rapidly transformed from something based in release to something healing – Viktor’s tether to humanity returns. He grasps it. The walls of his pride and self-reliance collapse. He accepts Jayce’s help, finally being seen as the full individual he is. Catharsis ensues, for sure, but I don’t think it’s based in the typical tragedy genre.

All this to say, I think Viktor’s arc was, in fact, carefully constructed. He represents the Aristotelian descent into a fatal flaw and that’s very distressing to see unfold, especially since he embodied the tragic hero archetype so well from day one. However, Jayce undoes this narrative and we’re given an incredibly subversive ending that I, personally, never saw coming.

I’m sure that Mage Viktor has a much larger bearing on this analysis than I’m accounting for. But for now, suffice to say that he is Viktor’s way out of the tragedy. TALK ABOUT CHOICE!

This doesn’t erase anyone’s discomfort for Viktor having less and less agency, but I’d like to emphasize the logic and literary precedent behind the story decisions.

PS: here's a quick source I looked at about Aristotelian tragedies. I hope to re-up on Greek tragedies so I can get more specific about the parallels Arcane draws from them.

[caligvlasaqvarivm]

Original Sin: The Failure of the Dancestors

Establishing an Eden-like paradise from which there is some departure through sin is sort of the boilerplate basis for religious lore. [...] The failed players from peaceful Alternia made a classic "deal with the devil" move by causing the scratch after being given a choice by the mother of all monsters. (Echidna. Hey, she's a big snake!) By doing so they brought Scratch into their universe, and therefore all the things you'd expect that comes with summoning the devil.

Andrew Hussie, Formspring, Aug. 12, 2011.

Warnings for: Mostly? I'm going to be really mean to the dancestors, so if you aren't here for a thorough (and I mean thorough) dancestor takedown, please do not read this. Ableism, questionable consent and outright non-consent, horrific interpersonal relationships, and Cronus ahead.

Overview

I hesitated to write this because I know there will be some really controversial interpretations in here. Many of the circumstances I bring up as failures on the Dancestors' part are interpreted by the fandom as positive things. A common one I've run into before is Latula x Mituna, where I maintain it's bad, but the fandom often sees them as cute. I'll also be condemning things like Horuss's plurality, or Cronus's kinning, not because I have any beef towards this stuff IRL, but because they're framed as failings on the characters' part within the context of the comic, and I'm analyzing the characters within the context of the comic. I'm not asking anyone to agree with me, but I am asking that you approach this essay with an open mind, and not send death threats over a silly webcomic from the early 2010's. I would not be asking for this if it hadn't already happened, which was embarrassing for all of us TBH.

The Dancestors, as made clear from the Hussie quote, are the story's original sin - the initial failure point from which all the comic's problems stem. Their role in the story is antagonistic - with very little exception, the Dancestors are not meant to be sympathetic, and/or their flaws outweigh their sympathetic qualities. Every single one of them succumbed to some major failure (some their own fault, some brought on by others on the team), and practically only Porrim showed any improvement after death.

There's another really important thematic shadow hanging over them: if Homestuck is a coming-of-age, then the Dancestors represent a prior generation that reached physical maturity, but failed to grow up.

[The dancestors' choices] resulted not only turning Alternia into a planet full of violent murderers, but it only technically granted them what they wanted with a huge caveat, as is the case with such ill-advised bargains. The players were strong enough to win, but made a terminal universe, were barred from entry, hunted by a demon, and then started killing each other.

They're an older generation defined by how entitled and immature they are, who invited terrible forces into society and allowed the perpetuation of cruelty to continue after them. In other words, theyre boomers. It's important to note that they literally had the choice, before their Scratch, to prevent the birth of LE by simply choosing to let their species die with them - but they made the selfish choice of what was, functionally, having kids:

The heroes could either accept their defeat along with the extinction of their race, and put no others at risk. Or, [Echidna] could show them a path to a second chance, to a reality in which the chosen heroes of their race would be strong enough to succeed with ease, and claim the reward.

For more on Homestuck's coming-of-age, anti-fascist, and feminist themes, please see my essay on the Alpha Timeline. Note that I have an updated opinion: the ending was, in fact, bad on purpose, because it was a continuation of the theme of narration needing to be refuted - "who's telling the story, and why are we listening to them?" You can read more about that here. Sorry to have to link two long essays at the beginning of a really long essay, but these are the backing arguments to many of the claims I'm about to make.

I also want to refute a common fandom belief. A take I commonly see is "the dancestors are one-dimensional assholes as a snub to the fandom" - this is not true, at least to any extent moreso than the Alternian trolls.

Yes, the dancestors are riffs of Common Fandom Types of Guy, especially Types of Guy on Tumblr while the comic was being written. However, the beta trolls/kids are ALSO Internet Types of Guy - the reason the trolls are named "trolls" is because part of their original conception was that they each represented a common type of forum troll. The dancestors aren't making fun of the audience any more than the Alternian trolls are, since Hussie got his start on fora.

Moreover, they aren't actually one-dimensional, or at least not in a way meant to be a snub to people. In fact, I find the entire attitude people have that they're somehow owed the dancestors being "good" or "likable" weird. The dancestors, as I said before, are antagonistic - if not at times outright villainous. They're the story's cautionary tale, a look at what happens when a session fails and the kids in it don't grow up.

On the whole, they simply don't need a bigger role in the story than just existing, as their past actions are what spurred the plot into action, and their narrative utility now is as a window into those. Moreover, if you read between the lines and analyze them a little beyond the surface, there's actually a lot going on, which I hope to uncover in this essay.

On the Topic of Kid-Kissing

It needs to be addressed now and needs to be addressed early. The dancestors are physically 19, and the beta/alpha kids are 16 at the oldest and 13 at the youngest. Lots of the dancestors are uncomfortably okay with pursuing romantic relationships or performing romantic acts with these actual children. Cronus gets the most flak for it, but the list includes:

Cronus, who asks Eridan on a date,

Meenah, who has a "manic obsession" with Karkat, and later dates Vriska,

Meulin, who eagerly offers to ship Meenah with Karkat in red, and gets really excited about shipping the children in general, calling them her "gay babies",

Aranea, who's willing to smooch Jake in a sexy way as part of healing his brain because she thinks he's attracted to her.

Now, as gross as this all is, I do think it serves a narrative purpose. One can debate whether that narrative purpose was worth its inclusion at all, but I'm personally going to bypass this discussion since this damn essay is long enough. At least I'll clarify what I believe the narrative purpose is:

It was an extant trope at the time of the comic's writing (which has thankfully fallen out of favor) that an adult character would date a highschooler in order to show how immature, and not suited for adulthood, the adult was. One of the most famous examples of this is Scott Pilgrim's relationship with a high schooler in Scott Pilgrim, something other characters call him out on constantly.

Given that basically none of these dancestor/child relationships are intended to be read as comfortable, pleasant, or even good (I'll get more into this later), I fully believe that this is the reason for their inclusion in the story: a demonstration of the dancestors' immaturity and failure to grow up, such to the point that they see actual children as viable dating partners.

Finally, while most of the dancestors have very limited screentime, one thing we DO have is all their classpects. I'll be using my definitions, which you can find here. Please note that, while that essay does not have any textual evidence (as it was already 10k words long without any), I'm willing to back up every claim in there with textual evidence upon request.

The TL;DR is that class is correlated with character arc and starting circumstances, while aspect is correlated with base personality traits, and what qualities would make the character a successful (and unsuccessful) hero of said aspect.

I firmly believe that, given what's in the comic, it's entirely possible to deduce what each class and aspect actually do, so being provided with every Dancestor's classpect means that we have a very powerful vector by which we can understand how their tragedy unfurled.

So please join me as we turn over this big rock and take a peek at all the skeletons living in the dancestors' closets. There are a lot of them, and they are rancid, but the complex ways they interlock are endlessly fascinating, and I hope you walk away from this with some new insight, or at least a new perspective.

Establishing a Baseline

First and foremost, let's factually review the events leading up to the dancestors' Scratch, organized in the way that makes the most sense to me. Many of these events don't have any set timelines, and aren't even described in relation to each other, but by going over them in general, we can get a big picture overview of the tragedies, and it helps to make sense of the interlocking nature of their failure.

Pre-Game

The dancestors grow up in a version of troll society as designed by Feferi Peixes, where the main difference between the two is that "culling" means "coddling excessively" rather than killing. Therefore, casteism still exists, but usually does not have as life-threatening effects. Characters who would've been culled on Alternia are likewise targets for culling on Beforus - this is most relevant to Mituna and Kankri.

Meenah finds the idea of becoming the next empress so distasteful that she flees to the pink moon, where she finds and transcribes the code for SGRUB and bothers her friends into playing it with her, in large part because it promises an escape from her responsibilities.

Cronus believes he's a chosen one destined to defeat an evil wizard, who tried to kill him when he was a wiggler. The story is one part Harry Potter and Voldemort, and one part Definitely About Lord English.

Kurloz and Meulin are probably dating in red, and Kurloz and Mituna are probably dating in pale.

Latula suffers an injury that leaves her unable to smell, something she remains insecure about for the rest of her existence. Communing with her lusus à la Terezi teaches her "new ways to smell".

Damara and Rufioh are dating in red.

Kankri was likely culled on sight, while Mituna was destined for one of the highest/"cushiest'" degrees of culling possible, echoing Karkat's and Sollux's relationships with culling.

Porrim is being trained for the breeding caverns as a jade-blood, and is not happy about it. It's likely that jades are the caste with the least privileges and freedoms, given the culling system (yes, I know culling is still a form of oppression, but it's still a cushy position to be in, compared to jades being forced to work breeding duties by birth).

During the Game

All of this happens over the course of six years.

Mituna spends the whole game attempting to warn his team to stop being such assholes or else something really bad is going to happen to them, using the prophetic insight he has as a Doom player.

Meenah starts cruelly bullying Damara, under the supposed motivation of "trying to galvanize the team into action".

Porrim outright ignores frog breeding, opting instead to go on a bra-burning rampage across her session.

Meulin is shipping her friends. Due to her Mage powers and predilections, not only do these ships come true, but they're really unhealthy and toxic as a rule.

Horuss begins an affair with Rufioh.

Kankri argues with himself nonstop, rendering most memos pointless.

Kurloz has a terrible nightmare and accidentally deafens Meulin, an act he finds so shameful that he stitches his own mouth shut. The two break up, but are still "very close friends"/in a situationship.

Someone talks Cronus out of his wizard beliefs, likely Kankri, and Cronus completely loses faith in magic, as well as a sense of identity. This is really bad, given what Hope does.

Meenah finds out about Rufioh and Horuss's affair and uses it as bullying fodder.

Damara snaps, kills Meenah, renders Rufioh a quadruplegic, and begins to perform acts of "timeline sabotage," which are even more impactful given her Witch class. It's heavily implied that Damara is the cause of the dancestors not performing their own ectobiology, the glitch that rendered their game unwinnable and serves as a "calling card" for LE.

Mituna tries to divert a terrible tragedy, something "only Kurloz was witness to". Said tragedy is implied to be Kurloz's Prince meltdown, and Mituna fails, rendering him brain damaged to the extent that he can no longer think or speak coherently. The team does NOT heal him or even reference TRYING to heal him, as it's implied they're more comfortable with him like this than they were with him telling them they were all doomed assholes.

Kurloz fully commits to his doomsday clown religion and begins using Meulin and Mituna as hynopuppets/conduits to bring about the end. It's likely that they rope Damara into their religion at this time.

Latula and Mituna start dating in red. For various reasons I'll get into later, this relationship seems to have started AFTER Mituna's injury.

Meenah bakes a cake. Isn't that nice.

It's never made very clear how long it took for all of this to go down, but the way it's framed is that everything major happened fairly early on, before the Reckoning, and they spent the rest of their session faffing around. While the beta kids have a nonstandard-ly short session, the beta trolls have what seems to be a more standard timeframe of about 612 hours, or several weeks. Again... SIX YEARS elapse. The dancestors reach the age of physical adulthood within the game.

Finally, seeing no way out, Aranea goes to Echidna for her quills in order to initiate the Scratch. The Choice that she's given is to immediately stymie the harm the dancestors' actions will bring (LE) by letting their species die with them, or to try again by passing the buck onto the next generation of heroes. The pick is obvious.

Damara, who's been uncooperative since she snapped, chooses to help out with the Scratch, muttering that everyone will "get what they deserve".

Meenah uses a tumor-like bomb to kill them all just before the Scratch goes off, in the window where god tier immortality pauses before bringing them back. This allows them to exist in the afterlife with memories fully intact. It's not fully clear how many of them achieved god tier before dying.

Afterlife

Meenah stays in her castle, echoing the way she fled responsibility to the pink moon, for the millenia that her friends have been mingling in the afterlife. Her descent from her castle after LE starts popping bubbles is the first time she's interacted with her team since she died.

Porrim is the ONLY dancestor that shows improvement or reflection, coming to view her frog breeding duties as something she probably should have paid more attention to, and toning down her feminism to thoughtful, reasonable critiques. This still doesn't excuse her total bystander nature while everything else was happening, which continues into the afterlife, but it's nice to see that she's doing better, since that's so rare in this team.

Kurloz starts readying for Lord English's birth, building labyrinths in the afterlife and using Meulin and Mituna as mind-controlled helpers (and possibly Damara as well).

Meulin and Horuss start dating in pale after Horuss is inspired by the meowrails. Despite Horuss's internal anguish and anger, he's been told by Meulin to cover it up with forced positivity no matter what.

Cronus is kinning a 1950's human greaser, an act which he himself admits is probably just a cry for attention, and a greater symptom of his struggles with personal identity in the wake of losing interest in magic and wizardry.

Rufioh wants to break up with Horuss, but doesn't have the backbone to to get pushy with these requests. Horuss has difficulty hearing what he doesn't want to hear, so Rufioh winds up wilting and agreeing to continue dating him every time he tries breaking up with him.

Aranea... does all that, spurred on by a desire to be important.

Meenah decides to encourage Vriska to shirk responsibility, running off with her and starting a romantic relationship with her.

Woof, that's a lot! So, now that we've established an overview of what went wrong, something I should probably note:

It's not JUST that Damara caused the timeline glitch that retroactively summoned LE, or JUST that Meenah bullied her. When I say that the dancestors' failure is multivalent and interlocking, I mean it - especially once you get into the implications of their classpects. Cronus being a Bard of Hope - Hope being the aspect of making fake things real - losing faith in his own destiny of defeating an evil wizard likely had some karmic contribution to the first half of that destiny - the existence of the evil wizard in the first place - coming true. So on and so on. So the rest of this essay will be a deeper look into each individual dancestor, and the contributions they made towards the ultimate blowout.

Porrim Maryam: The Ultimate Bystander

Porrim's drama is the least connected to the various conflicts suffered by everyone else, though it's one of the most consequential.

The Maid of Space was of course our all-important Space player and Stoker of the Forge, 8ut as you know, we never made much progress on the frog 8reeding front, or really any aspect of the game 8efore the reckoning. [...] She challenged these roles wherever they existed in 8eforan society, as well as where she found them woven into our session, in kingdoms, class assignments, consort culture and the like.

While she is pretty much the only dancestor that reflected on her failures - having come to a realization after her game's Reckoning that she probably should've paid attention to frog breeding - the fact remains that she totally ignored this duty in favor of going on a feminist rampage.

I do actually believe there is merit to her viewpoint, something Hussie appears to agree with:

HUSSIE: Porrim is better at social justice than Kankri because she isn't a boring asshole. [...] Porrim wants there to be equality for ladies. Not everybody cares about that though, which makes it hard for people like Porrim. That's the way it is in the real world. CHALLENGES.

Note that while Hussie is a deeply unreliable narrator (he describes his own self-insert as "oafish" and "buffoonish" in the book commentary, and his narration being biased and full of holes is a very deliberate choice), there is still meaning to be gleaned from his words, especially once you identify what biases he's performing. In this case, I think he's being genuine, as Homestuck has a deeply feminist and anti-patriarchy message overall, which I touch on in my essay about the Alpha Timeline.

However, Porrim's failure is that, as correctly as she identified sexism as being an issue, she became tunnel-visioned on it to the point that she failed to do anything useful at all. Frog breeding, AKA creating a new universe, is practically the entire point of SGRUB, and though her energies could've been focused on creating a new world free of sexism, she prioritized nitpicking it in session constructs.

Her other big failure is that of being a total bystander. In her conversations with Latula and Meenah, Porrim doesn't make any references at all to the bullying Meenah perpetrated, and otherwise seems surprised at the Redglare/Mindfang situation. She's also known as promiscuous, willing to sleep around with nearly anyone, tacitly approving of her teams' actions. Much of her feminist rhetoric is undercut by the fact that she has no comment to make on the way Meenah - the team's rich fuchsia - was primarily targetting a rustblood immigrant. It's implied her constant bickering with Kankri was in part due to her complete lack of intersectionality (with the other, more major part being Kankri's misogyny, but we'll get to that).

Interestingly enough, these three failures - poor prioritization, tunnel vision, and bystanderism - are failures of Space. There are two ways for an aspect (which is associated with base personality) to fail - the first is a toxic overabundance of the aspect's natural worst traits, and the second is a dearth of its positive qualities, to the point of resembling its counterpart. Space is associated with cycles and interconnectivity, patience and passivity. Its players are distractible and frivolous, but kind and permissive. However, it's easy for Space players to become so distracted that they lose sight of the bigger picture - we see this in Porrim's poor prioritization, and the tunnel vision she incurs in pursuit. It's also easy for them to become so passive that bad actors take advantage, and this, too, is present in Porrim's complete failure to grasp her team's cruelties.

Maids, meanwhile, are victims of oppression, and start the game under some form of control. Jane's been bombarded with hypnotic subliminals her entire life, and is ultimately directly controlled hy the Condesce; Aradia is killed so as to be Doc Scratch's servant via the Handmaid, and Hussie even outright calls her a slave in his book commentary. Porrim is not an exception to this:

On 8eforus, well 8efore her drinker a8ilities had awakened, she grew up in the caste almost solely devoted to tending to the mother gru8, hatching the young and proliferating the 8rood. The jade 8loods were also an almost exclusively female caste, and she 8egan to resent the roles she was hatched into, designated for 8oth her class and gender.

Ultimately, Maids can't shake off their oppressors alone, and outside intervention is needed to rid them of their shackles. Nobody on Porrim's team seemed to give a shit about what she had to say, however, nor did they attempt to relieve her of frog breeding or attempt to alleviate her workload - leaving her ultimately shackled to frog breeding, which, aside from the final frog (usually implied to be long in the Space player's past), did not HAVE to be conducted by her. In fact, Echidna being Aranea's denizen, when she's normally associated with the frog-breeding Space player, further implies that it didn't necessarily need to be up to Porrim - perhaps the team could've come together to take up frog breeding, splitting the duties equally, freeing Porrim from oppression.

But that didn't happen, and thus, our Maid of Space is disconnected from everything but the breeding duties that bound her so.

Kankri Vantas: The Hemocaste's Number One Fan

Kankri is a casteist, ableist, slut-shaming misogynistic bootlicker.

I'm going to go a bit lighter on the citations, because he uses a hundred words where ten will do, but if you actually bother to read his diatribes, he's all-in on perpetuating oppression. Here's a quick rundown of some of the awful shit he's said:

He tells Mituna that Mituna is bad representation for disabled people, and basically tells him to his face that he wishes everything about him was different, likely as displaced jealousy that Mituna is dating Latula. This shows that his rhetoric is actually just a mask, a tool he uses to disguise his actual intentions.

He complains about how burgundies have to "check their privilege" because they don't know how good they have it compared to off-spectrums, showing that he resents it when others attempt to address their oppression.

He tells Porrim that he thinks misogyny isn't real, and then slut shames her by insinuating that she's even willing to go for the Mayor. Once more, a display of how he resents when others challenge his points, or try to take away attention from his causes.

He calls Horuss and Cronus's beliefs fake even as he's defending their right to believe in them, revealing that it's not about justice for him, but about whatever puts him in a position of power over the situation, as the quote-unquote "spiritual leader".

Kankri was very likely culled on sight for his mutant blood color, mirroring how Karkat would've been. He clearly has complicated feelings about this, as he reacts very poorly to Porrim's mothering, but it's also the source of his deep-seated casteism, and the favor he shows towards the two sea dwellers on the team. While it IS a form of oppression, those culled on Beforus ARE provided extremely comfortable lifestyles, and Kankri would've been subjected to an intense amount of pampering, being a mutant.

In other words, he's been taught his whole life that he's a very special little boy, and he both feels entitled to the emotional energies of others, and gets upset when he isn't the center of attention. In contrast to Porrim, who had valid points but prioritized poorly, for Kankri, "social justice" is just a smokescreen he uses as he verbally browbeats his team into falling into line. Any valid points he makes are twisted to suit his personal agenda of being the loudest voice in the room, and he hides behind them so nobody can properly challenge his position. The actual oppression he did face, and a genuine desire buried deep down to make the world a better place (which I do believe exists), are ultimately undercut by his willingness to play victim in order to sate his own desire for attention and control.

Kankri himself didn't contribute as directly to the team's failure, but he was, overall, a binding force of stasis - perpetuating societal prejudices, fixing them in place. It should be no surprise that the two who find Kankri the most tolerable - Horuss and Cronus - are the two biggest casteists on the team.

Blood is about bonds - familial, platonic, romantic, and societal. It governs oaths, promises, compatability, and all interpersonal relationships. Its players, in contrast to Breath's free-spirited youthfulness, tend to be neurotic and controlling. At their best, they're mature, empathetic, and responsible, and indeed Karkat is one of the most level-headed and generally correct members of his team when he's not flying off the handle, but at toxic overabundance, they become iron-fisted dictators, "my way or the highway" types - to the point of shirking their innate sense of empathy and natural compulsion to be helpful to others.

Seers, meanwhile, struggle with blindness - either by hubris and ego, or else by shame-induced self-infliction. Rose's ego prevented her from bonding with her mother, and her need to be the smartest person in the room let Doc Scratch manipulate her; she later copes with her grief by drinking herself stupid, opposite Light's association with knowledge and insight. Terezi boldly painted herself into a corner where the only option left was killing Vriska, and coped with the guilt by throwing herself into a toxic relationship with Gamzee, a Gamzee victory that triumphed over Mind's sense of justice and karma.

Kankri is so moved by ego - his selfish desires for a society that works best for him personally, and his confidence that he knows better than the rest of his team - that he's blind to how harmful his rhetoric is. He damages their ability to move forward by chaining them in place, an ultimate failure of Blood.

Moreover, he's also inflicted a "blindness" upon himself - due to his staunch celibacy, he doesn't seem to notice that he has clear red feelings for Latula and pale feelings for Cronus - and this is to disastrous effect. The motivator behind his cruelty to Mituna appears to be jealousy, and he interrupts a conversation Cronus is having with Meenah, where she's about to make him reflect on choices that are harming him, just in time to prevent Cronus from reaching his epiphany. In fact, it's implied that Kankri is the one who talked Cronus out of his wizard faith in the first place, which we'll get into later (this is the most direct contribution Kankri made to the dancestor's failure).

As such, our Seer of Blood is sightless, and through blindness both based in ego and self-inflicted, he can't see the damage he's dealing.

Cronus Ampora: Hopeless - And That's Everyone's Problem Now

Cronus is a nasty casteist fuckboy who's greatly disliked by his team, and also everyone else, for good reason. He's mostly irrelevant to everyone and failed to do anything of worth. The problem is, he's a Bard of Hope, and thus, was one of the greatest contributors to the creation of LE.

Cronus as we see him is easy to explain. He's fundamentally a directionless, shitty rich kid, who's never had real problems before, and thus, never had the kinds of formative experiences that would've built him a personal identity. In an effort to find something to give his directionless (after)life some meaning, he's decided that he's humankin, specifically a 1950's greaser. He's also trying to get laid for similar reasons. What else is there to do when you don't feel like you have a real personality, and thus, don't really know how to open up to others or connect on a deeper level, but still crave an intimate relationship of some sort?

The thing is, Cronus wasn't always this way, and in fact, started out his game quite different:

[H]e once had a deeply a8iding faith in magic, and dedicated himself to 8ecoming a great wizard. He 8ecame convinced he was hatched to defeat an extraordinarily evil magician, one he swore the angels foretold of. Though when pressed for the name of the man, he would not say it, claiming it was too dangerous to even enunciate. Part of his self-aggrandizing mythos was that this magician once somehow from afar tried to strike him down at a young age, so he would never have to face him. 8ut the evil spell was deflected, sealing the magician's spirit away in a series of unassuming vessels until he could find some other cunning way to enter our universe. The attack supposedly left him with his distinctive scar, which he was not reluctant to point out when trying to hit on me.

Now, while this is definitely Harry Potter, it's also worded so as to resemble Lord English, and this is not a coincidence. You see, Hope is a power that makes fake things real.

Believing in things reduces their fakeness attribute. It's the force that shapes your reality, used to snatch personal meaning from the jaws of a cynical and nihilistic environment. Could this be why Hope is framed as the most fundamentally powerful aspect?

Ultimately, it didn't matter if Cronus's stupid wizard faith (and it is framed as a faith, a religious belief - put a pin in this) was real or not. In fact, the more credible journey for a Hope player would be if his personal mythos were fake - because Hope would've made it real.

However...

8ut at some point he 8ecame disillusioned with magic. [...] Perhaps someone talked him out of his 8eliefs. May8e a friend close to him. Or, if one is to 8elieve his fantasy held any water, perhaps someone who was in league with the evil magician.

As all Bards do, he suffered a crisis of faith, and he was never able to recover. Now, the identity of the person who talked him out of his religion is never made explicit, but I'm firmly convinced it was Kankri. First of all, who else on the team would qualify as a "friend close to him"? While "someone in league with the evil magician" might refer to Kurloz, Meulin, or Damara, Cronus seems wholly unrelated to the latter two, never mentioning them once, and while he's "scared" by Kurloz, it's not enough to not hit on him.

However, "in league with the evil magician" can also be interpreted metaphorically - someone who represents the same values as Lord English does, especially those of misogyny, fascism, and oppression. Which, again, points to Kankri. In fact, the main interaction Cronus has with Kankri illustrates the harm Kankri is doing to him: right as Cronus is about to have a personal epiphany that his humankin schtick is doing him more harm than good, Kankri jumps in to guilt-trip him until he continues with the act.

CRONUS: to be honest, she might be right. sometimes i think i might only be saying im a human to get attention. maybe i should givwe it up. KANKRI: I'd 6e extremely disapp9inted t9 hear that, if it were true. That w9uld 6e such a slap in the face t9 all th9se wh9 kn9w themselves t9 6e an alien while trapped in the pedestrian 69dy 9f their 9wn race. It w9uld 6e unspeaka6ly invalidating 9f their struggles and massively triggering t9 their em9ti9ns.  #TW #invalidated struggles #triggered em9ti9ns KANKRI: 6ut f9rtunately, I kn9w y9u w9uld never st99p as l9w as that. Y9u understanda6ly have d9u6ts a69ut y9ur feelings and pr96a6ly d9wnplay them as a defense mechanism, since s9 few are prepared t9 rec9gnize the legitimacy 9f y9ur plight. 6ut I am, and I just wanted y9u t9 kn9w that I'm here f9r y9u, and am prepared t9 lecture t9 y9u extensively, I mean, listen t9 y9u extensively, a69ut y9ur ultra-imp9rtant pr96lem.

Fucking Kankri! He doesn't even believe in Cronus's act himself (calling it a "fantasy versi9n 9f [him]self"), but Cronus's conversation with Meenah is pale-coded, with Cronus being the only person on the team able to make Meenah have doubts about how awesome the Condesce (and by extension, her own worst qualities) are, with her able to pierce through Cronus's bullshit and make him rethink his choices. But Kankri has a palecrush on Cronus, so he cannot abide by Cronus having a pale interaction with anyone else.

KANKRI: Listen, I was d9ing y9u a fav9r. Y9u d9n't need t9 6e dating any9ne wh9 can't appreciate y9u f9r wh9 y9u really are[.]

But his interruption of Cronus's character development, and also his breaking of Cronus's faith, aren't just disastrous for Cronus's ability to self-actualize - remember, Cronus is a Bard of Hope.

UU: while the more passive bard coUld be seen as "one who allows x to be destroyed, or invites destrUction throUgh x," as if by the will of the aspect. TT: I'm obviously no expert, but that sounds like a pretty odd thing for a Bard to do. UU: maybe! it's a qUirky class. UU: somewhat like a wildcard role for a hero. very Unpredictable. UU: they are typically known for their spontaneoUs and dramatic story-altering inflUence on the fate of a party. UU: some of the more remarkable tales involve sUch parties, where the bard is single handedly responsible for their spectacUlar downfall or improbable victory. or both!

Bards act as a conduit by which their Aspect dramatically alters fate, for better or for worse, and Hope is a power that makes fake things real. Cronus had a Bard crisis of faith, never recovered, and, in his failure to do so, began to exhibit his aspect at its nadir - where Hope players should be idealists, dreaming up better futures with a naive and shameless sincerity, Cronus has become self-conscious, frustrated with himself and magic, and utterly materialistic, seeking only immediate physical gratification. Hope, at its worst, picks out such bleak possibilities to invest its incredible, reality-altering power into, that it actually serves to close possibilities and ruin everything - mirroring Rage's ability to tear down false truths.

It is, therefore, incredibly likely that the direct manifestation of his Bard of Hope abilities is the materialization of the first half of Cronus's faith - the existence of the evil wizard - and not the second - that he would become a wizard to defeat him. This is one of the single greatest karmic contributions to LE's improbable existence. Perhaps this is the source of Kurloz's pivotal nightmare, which would've sprung out of nowhere, given LE doesn't exist until after the Scratch? We can only speculate, but this seems to me the most likely source of Lord English worship within the dancestors - Hope made him real.

And so, our Bard of Hope is faithless, and by extension, hopeless - in such a way that he breathes active calamity into existence.

Mituna Captor: Tried to Warn Them, but Nobody Wanted to Listen

I'm going to preface this section with a small list of what we will NOT be discussing, not because the conversations aren't important to have, but because they are not relevant to his essay. First of all, I will not be litigating the issue of whether or not Mituna's portrayal of TBIs/neurodivergence/etc. is problematic. I will also not be discussing the greater conversation surrounding those with such conditions to consent romantically or sexually. These are important topics to talk about, but they're just not in the scope of this essay (it's long enough as it is!).

As a break from form, I'm going to discuss his classpect first. This is because the implications of his classpect provide vital context for how we are meant to interpret and understand Mituna's arc.

Doom is the aspect presiding death, sleep, the future, and endings. It sits opposite Life, as Life's equal-and-opposite, which helps shed some light on Doom-specific qualities, as we have little exploration into Doom itself. Most notably, our three Life players are stubborn optimists, and our two Doom players are mutable pessimists. Sollux is literally introduced by changing his mind about being introduced, before changing his mind a second time, while Cronus notes that Mituna has a long-running schtick of being wildly offensive, and then pathetically contrite. Mituna is stated to have visions of the future even without being one of the two future-sighted classes (Mage and Seer), making some degree of prophetic insight a part of Doom.

I'm also firmly convinced that it's Doom, and not being a Captor, that makes both Sollux and Mituna dual-dreamers. Most non-Seer/non-Mage players' main interaction with prophecy will be the clouds of Skaia or the whispers of the Horrorterrors while they're asleep, and being a dual-dreamer gives Doom access to both, as well as an extra "death" to spare - which Sollux makes great use of, as he arrives to his session dead. Moreover, being a dual dreamer allowed Sollux to be "half-dead" in the afterlife, granting him the special ability to leave - and navigate - the dream bubbles. This influence over the realm of the dead is notable, so please put a pin in it.

Heirs, meanwhile, bear a character arc of defecting from decadence. They're born into positions of wealth and comfort relative to their societies - John enjoys an upper-middle class lifestyle, with a supportive and loving father, and Equius enjoys being high enough nobility not to worry about culling, but low enough not to bear any pressing responsibilities, and has a supportive and loving lusus. Mituna, similarly, was born to a supportive and caring bicyclopsdad (as opposed to Sollux's, who was a big terrible idiot), with an eventual fate of being culled for his powerful psionic brain.

Before anyone protests that culling on Beforus is still a form of oppression - it's "a position of wealth and comfort relative to their society." Ultimately, being a stuffy capitalist isn't exactly a great destiny, and being a noble on Alternia still means being subject to a horrific system of murdering and being murdered. In a similar vein, Mituna's inheritance is a wolf in sheep's clothing. In fact, this exact wolf-in-sheep's-clothing nature of inheritance factors into the Heir's arc.

Heirs are on a ticking clock. Their aspects are powerful, but they struggle to control them. After all, they're a passive class:

He is the Heir of Breath after all. It's a passive class, and he's a passive guy. An heir, literally speaking, is one who inherits stuff.

And passive classes work best when they're allowing their aspect to be used for others:

UU: the +/- distinction can mean many things, bUt coUld be qUite roUghly sUmmed Up in this way: active classes exploit their aspect to benefit themselves, while passive classes allow their aspect to benefit others.

We see this with John, who gains the incredible power to retcon the story, unsticking it from the alpha timeline, but doesn't know how to effect useful change without guidance from others. Even Equius's first chronological expression of Void is his mere presence providing a shield for Vriska from Doc Scratch's omniscience.

But because of their privileged upbringings, it's difficult for them to know how to help others, or even that they should. John is goofy and friendly, but doesn't seem to notice that Dave is being constantly abused, and doesn't question the horrific violence of troll culture when Vriska tells him about it (something which Hussie chastises him for in the book commentary), while Equius's blind spots are even more glaring, given his casteism and complete obliviousness regarding his own fetishes.

Thus, like wealthy inheritors in real life, an Heir that fails to interrogate the systemic injustices of the system they were born into becomes swallowed up by their inheritance, another brick in the wall, rendering their aspect out of reach. John's retcon powers, before he gains control over them, nearly take him out of the story entirely (Breath and its associations with freedom and independence), while Equius succumbs to his fetish for submission and allows Gamzee to strangle him to death (Void and its associations with vice and sexual pleasure - Hussie notes on multiple fronts that Equius could've escaped at any point just by flexing his neck muscles, but chose not to because horny).

While we don't have very much information about Mituna before his injury, the dancestors' failure is a foregone conclusion; therefore, we can conclude that Mituna's current state is a reflection of his failure as an Heir, and subsequently being "swallowing up" by Doom. Mituna's injury is, within the context of the story, therefore a bad thing that happened to him, and thus, it reflects poorly on every other player who not only didn't heal him, but never mentions ever trying to.

It's here that I want to point out something odd about the dancestors as a group. Isn't it strange that they retained many of their injuries even into death?

Injuries don't need to carry into the afterlife - here Tavros is with his legs fully intact. Even if you assume that characters who consider their injury to be part of their identity, like Terezi and her blindness, therefore get to keep their body in that state after death, Latula clearly has insecurities about her sense of smell, Meulin was so disheartened by her deafness that she broke up with Kurloz over it, and there's no way that Mituna is happy about the fact that he can hardly string together a coherent thought anymore.

But remember, Heirs are experts at leveraging their aspects on others' behalf, and Doom has influence and sway over death and the dead. And so, on that note, let's actually begin analyzing Mituna himself.

The primary description we have of Mituna before his injury is this:

The Heir of Doom was once a powerful psionic. He was gifted with vision twofold, and had strong prophetic insights wherever a 8leak future was concerned. He had much to say when it came to warning us a8out the path of doom and destruction we were all headed for, 8ut no one took him very seriously. 8ut one day he lost all those a8ilities when he 8adly overexerted himself. It's hard to get any specifics from him, 8ut indications are that he applied every last 8it of energy he had toward some great act of heroism, saving us all from some looming threat. Not only did his exertion permanently 8urn out his psychic a8ilities, 8ut it left him somewhat... er. Incoherent.

Doom players tend to stagnate and stay in place. Their mutability, ironically, means they have a tendency to go nowhere. However, their pessimism can cause them to become fixated on these nowheres - to become so certain of an unhappy ending that they can become energized by the notion, steamrolling over others, which can resemble Life's stubborn optimism. It seems this may have been what happened with Mituna - though it appears to be far and away aggravated by his injury, there's an implication when he's talking with Meenah and Cronus that he was already prone to being wildly offensive and aggressive even before it:

CRONUS: your vwhole bifurcated demeanor is such an act. half the time you are noxious and incomprehensible, and the other half you are mild and contrite? sure, "PAL." CRONUS: as if im not SO on to you. you only pretend to say youre sorry to get girls to like you more. sure seems like pyropes a sucker for the ruse. like im not familiar vwith THOSE tactics. vwho do you think vwrote the book on that??

MITUNA: 817H1CH WH4Y D0N7 Y0U 5H00V3 M0Y R4D 1NJURJY P4N3L 1N7H0 URR N457H7Y 53XXXU4L3 PR1V457 P4R7H 0RF P3R3RF3R3R4NC3 MEENAH: thank fuck you were never a major playa at least from my personal vantage over the course a this ridicu huge narrative  #way minor character yo MEENAH: probably woulda offed my shellf even schooner if i had to hear you talk much  #really too bad since you got the bestest fishiest name of anyone #38( MITUNA: ..,.,..,,...,..,.,. MITUNA: 50RRY

What's worse, remember how I said earlier that it's implied that all the major problems occurred before their reckoning (which was likely on a timeframe of weeks or months), and then they spent six years faffing around in their session besides? This means that Mituna was left injured for six years, and not a single time does anyone mention even attempting to heal him. Even if you subscribe to the idea that their Life player's class precluded her from healing people (and it doesn't; the Helmsman's lifespan is explicitly extended by the Condesce's powers), Aranea's powerset is explicitly geared toward healing injuries of the mind:

ARANEA: I can see every fault and fissure in your mind. My vision 8-fold sheds light on every injury you have ever suffered, whether emotional or physical. ARANEA: I can repair it all for you, Jake. JAKE: (Oh no...) ARANEA: I can heal your mind. JAKE: (Oh n-n-n-) ARANEA: I can heal your soul. JAKE: N-n-n-n-n-n-n-nooooOOOOOOOOOOOOOOOOO!

... So why doesn't she? Why doesn't anyone? Well, the implication is... that he was annoying! He was the only member of the team who was trying to tell them to stop being such assholes, or else they would be hurtling themselves face-first into a catastrophe, and this was such a bummer and so unpleasant to hear (likely not helped by his aggressive and offensive way of wording things) that his team actually prefers him injured. At least this way, he isn't constantly calling them out for the horrible shit that they do to each other on a regular basis. Doom players are commiserators, not a healers, and their power lies in their ability to empathize and relate, opposite Life's tendency to charge forward, not caring who they trample on the way. Mituna was never able to tap into these powers of empathy enough to get people to listen to him, and he paid for this with his injury - the version of him his teammates prefer, because now they can take advantage of him.

Cronus does so most obviously, with his unwanted advances that Mituna sits there and takes because he can't reason well enough to escape of his own volition, but I posit - and will stand by this claim - that Latula and Kurloz, his two romantic partners, are taking advantage of him, too. Kurloz is implied to be directly puppeting him the way he puppets Meulin, the source of the "rumor" Cronus heard that Mituna is "lucid" when he's around Kurloz - in fact, it's implied that Mituna's injury was directly caused by Kurloz, as part of his Prince meltdown, something we'll get into more when we discuss Kurloz. I believe this is why several of the dancestors retain major injuries into the afterlife - in a dark reflection of how an Heir is supposed to operate, Kurloz is using Mituna as a conduit to exert influence over the afterlife, rendering Doom and death an oppressive force rather than peaceful resting place. I think there's a reason that Meenah questions the fact that some people have stayed injured when talking to Mituna. It should be his area of expertise, after all!

Now, while we are sidestepping the greater discussion overall of the consent of those with TBIs, I want to state that Mituna specifically, post-injury, cannot be considered fully consenting.

Cronus says the quiet part out loud:

CRONUS: i really feel like youre one of the only people i can open up to about my feelings. i guess it really does help to confide in someone vwho basically lacks the ability to repeat vwhat you say vwith any clarity or coherence, or evwen understand vwhat you said in the first place.

And unfortunately, this is pretty true: Mituna is impaired to the point where he:

Can't answer yes or no to whether he's god tier, because he doesn't know/can't remember/doesn't fully seem to understand the question.

Can't seem to understand that Meenah's asking him to strip because she's trying to check if he has god tier wings, instead enthusiastically assuming that she's asking to have sex with him.

Forgets how to take his own shirt off.

Doesn't understand that Cronus is touching him as a prelude to sexual intentions, just that he doesn't like it.

As is often the case with TBIs, he does have glimpses of clarity, but - whether this portrayal is offensive or not - the clear indication to me is that, within the context of the comic, we should come away with the understanding that Mituna can barely register what's going on, can barely understand what others are trying to communicate to him, and can barely voice what few thoughts he is able to string together. And I think it would also be one thing if he was simply born this way, but again, this is the result of an injury that is portrayed as a terrible thing that happened to him, and his injured state is not a reflection of who he was, and what decisions he would've made, before it happened.

[EDIT (March 02): This keeps being a contentious opinion that overshadows the entire rest of Mituna's section of the essay, so let me clarify.

The through-line of Mituna's entire character is that people are taking advantage of him. Whether or not he is, in fact, fully capable of consent (and this is dubious since it's dubious whether or not he's even fully capable of understanding what's going on around him - please note again that I am NOT saying people with TBIs/neurodivergence IN GENERAL can't consent, I am saying that IN MITUNA'S SPECIFIC CASE it's DUBIOUS), people are still using whatever impairment he has to take advantage of him.

I am also going to state again that whether or not it is depicted well, the comic has also chosen to portray Mituna's injury as one of genuine cognitive impairment. Sollux feeds his lusus mind honey in order to "[help] him not be such a complete idiot all the time. Merely most of the time, instead." The clear implication of Mituna begging for mind honey from his lusus is that it helps him think clearer and more lucidly, because his injury has left him cognitively impaired. Not only that, but this is a healable injury, given that Aranea stresses so strongly that she's capable of literally healing minds (not to mention alternate methods of healing available, such as Life powers or killing/god tiering him). There's a reason that Kurloz is capable of using Mituna as a hypnopuppet after the injury, but doesn't ever have seemed to before.

Because his condition is cognitive impairment that could be considered temporary, and because every single person pursuing him romantically is taking advantage of him, and because the team as a whole appears to have left him deliberately unhealed so that they can take advantage of him, and that's the POINT OF THE CHARACTER - to illustrate how shitty his team is by showing how many of them are willing to take advantage of him - I personally find it more thematically coherent if he cannot, in fact, be considered fully consenting, or at the very least for it to be intentionally uncomfortable that so many people in his team have romantic interest in him only now that he's cognitively impaired, because he's easier to take advantage of like this. It completely tracks with how many of them are also perfectly content to pursue literal children romantically.

Feel free to disagree on this specific issue, but please don't let that disagreement overshadow the greater point that I'm making, which is that Mituna is being taken advantage of. Whether or not he's capable of consent, his party is exploiting his injury-induced impairments - which could have been healed - for their own comfort and benefit. That's the point I'm trying to make here.]

And thus the Heir of Doom has inherited Doom in the worst way, becoming Doom as a force of oppression, bereft of empathy, understanding, or peace.

Latula Pyrope: Insecure Poser, Derelict Duty

Latula is a rad gamer girl... not! This is an act, and she even admits that it's an act.

PORRIM: I just think yo+u sho+uld be yo+urself mo+re o+ften. We already kno+w yo+u are stro+ng and go+o+d at games and all that. Yo+u have no+thing to+ pro+ve. LATULA: y34h. your3 prob4bly r1ght. LATULA: 1ts k1nd of str3ssful som3t1m3s, k33p1ng 1t up! som3t1m3s 1 forg3t to put z33s on th3 3nd of words, 4nd 1 r34lly str3ss out 4bout 1t.  #sp3c14lly wh3n 1m off my m3ds

So what's Latula's actual deal? Well, we get a really good glimpse of it here:

LATULA: for most of th3 t1m3 w3 kn3w 34ch oth3r, 1 w4s 4ll l1k3, WHY SHOULD TH3R3 B3 TWO B4D4SS, 1N-YOUR-F4C3 GRLZ 1N TH3 GROUP??? LATULA: sort of ov3rk1ll, r1ght? MEENAH: mehhh  #u searious? LATULA: 1 w4s k1nd of v13w1ng you 4s 4 comp3t1tor, 1n l1k3 4 two grl RAD-OFF. 1 w4s w1nn1ng 1n my m1nd, of cours3. but s33, 1 h4d 1t 4ll wrong!!!! MEENAH: did you LATULA: Y3AH! s33, 1m th3 t34mz R4D GRL, wh3r34s YOUR3 th3 t34mz B4D GRL!!!! 1t 4ll m4k3s p3rf3ct s3ns3! do3snt th4t m4k3 SO MUCH S3NS3??? MEENAH: that MEENAH: is the stupidest glubbin thing to require any sorta rationalization i ever heard  #p lame tules LATULA: s33 p4ych3ck? 1 kn3w 1 could count on you to b3 just1f14bly cyn1c4l 4bout my n3urot1c bullsh1t. you RUL3!!!

Latula is another character we get little direct development of, so I'll head into classpect analysis early, as she's much easier to understand once we have the context of Knights and Mind players.

Mind governs logic, rationality, justice, karma, behaviors, and consequences. The justice and karma associations are explained as a Mindy Thing by Latula herself:

PORRIM: Did yo+u no+t kno+w that?  #Mindfang gave yo+u five #Then left yo+u hanging LATULA: n3v3r r34lly thought 4bout 1t. but now th4t you m3nt1on 1t, th4t outcom3 m4k3s 4ll sorts of s3ns3 to m3. PORRIM: It do+es? Ho+w? LATULA: just do3s, b4b3z. PORRIM: I do+n't really understand karma. LATULA: th4ts c4us3 your3 not 4 m1nd pl4y3r.

Mind players tend to be cunning and manipulative. As the aspect presiding over the "effect" of cause-and-effect, they're finely attuned to the various webs of actions and consequences, but not so much to the inner workings of emotions and identity, which are Heart's domain, Mind's equal-and-opposite. As such, Mind players have a tendency to deemphasize their own emotions, substituting systems of karma, justice, societal attitudes, etc. to make decisions instead. We see this in Terezi's primary character struggle, the way she painted herself into a corner where the only viable outcome was killing Vriska, which happened because she consistently prioritized what Vriska karmically deserved over her own desire to maintain their friendship. In the worst case, their own identity and sense of self can become so confused that they seek out unhealthy relationships with others, in an attempt to supplement their poor sense of personal identity with some sort of external validation - you can see this in Terezi's toxic relationship with Gamzee, or, indeed, with Latula's relationship with Mituna (more on this later).

Knights, meanwhile, struggle with great insecurity. Often provided a significant role by the forces of fate and prophecy, they suffer deeply from imposter syndrome and/or self-loathing, and to help them cope with these feelings, they effect a facade that distances them from their aspect. Karkat, whose aspect presides over bonds and relationships, insists he's a big bad leader who doesn't give a shit about other people, and this breakdown of Blood's bonds culminated in Murderstuck. Dave, whose aspect presides over minutiae, goal-orientedness, and struggle, pretends to be a disaffected cool guy. In the worst case, their insecurity can become so intense that they invest completely into their facades, laying down their weapons and refusing the call entirely. Dave, at the belly of his whale, declares that he won't fight LE, as he "doesn't even think he did anything directly bad to them" - despite Dave literally being haunted by LE for his entire childhood under the guise of Lil' Cal, a detail he'd normally notice, given how often he secretly pays attention (which is a Timey Thing).

Latula struggles greatly with her own personal identity, her anxiety surrounding not having anything unique or standout about her in her friend group. To cope with this, she projects a facade that practically screams its "personality" from the rooftops - she's a dumb but radical "gamer girl". In doing so, she distances herself from her actual aspect - gone are Mind's cunning and intellect, which even Porrim calls her out on:

PORRIM: Yo+u can pretend to+ misunderstand all yo+u want, but we've talked abo+ut this befo+re and I kno+w yo+u're smarter abo+ut this than yo+u let o+n.

But, crucially, it also distances her from Mind's ties with karma and justice. Latula states that, not only does she dislike Aranea, but she can also absolutely understand the chains of karma and destiny that would've led to Mindfang and Redglare having such a contentious relationship that it led to them killing each other.

What else is Latula aware of, that she's completely chosen to ignore, out of desperate fear that it wouldn't suit her image, would make her seem less "r4d"?

Well... let's talk about Mituna. As we've already covered in his section, his ability to consent to this relationship is dubious, and the fact that it's dubious at all is already not a great sign. But I also want to bring up a couple other things. Did you know that, throughout all of Mituna's dialogue - including when he's enthusiastically trying to strip to have sex with Meenah - he doesn't mention dating Latula even one time?

Other characters will bring it up, but Mituna himself doesn't say anything about it. And, again, given that he's enthusiastically ready to get nasty with Meenah... one wonders if he's even lucid enough to know that he and Latula are dating.

MEENAH: look take off your rad shirt deal and lemme see if you got wings MITUNA: 3H3HH3H7H37H37H3 YY35 MITUNA: 7H0NGH7 Y0DU N3V3R 45K MITUNA: 817HCH 4C4M3 4R0UN57 70 MY W1L135 MU7H4FUCK5!  #W1L135 #MUH #FUX MITUNA: W417 H3LUP  #!!!!!!!!!! MITUNA: H3LP H0W D01 74K3 0FF MY CL07H37H 4G41N?  #8( MEENAH: yeah keep your shirt on you made that exchange beyond awful

Hey, maybe he does. He does get sad when Cronus tells him that Latula's only dating him out of pity. But still, the fact that it's in question at all - and also the fact that he's totally up for cheating with Meenah - are bad signs!

But even putting that to the side for a second... what does Latula even see in him? He's constantly saying slurs, he's down to cheat at the first opportunity, he's questionably capable of stringing a coherent thought together... well, good news! It comes up in conversation.

MEENAH: mother glubber MEENAH: seriously didnt think T)(ATD last LATULA: 1dk, th3r3z w4y mor3 to h1m th4n. w3ll, 4ll th3 t3rr1bl3 4nd stup1d sh1t h3 s4ys 4ll th3 t1m3. LATULA: 4nd 1ts 4lw4yz f3lt l1k3 h3 n33ds m3 1f th4t m4k3s s3ns3, 3v3n 4ft3r dy1ng. so th3r3z th4t!!!!

So, let's actually break down what she's saying here.

She feels the need to insult him while she's trying to come up with something nice to say.

She can't actually name anything specific that she likes about him...

Except that he's dependent on her. She likes him because he can't reliably function away from her. Woof.

But I also want to turn your attention to the phrase "way more to him". What does she mean by this, exactly? Does she mean some of the traits he had before his injury? If so, how come it never comes up that Latula wanted to heal him, or tried to heal him? In fact, Aranea - who, again, has a powerset specifically suited for healing minds - comes up in conversation between Porrim and Latula, and Latula doesn't mention ANYTHING about Mituna. She's even on friendly terms with Aranea.

PORRIM: Like, as far as I kno+w, yo+u and Aranea always go+t alo+ng. Didn't yo+u?  #Radglare #Kindfang LATULA: 3h 1 gu3ss. n3v3r sp3nt much t1m3 th1nk1ng 4bout s3rk3t, tbh. LATULA: 4lw4ys thought sh3 w4s 4 s3lf 4bsorb3d snooz3, 1f you r34lly w4nt to know.  #zzzz #not 3v3n th3 r4d k1nd of z33s

The only other possible indication that they might secretly have a good relationship is that she threatens that if Damara touches Mituna, she'll kill Damara. Now, we'll have to save a lot of this for the Damara part of the essay, but I'll note here that Damara is perfectly pleasant and kind to people she doesn't have any personal beef with, with the example being the human kids. However, since the bulk of her team were complicit bystanders (and even Meenah's friends) in her horrific bullying, she obviously has great anger at all of them. However... if there's any exception to the bystander disease that plagued her team, it would've been Mituna, the only one trying to warn them they were headed for a terrible, bleak ending. Wouldn't he, out of everyone on the team, be someone Damara is fond of?

So, there are several options here... but they ALL make Latula look bad to varying degrees.

Damara really IS a threat to Mituna.

This still makes Latula a bystander in Damara's abuse, and a terrible hypocrite, as Kankri says one of the things he likes about her is her egalitarian, non-casteist demeanor, but she totally let a fuchsia bullying a burgundy slide, but I suppose it's the option that makes her look the least bad otherwise. Again, it seems unlikely, given the way Damara operates, but it's technically possible.

Damara is on friendly terms with Mituna, but Latula doesn't know this, and thinks she's protecting him.

This means she's still a bystander, as described above, but ALSO seems unlikely given we know Latula has Mind insight into webs of karma, and is a lot smarter than she lets on, which brings us to:

Damara is on friendly terms with Mituna, and Latula is keeping them apart deliberately.

Unfortunately, it's possible... she's dating Mituna at all, meaning she's already taking advantage of him. Ultimately, we can't say for sure what's going on there, but I don't think it's as fully innocent as it seems, especially when so much of the rest of her and Mituna's relationship is cast in such a worrying light.

Knights are tasked with leadership positions, and their failures to live up to them result in the breakdowns of their teams. Karkat's failure to manage his team's interpersonal relationships blew up into Murderstuck, Dave's refusal to keep working towards their goals means the bad guys win, and Latula's refusal to engage with the lattices of karma within her team, or deal directly with her own insecurities, means that none of these injustices ever get addressed. Even though Latula isn't a casteists, casteists are allowed to continue on being castests; even though Latula has insecurities about her own disability, those who take advantage of disabilities proliferate; even though Latula commands great respect and admiration from her team, she never comes down with the hammer - and passively allowing evil to exist is the same as picking evil's side.

And so our Knight of Mind is too busy pretending to be something she's not, cutting off her intellect, cunning and acumen, rendering justice a non-entity.

Aranea Serket: Enabled Too Close to the Sun

Aranea's another one of those characters that doesn't really directly seem to contribute to the team's problems as much, and ironically, because we have so much more of her available to peruse, there's a lot less that I need to say. It's pretty obvious what happened - she was always secretly pretty selfish and cruel, and ended up desiring the spotlight so hard that she went power-mad, challenged the Condy, and GAME OVER'd herself.

As a result, I'm instead going to do a classpect read on her, so we can better understand what she contributed to her team before her death. Which was mostly nothing good!

Light is, fittingly, one of the most well-explored aspects in the story. Governing the realm of knowledge, fortune, and vision, its players are erudite, learned, and guiding stars. Light players tend to love the spotlight, to be important, to be acknowledged - this is the crux of both Vriska's and Aranea's respective arcs, but Rose also has a flair for the dramatic, and writes her long-winded Gamespot guide as a form of one-upsmanship to the other extant guides. This desire for external validation, however, means that they're always playing to an imaginary crowd, and they don't deal very well with having that attention taken away from them. Light players are volatile and complicated, attention hogs and drama queens, and they deal poorly with embarrassment, shame, and failure.

But we already know about Light. Light players won't shut up about Light. Let's talk about something a bit more enigmatic: Sylphs.

Aranea presents Sylphs as healers and nurturers, but she's hardly an unbiased source. In fact, bias happens to be a common thread linking Sylphs, and their active counterpart, Witches, together. The struggle at the core of being a Sylph is that Sylphs are enablers.

"Enabler" is the single most consistent word Hussie uses to describe Kanaya, and I don't think it's just her Space aspect at play. Even Kanaya herself discusses how one of her major personal problems is a fascination, an attraction, with "dangerous" people. We see this exact tendency mirrored in Aranea, who has a fascination with her team's resident Thief, too.

In fact, one of the most notable things about Aranea's little expositional blurbs is the way she downplays the cruelty of her teammates, especially Meenah. Meenah's bullying was horrific, constant, and had major undertones of racism/casteism, and here's how Aranea describes it:

ARANEA: So you did your 8est to rile up the crew any way you could. Appealing to peoples insecurities, 8uried hostilities, 8rewing rivalries... needling anyone you could into confrontation with others. Your theory was that increasing everyone's state of aggression would make them 8etter equipped to play the game. And you were sort of right a8out that! 8ut the Alternians would prove it. Not our group, sadly. ARANEA: The poor girl who took the 8runt of your 8ullying tactics was Damara Megido. You talked up her matesprit's 8etrayal making her feel even more dreadful, while pushing him further into the arms of her rival, until she simply snapped. She attacked him, paralyzing him from the neck down. You finally got the aggressive confrontation you were looking for. Unfortunately, you unleashed something even you weren't prepared for, and you had to deal with her yourself. After a long 8loody duel, she killed you. And you would have stayed dead if not for me! ARANEA: You never listened to me. You just kept needling and fussing and meddling until eventually you paid the price, and I had to 8ail you out.

Let's notice where Aranea chooses to put the focus: not on the cruelty of the bully's actions, not on the horrific pain and suffering that Damara must've endured, but on how ARANEA had to save poor Meenah.

In fact, this shocking callousness is a constant fixture of Aranea's exposition. It mirrors Kanaya at her worst, as they both pick and choose their favorites in the team to lavish with kindness and attention, and treat others like objects of ridicule - Kanaya mocks Eridan to his face, and Aranea:

Mocks Latula's inability to smell.

ARANEA: She was truly an inspiration, and proved 8eyond a shadow of a dou8t that any handicap can 8e overcome, and doesn't have to stop you from 8eing as rad as you can truly 8e. MEENAH: wuuut MEENAH: serket are you whistlin through my blowhole with his idiotic shit ARANEA: Yes, that last part was a joke. Lighten up, Peixes!

Mocks Cronus's wizard faith (his one redeeming quality).

ARANEA: Whatever the case, it was pro8a8ly for the 8est, since pretty much everyone who had half a think pan thought it was all a 8unch of ridiculous nonsense. MEENAH: serket why do you got to hate on other peoples religions MEENAH: dont you kno they just as much a load of crackpotty bunk as all your spiritual bullfuck ARANEA: 8ut I........ ARANEA: Yes, I guess I was out of line. ARANEA: Sorry, I was just trying to riff with you little on a mutually disliked acquaintance. Is that really so 8ad? Why do you have to take every opportunity to knock my personal 8eliefs? ARANEA: You can really 8e so mean sometimes.

And says this incredibly out-of-pocket thing:

And says this incredibly out-of-pocket thing: ARANEA: It was almost a little eerie how happily she complied with our plan. What did Rufioh say she said? Something a8out how we would all finally get what we deserved... ARANEA: Which at the time, I thought sounded chilling. 8ut there's really two ways of looking at it. One is how the Scratch re8ooted our world into a state of pure chaos, culminating in the annihilation of our universe. 8ut on the other hand, we all got the chance to live out our wildest fantasies as adults on Alternia! ARANEA: At least you and I sure did. And I wouldn't dou8t she feels the same way.

Yeah, it sure was Damara's wildest fantasy to be abused by Doc Scratch to the point of making actual suicide attempts to escape him... and Kankri's wildest fantasy to be troll crucified, and all his friends' wildest fantasies to be hunted down for their association with him and turned into slaves, exiles, or worse... or Porrim's wildest fantasy to be raped by Mindfang.

But apparently that's part of Aranea's wildest fantasies, huh?

We also see from the Terezi situation - where Aranea first frames her abilities as "healing" and "nurturing," and makes an offer to heal Terezi's eyes as an attempt to help her "heal" from her emotional wounds - that Aranea has no idea what healing is at all. Rather, she helps people avoid (Void) what they're hurting from, what they should confront, grapple with, and accept, in order to truly move on. Knowing that Void is associated with sexual pleasure and vice, and that an Aspect often resembles its counterpart when its player is at their worst, what does this say about Actual Rapist Marquise Spinneret Mindfang, or the Jake-kissing Aranea?

Light players have an innate sense of the spotlight, and an understanding that, for it to shine on one person, it must necessarily be taken from another. Aranea enabled the two Thieves in her (after)life until they chummed up so much that they didn't give a shit about her anymore, at which point she decided to enable the one bastard she could count on - herself. And in attempting to hog that spotlight all by herself, she cosigned the entire timeline to obscurity.

And so our Sylph of Light leaves a legacy of cruelty, toxicity, suffering, pain, and oblivion, her light a poison, not a salve.

Kurloz Makara: Gave Up On "Better"

I do want to go through some Kurloz stuff before I launch into the classpect things, most notably that he's really utterly vile by the time we see him. Before his Prince meltdown, which we'll get to, perhaps there was something redeeming about him, but by the time we get to see him in the comic, he's lost any respectable qualities.

Kurloz is an adherent of the same religion as Gamzee, although, somehow, he carries even less hope than Gamzee does. Let's note the basic tenents of their faith:

You belong to a RATHER OBSCURE CULT, which foretells of a BAND OF ROWDY AND CAPRICIOUS MINSTRELS which will rise one day on a MYTHICAL PARADISE PLANET that does not exist yet.

Now, exploring this faith, and the way its interpretation changes throughout the comic, could be an essay of its own, but what's important to note here is that Kurloz will never see its fruition. He's dead, and neither has the ability to revive himself, nor the desire to do so. Thus, it follows that his personal interpretation of their faith must be darker than Gamzee's - Kurloz has so utterly given up on himself and his team that being cosigned to utter oblivion, destined to double-die by their godhead's rainbow breath, seems like a totally great outcome that Kurloz both wants and is working toward. The paradise planet doesn't actually matter to him - the act of betraying his friends, and getting everyone killed (and double-killed), seems reward enough.

KURLOZ: WE SHALL NOW BUST OPEN THESE BITCHIN ELIXIR FORTIES KURLOZ: AND POUR SOME SWEET SWILL OUT FOR THE SOULS WHO SOON WONT BE NO MORE  #:o)

To that end, he's willing to lie to his teammates, and use the two people closest to him - Mituna and Meulin - as literal slaves, furthering LE's goals and pushing for LE's existence, making him one of the most direct forces acting against the dancestors.

But, as I said earlier, he didn't start out this way - so how did he get to this point of utter clowny despair? Well, let's take a look at what it means to be a Prince of Rage.

Princes have a fairly simple arc to discuss, though actually dealing with a Prince is arduous and difficult. Princes are, in a very masculine way, driven by an anxious forward momentum, by feelings of duty, by a masculine need to appear strong and take on burdens. Dirk is the most anxious of his team about their fate to sit around and wait, and Eridan's entire character has been shaped by the duty he had to keep Feferi's lusus placated.

However, these driving forces tend to make Princes controlling, aggressive, volatile, and nasty, and it's difficult to even be near one, let alone help them deal with their emotional problems. Thus are princes on a marching path to self-destruction, overtaxing their engines, burning themselves out. And given that one's "self" is tied inextricably to their aspect, this means that they take their aspect with them.

Thus are Princes on a ticking timer, and left untreated, they'll suffer a spectacular meltdown, which removes from play themselves, their aspect, and whoever is unlucky enough to be in the same room. We see it with Murderstuck, where Eridan goes on a Hope-crushing murder spree, and we see it when Dirk's trickster tirade utterly shatters Jake's self-confidence and self-worth.

But before that meltdown occurs, Princes suffer from an overburdening of their aspect - Eridan is a hipster (Hope and conviction), and burdened by several layers of political beliefs and societally-imposed duties. Dirk is solipsistic (Heart and the self), and is burdened by self-loathing, amplified by all his splinters and Hal staring back at him.

Kurloz's aspect is Rage, one of the most enigmatic, but I'll do my best here. Hope is, after all, fairly well-defined - a transformative force that imposes a new reality onto the old. Rage, its equal and opposite, is similarly a force that defines reality - but it does so by striking things from the record (something both Gamzee and Kurloz are noted to do, the former removing references to himself from recountings of his team's story, the latter creating intricate labyrinths within the bubbles to hide their clowny conspiracy with). Rage encompasses anger, but also the emotions of fear and shame - transformative energies that are the core of great acts of revolution, but also volatile, and prone to great destructiveness. Rage players "tear down false truths" - meaning, they define reality by closing possibilities, crafting meaning from the past by the power of interpretation. Hope is fanfiction, and Rage is literary criticism. Hope pens in something new, and Rage strikes out what it deems unacceptible.

Kurloz, before his turn, is characterized primarily through a single major incident - having a dream so terrifying that he screamed loud enough to deafen his matesprit, and feeling so ashamed of himself (shame being a Rage-associated emotion) that he sewed his own mouth shut in penitance. Given the way Princes are overtaxed by their aspect, it's likely that this isn't the only great shame he was bearing.

He and Damara appear to be on secretly decent terms - she is, after all, a Lord English believer, and who else would she have gotten that religious leaning from? Moreover, Kurloz and Mituna were close, if not actively dating, and Mituna was the one member of the team who seemed to give a shit that they were hurtling themselves towards oblivion.

This means that Kurloz, in all likelihood, was actually on Damara's side, and aware that his team was being shitheads - but he never said anything, later because of his vow of silence, but earlier, because it was himself he was most ashamed of. It's unclear what the inciting incident of his final meltdown was, but given the far-reaching consequences when a Prince does have their meltdown, this is likely the "disaster" that Mituna was attempting to stop - a situation that echoes how Feferi, Eridan's ex-moirail, turning on him to kill him was what finally pushed Eridan over the edge into full-blown murder. Kurloz is likely both the disaster Mituna was trying to avert and the source of Mituna's injury; subsequently, his team was dealing with a post-meltdown Prince and the destruction of Rage.

As I mentioned before, Rage is a revolutionary force, a force of upheaval and change. It's likely that the Mituna injury happened fairly late in the game, concurrent to or shortly following Damara's rampage, because the lack of Rage is starkly present in the six years following the Reckoning, where the dancestors did fuckall. But there's one other place where the dancestors' lack of Rage is present: ever notice how they don't have a single blackrom?

We'll get more into that when we talk about Meulin, but for now, I'll just say that this is directly Kurloz's fault. No blackroms, no conflicts, no change... Kurloz's meltdown was allowed to happen with no one the wiser. Rage, at its nadir, begins to resemble Hope - it gains a steadfast, religious conviction to the belief that nothing matters and everything must be torn down. We see this in Kurloz, whose spiritual belief is, functionally, that all that he and everyone else deserves is utter oblivion.

And so our Prince of Rage can no longer be swayed, a force of religious inertia, directing all beings headlong into oblivion.

Meulin Leijon: Healthy Relationship? IDK Her

Meulin Leijon's ships are all rancid. Unfortunately, they also all come true. This makes Meulin one of the most direct and overwhelming contributors to the dancestors' extant emotional problems, and why every single one of their established romances is a dumpster fire (and, conversely, why none of the healthy ships hinted at - pale Latula/Porrim, for example - are never established).

But to explain that, we have to back up and explain how Mages work. But I'm a bit tired of typing, so I'll just let Terezi and Sollux explain it instead:

TA: 2o yeah. TA: we wiill all diie but mo2t e2peciially me, end of 2tory. GC: BUT GC: DONT T4K3 TH1S TH3 WRONG W4Y BUT HOW C4N YOU B3 TOT4LLY SUR3 4BOUT 4LL TH4T? GC: HOW DO YOU KNOW SOM3 OF TH3 R34L V1S1ONS YOUR3 H4V1NG 4R3NT G3TT1NG K1ND OF T4NGL3D UP W1TH UHHH GC: SORT OF TH3 W4Y YOU 4R3 4BOUT YOURS3LF TA: what do you mean. GC: HOW YOU G3T MOP3Y 4ND YOUR3 4LW4YS TH3 V1CT1M OF SOM3TH1NG 4ND HOW SOM3T1M3S YOU TH1NK YOU SUCK WH3N YOU R34LLY DONT GC: M4YB3 TH4T 1S CLOUD1NG YOUR V1S1ON?

Mages are the active counterpart to Seers, as they're both classes concerned with glimpsing the future. Sollux is most obviously a prophet, gifted with vision twofold and Doom's natural prophetic insight, and at first this doesn't seem to suit Meulin... until you realize that matchmaking is commonly considered a form of divination, and "matchmaker" is Meulin's signature profession.

However, unlike a Seer, who's privy to all the myriad branching paths the future can take, Mages seem to know which of these futures will definitely happen for sure. This seems to be contradictory - how can multiple branching paths and set-in-stone futures coexist, when the comic - and Hussie - explicitly tend to frame even the Alpha Timeline as a result of player choices, and not predestination?

But it makes sense if you turn it around - it's not that Mages are privy to a set-in-stone future... it's that the Mage powerset allows the Mage to set a future in stone. They aren't PREDICTING the future, they're PREDETERMINING it.

This is an incredibly powerful ability, and to balance it out, Mages start out sad, and this sadness and pessimism colors their visions and causes the futures they pick out to be shitty. Terezi directly calls out Sollux's chosen future for being a reflection of his self-loathing and victimization, but wait, isn't Meulin super cheerful?

No. Actually, she's fucking miserable.

HORUSS: 8=D < She's taught me to get in touch with my anger. Through a moderately discernible series of enthusiastic mimes, she has made it clear that it is much healthier to crush all negative emotions beneath a stampede of positivity, and to always be cheerful and upbeat no matter what, even if projecting that facade is at times physically painful. #Such as #All times.

Vriska also later makes mention of how Meulin seems to have a "fascin8tingly dark history", further driving home the point that Meulin's hyperactive, friendly demeanor is a front for some really deep sadness on her part.

Heart is the aspect of the soul and the self. Its players are preoccupied with identity, and naturally talented at sussing out motivations, emotions, intentions, and desires. Nepeta's ships are usually wrong, but she clocks romantic interest correctly - she's able to pick up on Gamzee's palecrush toward Karkat, and Tavros's something-something towards Dave. Dirk, too, has an arc defined by romantic interest, feelings that ultimately don't pan out.

Moreover, Heart players are very vulnerable and sincere, and can't really help it. Divesting Dirk from Hal (whom I'm personally convinced is both his own separate entity and not even a Heart player), Dirk is incredibly straightforward. His idea of manipulating Jane is to directly tell her he's manipulating her. Nepeta's sincerity probably doesn't even need to be said.

But the flipside of this sensitivity towards the emotions of others is that Heart players are often doormats. They tend to prioritize the desires of others - Nepeta being bent to Equius's whims, and Dirk's neediness towards Jake manifesting as some embarrasing "forget how I feel, tell me what YOU want" texts. Their vulnerability also makes them easily hurt, and they tend to retreat into themselves out of fear of pain - Dirk outright states that his aloof demeanor hides the feelings his team has been trampling, while Nepeta expresses that she's afraid to engage too much with others because she's scared they'll mock her for being silly and stupid.

Thus, Meulin's situationship with Kurloz is cast into a much more uncomfortable light - and it was already pretty damn uncomfortable. Being deafened clearly hurt her emotionally, to the point she formally broke up with him, but he is still basically dating her, practically holding her hostage between her natural doormat tendencies and the actual mind control he's using on her. Her relationship with Horuss isn't much better, given the breathtakingly awful way he speaks about her:

HORUSS: 8=D < E%actly. Whoof would have thought? If you a%ed me before we all died whether I would consider romantically pairing with a r*d*culous midb100d, let alone Ms. Leijon of all people, I'd probably have died regardless, due to laughter-induced asphy%iation.

Yikes. Yikes all around. Welcome to yikes town.

Thus, Meulin is miserable, and has never been within ten miles of a healthy relationship - is it any surprise, then, that the ships she sets up for all her friends are similarly ill-fated? Let's not forget, the one ship she's actively seen making is Meenah and Karkat - an adult and an actual child.

MEULIN: (=^-ω-^=) < NOW, BEFORE I WORK MY MAGIC, WE SHOULD GET ONE THING CLEAR. IS YOUR YEARNING RED OR BLACK? MEULIN: (=ＴωＴ=) < I AM ONLY ASKING TO BE ABSOLUTELY CERTAIN, BUT METHINKS THERE IS BARELY ANY DOUBT ABOUT IT. SOMMMEONE IS WAXING SCARLET FOR A LOUD, YOUNGER KANKRI, HMMMMMMMMM?

And it's after this that Meenah develops an "increasingly manic obsession" with Karkat.

You got a CLAWSICKLE! You absolutely love this due to its nautical nature. Also, hoarding items such as this will nicely complement your increasingly manic obsession with Karkat.

This is the secret behind Meulin's abilities as a "miracle worker when it comes to match making". As a Mage of Heart, she's directly picking out futures in which certain characters develop feelings for others - and, as a result, every single existing romance within the dancestors is highly suspect.

But what's also suspect is the lack of certain romances, namely the blackroms. What's going on there? Well, as Meulin herself says:

MEULIN: ~(=^‥^)ノ < GENERALLY I STICK TO THE RED MATCHUPS WHILE HE ADVISES ON BLACK. HE'S 33RILY TALENTED AT PICKING BLACKROM PAIRS! PROBABLY EVEN BETTER THAN ME...

Like how he's exerting control over the state of their death by using Mituna as a puppet, Kurloz is exerting control over their relationships via Meulin, killing their rage - their ability to effect change and grow - at the source.

And so our Mage of Heart has had hers trampled over so many times that she's unable to conceive of a future where lovers are supportive and kind, not destructive and cruel.

Horuss Zahhak: Albatross with the Gravitational Pull of a Black Hole

Finally, we're getting to the biggest Mess of all: the Damara situation. Horuss is our starting point here, as he's the eye of the storm - while he's the least directly culpable for Damara's rampage, he's the inciting incident, as Pages often are.

Horuss's flaws are glaringly obvious - he's a virulent casteist, he's an affair partner, he feels no guilt for the harm he caused Damara, he's really only looking to satisfy his own sexual desires, and he's too bullheaded to listen when people tell him things he doesn't want to hear.

He actually spends quite a bit of time talking about his aspect, and the journey he took to "understand" it. That saves me some time.

HORUSS: 8=D < My path was similarly governed by my aspect. For the longest time, I felt as if I was a blank sheet of paper. Like I had to make myself out of nothing. HORUSS: 8=D < And so I began to listen closely to the void within myself and corral the various personal attributes I herd calling to me. [...] HORUSS: 8=D < And in following sweeps I would keep turning my mechanically augmented, acute equine ear back to the abyss within, and continue to discover more about myself. I would learn that I was more complicated than I ever imagined. [...] HORUSS: 8=D < The second is how if you are faced with any crisis of identity whatsoever, it's really important to do your best to manufacture esoteric features of your personality and believe in them very STRONGLY and tell people about those things as frequently as possible.

Again, we aren't going to get into the plurality of real life people, this isn't the essay for that. In the context of the comic, because the failure of the dancestors is a foregone conclusion, and because Horuss is especially vile and clearly not aspirational, what he is describing is, in fact, an abject failure of Void, and a failing of his character.

To get into it, let's break down what a Page of Void is, and what arc they're "supposed" to undertake.

Pages are defined by their limitless potential.

TT: Pages have a lot of untapped potential. TT: That's practically all there is to the class, actually. TT: But when they eventually find it, look out.

AA: y0u picked a t0ugh class tavr0s! AA: n0ne 0f the really useful c0mbat abilities c0me int0 play until y0u reach a very high level AA: but i supp0se it will be rewarding when y0u get there

They're magikarps - very strong at high levels, very weak at low ones. So weak, in fact, that they're defined by a lack of their aspect when they initially start the game. Tavros, the Page of Breath - Breath governing freedom and independence - is wheelchair-bound and under Vriska's thumb. Jake, the Page of Hope - Hope dealing in conviction and belief - is constantly called "wishy-washy," and has absolutely zero standards when it comes to his taste in media (contrast Eridan, who's functioning with too much Hope as per his Prince class, who's a hipster that castigates Kanaya for liking Troll Twilight).

And Void is simplicity - its two other heroes, much more representative of the aspect, embody this well. They are what they are, they like what they like. Roxy loves wizards and, as mom, loves her daughter; Equius loves horses and archery and being STRONG. Void is also associated with sexual pleasure, vice, and taboo, with Roxy's "sauciness" being something characters often comment on and her alcoholism being so foundational to her character, while you can't talk about Equius without talking about his BDSM fetish.

In fact, we can see this interplay between Void's simplicity against Light's penchant for complexity in the introduction of Rose's mother. Rose has concocted in her mind a grand, elaborate narrative where her and her mother are locked in a deady contest of one-upsmanship, that her mother's various gifts and wizards are part of some sort of ironic or passive-aggressive mind game. The truth is, Momlonde just loves wizards and dotes on her daughter. No mind games whatsoever.

So when Horuss talks about how "complicated" he's decided he is, this is a Page's penchant for regression, for aspect deficit. Horuss refuses to be honest with himself, to deal with his actual emotions of frustration, anger, and emptiness, and instead turns to complication to try to explain them. He complexifies everything he gets involved with - his affair with Rufioh is clearly a symptom of some fetish he has for dating down the hemospectrum, but he refuses to admit to it, instead claiming at first that it was simply a "fleeting dalliance" or "exploration," and then claiming it to be true love.

The one Void trait he does seem to have in excess, however, is its tendency to get so caught up in its own personal pleasures and desires that it becomes pushy to others, drowning them out, resembling Light's spotlight hogging. Equius did this to Nepeta, and Roxy would attempt it with Dirk sometimes, aggressively flirting with him despite his homosexuality. Horuss simply talks over Rufioh, not listening to a thing he says.

Also, another point to how interwoven everyone's issues are, Kankri shows up to enable Horuss and tell him to keep being complicated. Also, Kankri doesn't comment AT ALL on Horuss's constant use of slurs and casteist language. So thanks again Kankri. For nothing.

The problem with Pages is that their failures aren't contained to themselves - their weakness becomes like a black hole, an albatross about the party's neck, and they're often right at the center of major catastrophes - maybe not the direct cause, but often an inciting incident. Tavros was ultimately at the center of the Team Charge debacle, and the Jakestakes tore apart his entire team.

HORUSS: 8=D < It was only to be a very private, fleeting dalliance with a BUOY, but the whole thing became so quickly scandalized.  #A spur of the moment affair, really. HORUSS: 8=D < And soon others were whisked into it such as you and the vengeful rust b100d, and... well, imagine my embarrassment. Trust me, the last thing I wanted was for royalty such as yourself to know I was pursuing forbidden b100d. To be caught with my hoof in the chocolate jar, so to nicker.

And so our Page of Void, by dint of the complicated web he's woven about himself, has ensnared others in his orbit of total irrelevance and inability to move forward.

Rufioh Nitram: Desperately Escaping Responsibility

Let me speak for everyone when I say, "Rufioh, you cheating piece of shit!!!!!!!!!!!!!!!"

Rufioh, too, has his failures on brazen display. He's weak-willed and spineless, has been trying and failing to break up with Horuss for eons, and cheated on his girlfriend, but has the nerve to ask her for romantic advice.

However, what I want to really focus down on is that the specific flavor of his spinelessness is a refusal to take responsibility. He constantly claims that he "doesn't know" why Damara got more and more upset at him:

RUFIOH: and for some reason... st1ll don't know why... damara just started go1ng a l1ttle more nuts every day... gett1ng more and more jealous when she knew we were hang1ng out...

But clearly this isn't true, because he tells her to get over it.

RUFIOH: d*mn... so cold, g1rl. why can't you let the past go?

He also constantly calls her "crazy" and "jealous," framing the story as though she's the one who went totally nuts, and washing his hands of his involvement.

Remember how I mentioned that Blood tends to be overly responsible? All the way up there, when I was talking about Kankri. Well, meet Blood's counterpart. Breath is, at its best, a force of freedom and liberation - look no further than the Summoner, Rufioh's Alternian counterpart. But at its worst, it tends to be callous and immature, youthful but irresponsible. Rufioh does everything he can to avoid having to take responsibility, whether that's wilting from breaking up with Horuss, avoiding culpability for hurting his feelings, or downplaying what he did to Damara.

This youthfulness is the source of their charm, and all three Breath players share it - John loves his dumb cheesy movies well into his teens, Tavros loves Pupa Pan and Fiduspawn, and Rufioh loves kiddie anime. It's not harmful in and of itself that they like childish things, but it often goes hand-in-hand with a refusal to grow up.

Ironically, they can become so avoidant of responsibility that they wind up trapped, like Tavros was with Vriska, or Rufioh is with Horuss. If you never acknowledge that there is a problem, you can never begin to fix it. But where does being a Rogue come in?

Well, Rogues are natural-born rebels. Nepeta is the only Alternian troll to outright say that the hemocaste is stupid and casteism shouldn't exist:

AC: :33 < and i dont know anything about classes or bases or blood color, it doesn't matter! AC: :33 < what does gr33n blood even mean! it doesnt mean anything to me and it shouldnt mean anything to anyone else!

And Roxy is the most motivated in her friend group to stick it to the Batterwitch. The problem is, while they have unrest and rebellion deep in their souls, they're often at a loss as to how to address it, make it more than just a thought. This leads to them rebelling for the sake of rebelling, breaking taboos and defying commands. Nepeta refusing to listen to Equius telling her to hide and stay put directly leads to her death, and even Roxy nearly blew Jane up with a fake SBURB application in a misguided attempt to defy the Condesce.

And Rufioh? Well, Rufioh cheated. Hard as he could. For a long, long time. Started before he entered the session. Spent the whole time gaslighting Damara and calling her crazy and jealous. After all, if he actually came out and said that he wasn't happy with her and wanted out of the relationship, she'd be upset with him, and he'd have to be responsible for that. Can't have that!

And so our Rogue of Breath has been trapped in bondage, having gone willingly in chains, because the alternative - freedom and responsibility - were too difficult for him.

Damara Megido: Babe I'm So Sorry, You Didn't Deserve That

So I'm going to address a pretty common fandom take, by first divulging some personal information. I'm Chinese diaspora; my parents were both immigrants. Obviously, I can't speak for every Chinese person, and especially not every Asian, but at least from my perspective, Damara isn't racist. She's just actual representation.

Yes, Damara plays into several stereotypes, most notably the oversexed Asian schoolgirl - but that's part of the greater point that the comic is trying to make. Hussie has a long habit of putting the reader in the shoes of the characters who are wrong in a situation - for example, having the reader mock Eridan together with Rose, Kanaya, Jade, and Gamzee, or indeed, having the reader sympathize with Meenah Peixes, and hear the story from the point of view of Meenahs' biggest enabler.

Damara's google-translate quirk makes her text difficult to understand, to the point a lot of people won't even bother figuring out what she's saying, and her design makes her seem like a flat stereotype, because this is how her team sees her. And as I have extensively covered in this essay thus far, Damara's team were unbelievable assholes for doing so.

Let's look at her situation objectively for a second, and you'll see what I mean. Damara grew up with the Lost Weeaboos - she was already there when Rufioh ran into her, after he joined up after his wings came in. Yeah, Damara was the original Lost Weeaboo, not him. She was an immigrant from East Beforus, and couldn't speak English, and was seemingly only included in the friend group so long as Rufioh was translating for her - something he doesn't do when he deems it would cause problems (for him).

RUFIOH: 1f people knew some of the sh*t you sa1d... how you say crazy sh*t l1ke you want to serve h1m... f***! RUFIOH: 1t wouldn't be cool... people would fl1p... RUFIOH: h*ll, d1dn't you hear meenah was try1ng to ra1se an army to k1ll h1m? RUFIOH: 1f she could hear some of the th1ngs you told me... sh*t... 1 can't ever let her f1nd out... RUFIOH: 1f she knew, you'd both start f1ght1ng aga1n...  #}:(

Not to mention, she's a burgundy, the bottom of the hemocaste, and implied to be pretty poor, too, given... she was living in the woods with the Lost Weeaboos.

Before the game even starts, Horuss starts visiting Rufioh in the woods, something that starts as an emotional affair, but quickly becomes more than that. Damara catches on pretty quickly, becoming more and more jealous and angry with him as the affair continues, but Rufioh gaslights her and lies to her about it until Meenah discovers the affair and blows it out into the open. Damara breaks up with Rufioh, but Meenah continues to use the affair to mock and degrade her.

ARANEA: The poor girl who took the 8runt of your 8ullying tactics was Damara Megido. You talked up her matesprit's 8etrayal making her feel even more dreadful, while pushing him further into the arms of her rival, until she simply snapped.

Can you even fucking imagine? Damara has nobody else to turn to. Not only are half the people on the team Meenah's friends, not only is Meenah the rich and powerful fuchsia-blooded heiress, while Damara's a poor, immigrant rustblood, but no one on the team besides her ex - who is running around slandering her for being "crazy" and "jealous" - can even be assed to learn her language. She can't defend herself, and even if she tried, nobody would listen. To them, Damara's just a flat stereotype - the meek and docile Asian waifu who speaks engrish and puts chopsticks in her hair.

This is like... actually just what a lot of poor immigrants, not even necessarily Asian ones, have to go through. Damara's struggles are incredibly relevant, and her reaction is very realistic, too. She snaps and decides that she hates everyone and outright wishes for their demise and double-demise. In this context, her hypersexual language is a form of reclaiming power - nobody cared about what she had to say, so now she doesn't care what they have to listen to. It's one of the only petty vengeances left to her, and notably, she doesn't do it towards people she doesn't have beef with - the human kids - and the fact that Rufioh can speak her language at all is why she's still willing to go so far as to call him a friend, even after all the horrible shit he did to her.

RUFIOH: um... you can keep a secret, r1ght? DAMARA: はい、もちろん。私はあなたの友達です。[Yes, of course. I am your friend.]

And death hasn't made anything let up for her. She tells Meenah to go double-fuck herself, and Meenah assumes that they're totally cool now, even though Meenah didn't even so much as say "sorry".

DAMARA: あなたのデュアルフォークを取る。二回自分自身をファック。 [Take your dual fork. Fuck yourself twice.] [...] DAMARA: 私は何も後悔はありません。[I do not regret anything.] MEENAH: apology accepted

Sorry for getting heated, but what happened to Damara - and the fact that the fandom often sides with her bullies in calling her a flat stereotype - is very near and dear to me. The Damara situation casts a pall across the entire rest of the dancestors. Despite how cruel the circumstances were, how objectively unjust they were, how obviously Meenah was the aggressor and Damara was a victim, how clearly delineated good and evil were in her situation, and how big of a problem this became, nobody intervened, nobody tried to stop it, nobody stood up for her. Every single member of the team is an irredeemable asshole by this simple fact alone, except maybe Mituna, and even then, that's a maybe and nothing more. All of them are complicit in abuse, complicit in oppression, and complicit in bullying - if not worse.

Witches are creatures of emotion. They grow up as "outsiders" to society, and as such, are very easy to sway - as they lack societal senses of right and wrong, good or evil, they tend to rely on their own emotions to navigate the world instead. This also means it's very easy to flatter the Witch into believing in something cruel. Feferi loves casteism because being a princess is awesome, and she loves feeling like she's better than other people. Jade constantly allows shitty boys to trample all over her, and the trolls consider her most culpable for Bec Noir's creation because she blindly follows the prophecies of her beloved future-telling clouds, taking direct action to doom them all.

Damara's still friends with Rufioh because he bothers to speak her language at all, even though he does nothing but gaslight her, badmouth her, and use her to his own convenience. She follows the teachings of Lord English because her feelings have been hurt to the point where oblivion sounds like a great idea.

Time is about persistence, goal-orientedness, details, and minutiae. However, its players can often become so tunnel-visioned, so frustrated, that they become destructive forces of anger and rage. In the worst case, this destructive frustration causes them to become overwhelmed with a sense of futility, something that superficially resembles Space's big-picture thinking, or its tendency for passivity. Time has ties to entropy and death, and unfortunately, Damara has come to embody that for her team.

But, most crucially, Witches cause change.

The dancestors' session is victim to a glitch that ultimately renders it unwinnable - they didn't perform their own ectobiology. Such glitches are described as the "calling cards" of Lord English, his way of reserving a universe to destroy. But, as discussed above, LE did not actually exist until the dancestors brought him into their session by scratching it.

It's stated that, after her initial rampage, Damara began performing acts of "timeline sa8otage" up and down their timeline. I believe that it's during this time that she wound up causing the ectobiology glitch - retroactively rendering their system unwinnable, forcing them into the Scratch. After all, Damara knew what would result from the Scratch - Kurloz had inducted her into his religion by that point, and she was heard muttering that the Scratch would deliver them all "what they deserve".

And so, our Witch of Time was tempted by the forces of evil, and ultimately led them down the path of destruction, closing down all options until they had no choice but to Scratch, and - of course - though the dancestors had one last chance to back out, choose the selfless option, and let no more harm come of their actions - they picked the selfish option, and passed their problems onto the next generation.

Meenah Peixes: Ultra-Bitch

Meenah is her team's leader, and she represents the worst aspects of her team - the casual cruelty, the lack of responsibility, the kid-kissing, the failure to grow up. In a way, there's no leader more fitting.

The greatest thing she contributed to her team was her ruthless bullying, which didn't do anything but make everyone feel worse about themselves. Of this bullying, Meenah's favorite target was Damara, but we already covered all that in Damara's section. I want to talk about some of Meenah's other failings here, because I think the comic did such a good job of unreliably narrating her escapades that even many in the fandom seem to think she's a much better person than she is.

In truth, Meenah is a toxic friend, a bad influence, and her "cool"ness serves as a smokescreen to cover the depravity and cruelty of her actions. She is consistently running away from responsibility, consistently taking advantage of weaker-willed individuals, consistently constructing a narrative around herself where her actions were justified and anyone who disagrees with her is just a lame loser. In reality, she's just a rich bitch mean girl. A bog-standard bully. Someone who thinks literal children are pursuable romantic targets. You can't lose sight of this.

MEENAH: i dont verbally torture my cray schemes like all the serket girls MEENAH: and that works ok for me MEENAH: guess i made some mistakes but who really gives a flip [...] MEENAH: i just MEENAH: did shit MEENAH: and the shit i did MEENAH: meant only the things the shit accomplished MEENAH: and if that shit accomplished a dumb thing that sucked MEENAH: then i guess thats what you call a mistake and oh fuckin well

Sure, Meenah. Your deliberate, constant, unrelenting bullying, the active choices you made over, and over, and over again, are completely excusable by just saying "they were some mistakes" and "oh well".

Meenah ran away from responsibility four times over the course of her story: the first time was running off to the moon because she didn't want to be heiress; the second was blowing up her home planet rather than dealing with succession; the third was cooping herself up in her moon palace until a bigger threat presented itself, and the fourth was encouraging Vriska to give up on struggling against Lord English and run away with her and the LE-killing treasure. Not only that, but she tries to convince Karkat to jump off the meteor with her to fight LE - something that's framed in that conversation as a literal act of suicide, as LE is still, as far as Karkat and Meenah know, invincible, immortal, and unbeatable.

Speaking of her conversation with Karkat, let's zoom out for a second and take it in objectively. I think many are tricked by Karkat's softness and vulnerability here into thinking that the conversation they have together is cute or wholesome, but that isn't the case. First of all, let's remember that Meulin has just implied that Meenah's got some romantic feelings for what is - again - an actual child (I think he's literally 14 here). So. Yeah. And then second, let's remember what Karkat's arc is.

Karkat is a mutant, and has lived his life alternately in fear that he'll be killed if anyone ever finds out, and filled with self-loathing, since he knows it means he'll never be accepted by society. Moreover, he's aware of the prophecy that he's supposed to be Troll Jesus's second coming, and he's deeply insecure about it.

MY BLOOD IS NOT FIT TO FLOW THROUGH A SEWER, AND MY SIGN IS A PICTOGRAPHIC SYMBOL THAT LOOSELY TRANSLATES AS "PLEASE HIKE THESE PANTS UP TO THIS GUY'S ARMPITS, CHAIN HIM TO A FLOGGING JUT, AND MAKE A FUCKING EXAMPLE OUT OF THIS SORRY SACK OF SHIT." WHEN I LOOK IN A MIRROR, MY REFLECTION SLOWLY SHAKES HIS HEAD WHILE I WET MYSELF IN SHAME.

The fact that he knows that his ancestor is the Signless puts his initial desire to join the Threshecutioners in a very sad light. As he tells Meenah, he harbored fantasies that he would fight so well that they'd let him join, in spite of his blood color, even knowing objectively that they'd probably just kill him on sight.

KARKAT: THEY WERE LIKE THE DEADLIEST SQUAD OF INTERSTELLAR FIGHTERS UNDER THE COMMAND OF THE EMPRESS. THEY HELPED CONQUER MORE PLANETS THAN ANY OTHER IMPERIAL FORCE. BUT IT WOULD HAVE BEEN IMPOSSIBLE FOR ME TO MAKE THE CUT, BECAUSE OF MY BLOOD. SO I USED TO THINK OF ALL THESE ELABORATE SCENARIOS TO HIDE MY BLOOD COLOR. OR IN THE MORE RIDICULOUS FANTASIES, MAYBE I COULD EVEN PROVE MY WORTH AS A SOLDIER? LIKE JUST BE SO AWESOME WITH A SICKLE, THEY WOULD JUST HAVE TO MAKE AN EXCEPTION. MAYBE EVEN BE LIKE A FOLK HERO AND RISE THROUGH THE RANKS TO BECOME THE LEADER. HAHA.

He desires, so so so deeply, to be accepted. He hates himself - this is the first thing revealed to us in his introduction.

Your name is KARKAT VANTAS. As was previously mentioned, it is your WRIGGLING DAY, which is barely even worth mentioning. It is an anniversary, if anything, to lament the faults of your existence, of which there are assuredly plenty.

As a result, he's equated societal acceptance with self-worth - tricked himself into believing that if he can gain the approval of society, the approval of the Condesce, then he'll finally be able to feel less like a worthless, kill-on-sight miscreant.

This is the lens we must look through his conversations with Meenah through. These are not soft, tender exchanges where Meenah helps Karkat deal with his emotional issues. This is the young adult version of the Condesce trying to tempt a literal child into suicide, leveraging his desire to be accepted by her in order to stroke her own ego. When he says Alternia was great, that's a bad thing. Alternia sucked, and it sucked to him specifically, but he wants to be accepted by it so badly that he's willing to act like it was awesome. When he says he respects the Condesce, that's terrible. She's an evil monster who directly caused all his and his friend's problems, a monstrous, genocidal dictator who revels in bloodshed and misery. And when he says:

KARKAT: OH, BUT ON ONE CONDITION. AS THE NEW EMPRESS, YOU HAVE TO APPOINT ME AS GRAND THRESHECUTIONER OF YOUR ARMY. DO WE HAVE A DEAL? MEENAH: oh yes yes you got it yessss

This is sad, actually. This is just really sad. Karkat wants to be accepted so, so badly that he's willing to jump off the meteor on a suicide mission. He wants it so bad that he's willing to lie down and let the forces of fascism, oppression, cruelty, and evil win, just for a crumb of validation.

And, yeah, it's romantic to Meenah. Just to be clear with everyone.

MEENAH: i was standin around in shoutkats place when it all dream switched on me outta nowhere [...] MEENAH: and i think MEENAH: we might be goin on a date later?

Hey, remember how she's 19 and he's fourteen fucking years old?

So, yeah, later on, when she starts having little giggly fits with Vriska, rolling around in the fields with her? When she starts grooming Vriska to dress like her, get tattoos with her nautical themes? Yes, I'm going to use the word "grooming". That's what it is.

Vriska is a vulnerable child. She was raised by an abusive, demanding, narcissistic spider, and all her friends just abandoned her because of her resultant nasty personality. And remember how I pointed out that Meenah likes to run away from responsibility?

VRISKA: What if we just........ VRISKA: Gave up on the mission? MEENAH: gave up VRISKA: Yeah. VRISKA: What do you think. MEENAH: um MEENAH: sure VRISKA: Sure? VRISKA: You don't think that would 8e a wussy move? MEENAH: well yeah MEENAH: it would be MEENAH: if a couple of cowards did it MEENAH: but that aint us MEENAH: so we cool to do whatev VRISKA: That's a very good point. MEENAH: nofin wrong with stickin a fork in a shit idea that just makes you miserable MEENAH: hell the best choice i ever made involved givin up MEENAH: one day i said MEENAH: fuck da throne MEENAH: ran off to the moon MEENAH: thats how this whole crazy mess kicked off MEENAH: and if i didnt do that MEENAH: i wouldnt of met you 38) VRISKA: VRISKA: ::::)

I hope this conversation hits a little different.

[EDIT (March 02): I also wanted to add that, in order to make the above conversation even more obviously a case of an adult taking advantage of a vulnerable minor? Directly preceeding the snippet I included in the essay, Vriska outright admits that she no longer trusts her own judgement. So Meenah heard that, and decided to make a move.

Yikes. Yikes all around. Welcome to yikes town.]

Thieves are, as the name suggests, selfish and greedy - they harbor some deep emotional hole that they attempt to fill with "wealth". For Vriska, it was narrative importance, and for Meenah, it was forward motion, as that's what Life's all about. However, they do so at the expense of others, not realizing that harming their own group relations harms their own ability to self-actualize and attain true happiness. The one time something nice happened on Meenah's team, it was when Meenah wasn't taking, taking, taking, but when she baked a cake for everyone.

But Meenah wasn't content with that.

And so, our Thief of Life defeated her own agenda in an effort to move forward, her mistakes culminating in the doom of herself and all her friends, as her misguided grasping toward forward motion ultimately led to the ugly side of a tumor-bomb.

Final Thoughts

I know I've been really negative towards the dancestors for this entire essay. And I do think they deserve it. However, please don't confuse that with me saying I think they were "bad characters," or that I dislike their inclusion in the comic.

On the contrary, I think they're all very, very good characters. Their utilization in the narrative is excellent, and they perform their narrative function incredibly well. I think Hussie's a fantastic writer, and I find the dancestors fascinating - if you couldn't tell from the massive essay.

But they are shitty people - and that's the point. The role they serve to the kids is as evil mentors, bad influences, dark reflections. Maybe they were redeemable before they ruined everything, but they passed the point of no return. At every juncture, they chose the selfish option, the cruel option, the easy option, and in some ways subtle, some ways overt, they encourage their kids to do the same.

But - crucially - the ones to come after them can choose differently. And I believe in the version of Homestuck where they do.

Thanks for reading.

[shootingstarpilot]

Do you have any advice for writing Mace Windu?

Hello friend! I've been sitting on this for a while, because everyone's got their own interpretations, but mine is based on an idea I was struggling to put words to.

(Caveat that I have not read Legends material, that people can write what they like, etc. etc.)

The way I see it, Lucas specializes in writing stories in terms of themes and archetypes. This is why certain dialogue choices or the development of certain relationships can be... clunky, let's go with that. Characters (Obi-Wan and Anakin fall into their own category, sure) are written primarily as archetypes. You have Yoda as the wise old sage, Sidious as the ultimate evil-

And Mace Windu as the ultimate good.

We see this in the Chancellor's office, right? During the final showdown. This is the moment where Anakin makes his choice- stay in the Light or Fall- and the characters visually representing that choice are Palpatine and Mace. He's the Master of the Order. He's raised a Padawan who sits on the Council with him. He's an incredibly skilled swordsman- hell, his fighting style of choice (Vaapad) epitomizes how clearly he's mastered the art of internal balance!

All of that to say- his whole character is built around the idea that he is the Good Guy. That would be the one piece of writing advice I would give. If you're wondering how to write him, start with that idea- that he is written to represent the absolute opposite of Sidious. He's the ultimate good. He is the illuminating Light to Sidious' corrupting Dark. This is why antagonistic portrayals of him never ring true to me- they're coming from a foundational understanding that I simply do not subscribe to. It reeks of a fundamental misunderstanding of his character and of the whole saga's themes.

(And also racism. I'd be remiss if I didn't mention the racism that too often plays a significant role.)

All of that being said, what might it look like to write from the foundation of Mace being the representation of ultimate good? The good thing about characters being written as archetypes is that it gives us fans a significant amount of freedom in determining what those characters look like when they're written as characters. Different people will have different takes, but for me:

Well, first off- he's the epitome of a Jedi. So all of what that entails- he is fundamentally kind, fundamentally compassionate, and fundamentally in control of himself.

He's funny. I think he has a very dry sense of humor, and that he finds joy in the smallest things.

He loves so much. He loves his Padawan, he loves his friends, he loves his family, he loves the Republic- he loves the galaxy enough to go to war for it, and he loves the men who'll kill his people.

There will never be a situation where he has the capacity to help and chooses not to.

And last but not least, I choose to believe that this man can bake pastries with the best of them. In my heart of hearts, he's a stress baker, and he mends his socks with purple thread.

Hope this helps!

[thesummerstorms]

Okay this was going to be in the tags of a reblog, but then I hit the tumblr tag limit (...whoops? I talk too much...) AND realized the scope of what I was talking about was slightly different than what the OP was talking about. So now you get this massive post instead! (And it did become massive. I researched on the wiki and YouTube and everything. Sorry!)

TL;DR: People keep bringing up the existence of the Avvar in relation to Spite and Lucanis being unable to separate, mostly in a negative way or to critique the writing choices, and I don't think that's actually a fair criticism if we look at Veilguard's characters' background specifically rather than what we as players might bring to the table.

So if you didn't know because you didn't have the DLC or didn't play Inquisition, or are new to the series, you may not know that in the Inquistion DLC "Jaws of Hakkon", we are introduced to a specific band of Avvar living in the Frostback Basin.

For the sake of brevity, I'm linking to the wiki if you need a refresher on who the Avvar are, but one really intriguing thing we found out was that per the wiki:

The augurs [Avvar mages] allow their apprentices to be possessed by a summoned Spirit and the spirit teaches the mage how to control their magic with patience and kindness. When the teaching is done, the mage must then release the spirit through a ritual that involves burning an offering and casting a taxing spell that usually requires a vial of lyrium to replenish one's strength. Weak mages unable to control their magic remain possessed and the Avvars' spirit gods watch them both so neither soul becomes corrupted. If the abomination becomes corrupted or the mage stands at risk of harming the hold, then one day the abomination is killed in their sleep

Because we learned this in Inquistion, I saw a lot of people take umbrage to the game's insistence that Lucanis and Spite couldn't be separated. After all, we know the Avvar have some kind of ritual!

... but is that a fair thing for the characters to know?

I am saving Harding for last, just FYI; if your particular concern was with Harding having been present for the DLC, that's close to the end of the post.

Outside of Harding, few of our companions in this game are from the south except possibly Bellara and maybe Rook, depending on your head canons. All the rest of them are from the North. None of them have any reason to have directly encountered the Avvar.

Now in relation to Lucanis's abomination problem, Taash and Rivain are their own thing; idk if there was help in Rivain or if Taash knew enough to help Lucanis find it if there was, or if Rowan might have been a lead... had Rivain even really gotten much time or development at all. They are a major caveat, but not one specific to the Avvar problem, so I won't spend much time on that.

For the focus of this post: Taash was raised by a mother who had been brought up in the beliefs of the Qun, and they grew up in Rivain. Rivain is incredibly far north from Fereldan and the Frostback Basin; Taash is not a mage themselves. They have no reason to know about the Avvar beyond the odd sailor's tale.

But Emmrich, Neve, and Lucanis are all northern Humans and some flavor of culturally Andrastian. The Avvar live as far south as it is possible to go in Thedas and are looked down upon by more powerful societies and governments. There's no particular reason word of their mages' practices and capabilities would reach Nevarra or Tevinter or Antiva.

The Avvar aren't super open to outsiders outside of the specific circumstances set up by Inquisition (with good reason) and you can't tell me that interacting more freely with societies lead by the Orlesian Chantry would have gone well in the past.

Antiva probably most closely relates to the southern Chantry we know. None of the Chantry clerics we've ever met would be spreading the knowledge that "hey, yeah, these people outside our faith claim they can undo possession", if they even believe it. And that's assuming that before Inquisition the Avvar ever trusted anyone enough to let that knowledge spread, given the Chantry's history of Templars seizing non-Andrastians and of exalted Marches.

(Also, how much that word was allowed to spread by your Inquisitor and their advisors following the Jaws of Hakkon DLC, if they thought it wise to spread to the rank and file at all. )

It also largely wouldn't be relevant to Lucanis or anyone in his social circles if anyone in Antiva did know. Lucanis's job is mostly to hunt blood mages who are in positions of power and obstacles enough for someone to pay an exorbitant fee for their assassination. It's doubtful anyone is going to spend the gold to hire the heir to the First Talon, or a Crow in general, to assassinate an Avvar leader.

Tevinter, on the other hand, has a whole complex with blood magic. So I imagine their mages are either hiding blood magic (and thus not likely to discover whatever secret it is the Avvar have found given the risks of corruption they are taking themselves.) Or else they are trying to set themselves apart from blood mages and extra worried by demons as a result. They are also some kind of Andrastian, and though the full extent of the differences isn't perfectly delineated, I wouldn't be surprised if they have some of the same cultural hang ups.

Emmrich is a specialist in spirits, yes, but given that Nevarra's focus is on necromancy in particular, and how they view spirits as possibly embodying aspects of their mourned and beloved dead, it makes sense they wouldn't spend time developing an expertise around living willing possessions.

And again, Nevarra is nominally adherent to the southern Chantry. We don't know how those practices differ in reality, but Nevarra and Orlais always have a "clash of expansionist powers" thing going on in the background, so it wouldn't surprise me if there's still a tricky line even between the necromancy and living possession, at least if the Mortalitasi don't want to give an excuse to spark an Exalted March.

And yes, the Chantry is weakened in DA:I; that's part of why the information can escape at all, according to the war table operation discussed later on in Harding's section. But it doesn't stay weakened (look at the Exalted Council), and I don't think it's reasonable to believe that the Inquisition's discovery would completely proliferate the North, if at all. before the conservatives in the Chantry gained enough force to quash it again. And that's if your Inquisitor didn't decide to keep the facts quiet, either for religious reasons or to avoid drawing outside ire down on the Avvar.

As for Davrin and Bellara? Davrin doesn't want shit to do with the Fade anyway. He tells Emmrich he doesn't know if the Fade is real; he is not going to be the source of any help here. We don't have a firm place of origin for Davrin's clan, but if Uncle Eldrin is still living in Arlathan, and he was a major influence on Davrin as a child, I can't imagine it was so far south as Fereldan.

Bellara, on the other hand, might have grown up in Orlais. She says something about her mother selling furniture there, but I'm not sure if that means they typically migrated in Orlais or if they came later on, maybe after Inquisition. And of course, by Veilguard, she's relocated to Arlathan forest, where the Dalish do have some small permanent settlements, which is about as far north from the Frostbacks as you can get

I know she hasn't been to Fereldan, as she has the lines "There are a few Dalish clans in Ferelden, aren't there Nuvenis, I think. Oh, and maybe Sabrae.". The Avvar are located in the Frostbacks, part of Fereldan's border, and those we encounter in Inquisition are specifically in the Frostback Basin, so far south they're almost off the map. So it doesn't seem likely she'd have encountered them directly.

(I also imagine that while the Dalish and the Avvar don't necessarily have reason to be hostile to one another, it likely wouldn't be overly safe for them to be seen as "banding together". )

The Dalish have their own culture and their own pressures specifically being targeted not only for being non-Andrastian but also non human by Templars of the Orlesian Chantry, and a large focus of their magic is preserving or rediscovering the lost magic of the ancient elves.

Why would the ancient elves need in depth knowledge of possession when they began as spirits who took their mortal forms with Lyrium not the normal possess a human process we see elsewhere in the series? (What overlap there was in those early days only Solas knows but in general)?

So I really do understand why it's frustrating as a player to know, say during the conversation between Lucanis, Neve, and Bellara about options for dealing with Spite, that the Avvar exist and have this process. Or when Lucanis asks Emmrich, then has his "man about to fall off the edge" laugh when Emmrich tells him that so far as he knows, Lucanis and Spite are stuck.

But just because it makes sense for the players to know something, doesn't mean it makes sense for the characters to know it, when considering their own societal and cultural backgrounds and lived experiences.

Of course the major hang up becomes Harding, who was the Inquisition scout that did reconnaissance before the Inquisitor's arrival in the Jaws of Hakon DLC. She, of course, is from Fereldan, and was there to potentially learn the same information as the Inquisitor.

In fact, I wondered during some of my early playthroughs if that was why we had Bellara and Neve both present in Lucanis's post recruitment scene in the kitchen and not Harding.

But if we look at the facts?

Harding was initially present Base Camp with the Orlesian professor, who wasn't interested in researching the Avvar at all. She was present when the Inquisitor and the Professor were looking into the shrine Ameridan, and then in the Hold itself during the Inquisitor's war council with Svarah Sunhair about the fortress raid. She does question some about the Hakkonite's Dragon being possessed by an Avvar God, but the specific relevant facts about mage possession aren't brought up in her presence.

The spirits leading up to the fight with Hakkon himself wouldn't likely have sounded different than other demon possessions, arcane horrors, etc, in the recounting of the fight. The usualness or unusualness of a spirit possessing an entire Dragon still has nothing to do with Lucanis and Spite's dilemma.

When asked what she thinks about the Avvar, Harding primarily discusses tales she had been told in her home village, their archers, and the possibility of riding on their shoulders. Mages don't enter the discussion, and even the Inqusitor only learns these facts if they encounter a specific NPC in the wilderness.

Now, you can recruit that mage as an agent for Josephine, but that's 100% player dependent. It won't happen in everyone's world state. So, as far as I have been able to gather, it's entirely possible Harding doesn't know about the Avvar method, depending on what your Inquisitor would have told her.

Okay, you insist, but my Inquisitor would have told everyone they could. To prove a point or out of astonishment or whatever. Or I definitely recruited that NPC, so the word should have gotten out, since Josephine says she was of interest to scholars. So why isn't Harding offering it as a lead?

Well, ignoring that DATV doesn't really implement something that isn't true for all players:

Harding herself is not a mage. Even if the Avvar or the Inquisitor were very, very open with her about the Avvar mages' possession during training, she is not going to be able to explain the actual methodology.

With the Inquisition either disbanded or in the hands of the Orlesian Chantry, it's quite likely that Harding no longer has any direct contacts among the Avvar. At best, she might reach out to the Inquisitor or Charter, hoping that their networks still stretch that far... and then she would have to wait for an uncertain reply.

The south eventually falls to megablight. The Avvar do join the Inquisitor's alliance, but looking for solutions for one specific man may not have been in the scope of their general focus, especially once they were driven to retreat to Skyhold and trying not to starve.

The specific information given to the Inquisitor states that the Avvar are only able to separate the spirit and the mage when the mage has sufficiently strong magic. Otherwise the two have no choice but to remain united, and are specifically watched for signs they are becoming corrupted and must be executed for the good of the Hold.

Lucanis isn't a mage. Whatever questions the Order of Fiery Promise, the Seekers, or Zara's experiments might raise about what's known about possession, it's entirely possible that the Avvar are also left scratching their heads.

If the Avvar only allow their mages to be possessed, and if the possessed person's strength in magic being insufficient means the ritual can't move forward, then they likely don't know what to do for Lucanis and Spite... and likely have no time to research how to help a one man anomaly when Fereldan falls to the Blight shortly after.

I will concede that this could have been made neater, in the end, by having a one off banter with Harding saying something about sending a letter to the Inquisitor or Charter to potentially reach out to the Avvar, but the conditions making a reply uncertain. Or even saying she got a reply that the Avvar said the ritual wouldn't work, but wouldn't disclose specifics in person and couldn't travel north with the state Fereldan is in.

Keep in mind, I still also don't personally think it's a major enough issue to fixate on when we know there were a lot of hard choices to be made in development due to EA.

But on the whole, the existence of this Avvar lore isn't the major "gotcha" refuting Spite and Lucanis's story the way I have seen some people insist it to be.

And let me be clear, I think that a lot of the criticisms of "Spite and Lucanis CAN be separate though!" miss Spite's role as a metaphor and Lucanis's general character arc of being forced to confront feelings or aspects of himself that he has been repressing out of fear.

But the argument that DATV lore is contradicting Inquisition lore, or that it's stupid for the gathered companions to not know a spirit and its host can be separated due to the Avvar existing, just doesn't hold water.

[kujakumai]

On the subject of being good with children, which characters do you think WOULD be good babysitters?

YUGIOH CHARACTERS AS BABYSITTERS, RANKED

TOP PICKS:

Seto Kaiba runs an entire company dedicated exclusively to safely entertaining children, and unless his parks are getting continually sued I believe he knows how. Your kindergartner is not only safe with him but will probably leave knowing how to play chess and write in C++. He may allow them to play with knives, but only if they're 9 or over, plus he has all the emergency numbers on speed-dial.

Hiroto Honda babysits his niblings on the regular. Can warm a bottle and change a diaper. A level-headed and practical guy. He’ll be fine as long as his friends don't drag him into a horrible game-themed deathtrap. Don't ask why that caveat exists.

Rishid Ishtar is safe, experienced, has dad energy, however he will crumple like wet paper at the first sign of conflict re: ice cream for dinner / no bedtime / blood-soaked cross-country quest for revenge / an extra episode of cartoons over the screentime limit.

Ishizu Ishtar would make a great babysitter. I don't really have a quirky joke here she just would.

"MAYBE"S

Jonouchi used to watch his little sister and I think he'll do about as well as any other teenager you're paying minimum wage, and with a lot of earnest enthusiasm. Your child will be fine at the end of the night, though they will probably have eaten some junk food and played a T rated videogame.

I do not think Atem would know what to do with a baby, and may panic about it, though if you have an older child he will be happy to offer a rousing speech and some deep-voiced mentorlike advice while teaching them to play board games. Not a bad choice, just try not to leave him with anyone under seven.

Yugi knows zilch about kids and often appears a little annoyed by them. Same general rules as Atem--do not leave him with a baby, but he'll probably just teach an older kid to play shogi or something.

Mai Kujaku will put the kid in front of the television and order pizza while she paints her nails. Honestly, though, what more are you paying her for?

Listen, I love Anzu. I do. She’s smart, driven, and big-hearted, but she is also sort of short-tempered and impatient, and patience is like 90% of child-rearing. Please do not ask Anzu Mazaki to watch your children. She WILL say yes because she needs the money, and she WILL go into it with optimism and gumption, and yes, both she and your child will both be in one piece at the end of the night, but it will be clear from both of their frazzled expressions that she lost most of her sanity an hour in after the fifth "Why?"

DEFINITELY NOT

Ryou Bakura would in theory be a perfectly good, if kind of spacey, babysitter, but you cannot trust him to remain Ryou Bakura, and the other guy is definitely not someone you want anywhere near your children.

I don't think Marik Ishtar has ever interacted with a child for very long and the number of people he talks to that are even his own age is in the single digits. And he is definitely not getting spat on or dealing with any bathroom stuff. I'm not saying he can't figure it out but the learning curve is going to be steep.

I have to put Yami Bakura here in principle and yet for some reason I think it wouldn't go that bad? I mean he definitely doesn't care about the safety of your child. And he may enlist them to the armies of darkness. And he's not cleaning anything up. But he's like, a weird socially awkward over-the-top guy? And children love those? Honestly I think they would both have fun. For at least an hour until everything goes horribly wrong.

Please do not summon Zork Necrophades to babysit your child.

[mumblingsage]

I recently checked out Nail Your Novel: Why Writers Abandon Books and How You Can Draft, Fix, and Finish With Confidence by Roz Morris on Hoopla and it has definitely become a book I'm going to suggest to all my editing clients. In particular it has advice that's helpful before the point where I'm usually hired--the research, plotting, and drafting stages.

It's only about 125 pages but every sentence is offering some specific, actionable suggestion.

I'm not attached to all of its advice and I don't think any one writer except Roz Morris would find everything in the book useful. For instance, she has one suggestion about writing out a 'beat sheet' in different colors of pen that relies a lot on your handwriting being legible to yourself (though I did something similar using an Excel spreadsheet and it was helpful for the reasons she describes!). I am also never going to leave typos uncorrected for an entire draft, whatever she says, even though I know why she's saying it and even agree with the explanation of how it keeps you in a creative, willing-to-revise mindset (I think she might underestimate how bad typos can be: I need to correct mine enough that I know, on rereading, what I actually meant to say!). But 90% or 75% or even 60% of the advice being useful could make a big difference ("here's 60 pages of tips to make your writing life easier" is pretty appealing, right?) And half the time when a tip wasn't perfect for me, it still gave me ideas for a way I could adjust my process in a related way (like how I won't write a beat sheet in colored pen but I will do one in Excel; I won't leave misspellings uncorrected but I will leave repetition in a first draft, etc.)

I think what I do as a "zero draft" Roz recommends as two drafts: first a detailed synopsis, then a sloppy, exuberant outflowing of a first draft. And hell, maybe her version is objectively more helpful and productive: she's got way more finished novels than me to point to.

I'm going to type up some of my favorite advice and share it as quotes on this blog later today or tomorrow, before the book gets returned to my library.

My one real caveat is that in the final chapter or two, some of Morris's word choices get eugh (she describes a character as "oriental"--in a book published in 2011!--and also uses an example of a story about a fictional trans woman and misgenders her). Both instances make me side-eye Morris without impacting the usefulness of the advice in the rest of the book, which strikes me as potentially helpful enough that I still want to let other writers know of its existence. But if you pick it up on my recommendation I'd rather you be forewarned.

[darkficsyouneveraskedfor]

I Now Declare You

Warnings: Lloyd being Lloyd and dark overtones.

Prompt: Lloyd and Mimi get married. Lloyd is mega groom-zilla. 

Character: Lloyd Hansen (from Carpe Noctem)

As usual, I appreciate any and all feedback and enthusiasm. Please reblog and leave a comment. Love! 😍

The day has come. Most women would be excited. You’re getting married, but just like everything with Lloyd, there’s a caveat. This isn’t exactly your choice. None of it is. 

The dress is pretty but the amount of cleavage isn’t entirely you. No, that’s Lloyd. Or the flowers. Elegant but you prefer simple. The ring, overzealous is as nice as you can describe it. At least it’s a small affair. A courthouse wedding but you’re still surrounded by strangers. Lloyd’s guests, not yours. 

You stand across from him as the officiant goes through his script. You can tell by the twitch in Lloyd’s mustache and the grip on your hands that he’s irritated. It isn’t his perfect dream wedding. Or yours. Or maybe he’s impatient. He said he was more concerned with the wedding night than the day... 

Typical. 

The recital of the binding words fade into a drone. You can trace through all the events that led to this but you still wonder how you ended up here. Of all people, you’re bound to this man. Well, he can act like a child sometimes and you have quite a bit of training in minding toddlers. 

The tick in his cheek deepens as the officiant declares that long-awaited act. The first kiss as husband and wife. You’re still reeling from the vows. Is this real? Are you really legally bound to this man? It’s not much of a change since you’ve been chained to him in all but law. 

He draws you in and you gasp into his mouth as he smothers you without shame. You press your hands to his lapels as he traps you in a bearish embrace. He consumes you with the hunger of a man who swore himself to celibacy since the day he proposed. His self-imposed restraint hardly made him any less needy. 

He parts, his nose tickling yours, and whispers, “I’m about to destroy you wifey.” 

Your lashes flick at the intensity in his tone. You can never really describe him as anything but intense. Even so, he catches you off guard now and again. 

You rocks you and gives a wink as he reluctantly pulls away. The small courthouse room is full but there’s not too many people. Those same friends from the night you met in the private room at the club, an assortment of women on their arms, though none of them seem very happy to be there. 

“Okay, shit stains, let’s get the photos quick,” he declares. “I got some prima nocta waiting for me.” 

The antiquated and rather off-putting reference makes you wince. It’s embarrassing how he just says whatever he wants; he doesn’t even care about the officiant waiting patiently with pen in hand. She clears her throat. 

“You need to sign. Your witnesses too.” 

“Ah, fuck, yeah,” he drags you by your hand to the table against the wall. “Where the fuck?” 

“Lloyd,” you nudge him gently and smile at her, “I’m sorry.” 

“Don’t apologise for me,” he takes the pen and wiggles it impatiently. 

“Fair, you should apologise for yourself,” you retort. 

He frowns and gives you the side eye. The officiant taps the papers. “Here and here,” she points to each. 

He scribbles quickly and flips the pen in your direction. You pluck it from him and move closer. You sign then hand off to the first witness. Nick? You think his name is. 

The officiant hands you the certificate and Lloyd just as quickly snatches it. She leaves you to the room until the end of the hour. Lloyd sucks his teeth and shoves the certificate at Andy’s date. “Hold onto this.” 

He turns and before you can react, he scoops you up. You squeal and he turns to face the chairs. “Alright, snap away.” 

The photographer moves from the corner of the room. Lloyd smushes his lips to your cheek as he cradles you in his arms, your skirts clouding out around you. The shutter clicks endlessly and you wriggle in his grasp. You’re precarious in his hold but no matter how many times you tell him not to pick you up, he insists. 

“Fuck, mimi, I’m gonna tear this thing off you.” 

He squeezes your leg before he sets you on your feet. You’re dizzy from the suddenness of it all. He grabs your hands and turns you then gets to his knees. He brings your hands to frame his throat and he snickers. 

“Get a few just like this,” he says to the photographer. The guests chuckle at the ridiculous tableau. 

“Lloyd,” you rebuke. 

“Oh, don’t be shy, mimi. You know you’ll be doing lots of this tonight,” he chortles so the whole room can hear. “And I’ll be doing a whole lotta begging.” 

[bogkeep]

Would you recommend the SSSS comic? I know little of it beside the very beautiful artstyle and premise

to answer the question of if i would recommend SSSS as a comic: yes, yes i would.

a description for those who don't know: Stand Still Stay Silent is a post-apocalyptic horror + adventure webcomic set in the nordics (norway, sweden, denmark, finland, iceland) that have been isolated from the rest of the world and gone back to their old gods. the the world outside of safe zones is full of trolls and beasts - humans and mammals that got infected by a horrible virus and turned into monsters. the story follows a ragtag crew that ventures into the old world (derelict denmark) on an expedition to collect books.

the comic updated every workday until it concluded in 2022, and consists of two Adventures. the creator had plans for many adventures with these characters in this world, but ended it after two when she wanted to take a new direction with her life.

what i love about it:

- the art is GORGEOUS. it's been a huge source of inspiration for me. open any page and it's a masterpiece, and you will ask yourself "how the FUCK did she update this FIVE DAYS A WEEK"

- the characters are wonderful and endearing. i just, i love them so much. i am so thankful lalli hotakainen exists he is one of my #1 blorbos forever

- the world is so cool. the blend of chunky sci-fi and norse mythology fantasy magic slaps. it goes so hard. i fell so hard for this comic when i got to the big ferry ship with a viking style dragon head prow added to it. it's everything

- it really really gets nordic cultures. it's difficult to explain all the dynamics and nuances but it just gets it. it brings me as a scandinavian a lot of joy to read a story that speaks to my heart this way. the attitudes, the language barriers, the cultural differences... it was so refreshing to me in a media landscape dominated by american stories. when the pandemic hit, i decided to reread the comic because i found such an odd comfort in seeing how it depicted the scandinavian countries reacting to, well, a pandemic.

- there's kittycats

what i don't like about it:

- the most glaring and obvious flaw is that everyone in the comic is white. there's not a single character of color anywhere, not even i background shots or the prologue. there's no mention of the saami people (the indigenous people of northern europe), either. i believe this was done in ignorance more than malicious intent, but the implications are Extremely Bad and it's been bothering me (AND MANY OTHERS) since day 1. that is the number one caveat i will give to anyone wanting to check this comic out. i've been in the discourse trenches and i am not going to excuse this. it's just bad!

- you can tell in the middle of adventure 2 that the creator has kind of lost interest in the work, around the time when she found jesus i guess. like, very few people can keep up work on the same creative project for years and years and years and i think it's fine that she wanted to drop it, but it's a bit sad to see the comic dragged to its end like a limp corpse, and feeling like the creator no longer really cares about the characters.

- minna sundberg has said and done some questionable things, presumably gotten somewhat radicalised over time, and has also converted to hardcore christianity which is what her new works are about. there's nothing about this in SSSS - there is a moment of christianity represented in the story in a sort of mythological sense, just like the other religions, but this was written before minna's conversion. her new works... are a Choice. i have much to say about them, and i have, and im not gonna rehash it now.

SO YEAH hopefully this will help you take an Informed Choice! i got into this comic in 2015 and was deep in the fandom and it's for better or for worse part of my soul foundation now.

i also recommend A Redtail's Dream, minna's "practice comic" before SSSS, based on finnish mythology and the kalevala.

[tuktukpodfics]

Just popping by to say that 'Wanyi' and your words for why it's a good name for Zuko's ship hit me like a sack of bricks to the chest. absolutely incredible choice, I am REELING.

I'm glad you found it so touching!

I haven’t read Embers. I thought MuffinLance intentionally named Zuko’s warship 萬一 (one in ten thousand, what if) from the start. It’s been a bit bewildering to see a mistake become new fanon. 

At risk of ruining the sentimentality of the name Wanyi, I would issue a few caveats to people adopting it for their fics. It’s really more of a retrofit of the old name—something to rebrand while sounding and looking similar enough to Wani to not be distracting. 

Wanyi is pinyin romanization, used in the People’s Republic of China. You could just as easily spell it Wan-i or Wani. Canon uses a mix of romanization methods. However, if the goal is rebranding, Wanyi makes sense.

Wanyi isn’t an Authentic™ historical Chinese boat name. That would be something like Galloping Clouds or Tranquil Seas. 

You might want to use a different culture instead of Chinese for Zuko’s warship. Canonically, there are Fire Nation characters with Chinese inspired names, like Zhao, Piandao, and Shyu, but if your fan-fiction is drawing more inspiration from Japanese or Thai culture, maybe a different name is more suited. 

Wanyi is often used for negative what-ifs. An unlikely disaster. Zuko is, after all, a disaster magnet. And the cause of many misfortunes. 

Wanyi literally means one in ten thousand, but it is grammatically used to indicate an extremely unlikely possibility. Like finding the avatar. To me, it feels ominous, anxious, yearning in an unrealistic sort of way, which I think all speak to Zuko's character arc. Idk, what do other Chinese speakers think?

[dingodad]

You're not the first person I've seen imply that mind control in Homestuck doesn't actually make the characters act against what they would want anyway. I don't think Tavros wanted to jump off a cliff, but he did want to fly and I guess unfetered of a sense of personal safety, he'd try it? But a character can't want anything, so maybe since they don't have minds to control, mind control is just a narrative tool to make things happen with characters that would normally not do those things?

it is pretty central to Homestuck's philosophy that characters only ever act in accordance with their intrinsic nature. I'm hesitant to even use the words "mind control" in relation to Homestuck at all, because things that we identify at a glance as mind control are almost always better described as what I have previously called "psychic stimulus". Gamzee and Dirk are not at the whims of Lil Cal; rather, Lil Cal represents a part of themselves which stimulates them to act upon urges they already feel. similarly, Gamzee's own powers can only amplify fears that a character already has, and as such we can make similar guesses as to how Kurloz does what he does. this is why I think alchemy is such an important symbol in Homestuck: the really clever alchemists of centuries pasts understood that you could never change the fundamental nature of lead to make it into gold; rather, the essence of gold already exists within lead, and alchemy is merely the process of bringing that essence out.

the same principles drive the comic's command-and-response dynamic: while the readers (slash exiles) were free to suggest what a character should do next, it was never in their power to make anyone do anything. each character would respond to a command in a way that communicated the person they already were.

Vriska is an interesting case, and in some way seems like an exception (as she often is) - but the important caveat with her powers is that she can't mind control humans. she can control chess people because carapacians have always largely been blank game pieces for the audience to project what they like unto - they're free game. and while she can control some trolls, it's worth noting that all of the more important troll characters are basically immune to her psychic manipulations. the fact that she can only control "weak wills" is almost like an acknowledgement of the fact that she can only control people who aren't really characters - the main cast will always be free to act upon their own wills.

but I think you're right that she doesn't have absolute carte blanche to control minor characters, either. someone suggested to me once that the incident with Tavros had her tapping into the death drive or "call of the void" that all people have, which is one explanation; I think what's especially important to remember, though, is that her psychic powers were not the only tool she used to engineer that accident. as Tavros' clouder, she had already engineered a situation where Tavros had no choice but to either pit himself against unbeatable enemies or flee over a cliff! her psychic powers are ultimately just one of a variety of tools she uses to engineer situations in her favour, and she uses the existence of these powers to make herself seem omnipotent. which is exactly what she learnt to do from her mentor Doc Scratch, who also proudly claims omnipotence but is still limited by the personalities of his game pieces; he could never make Vriska do bad things, but he was very good at engineering situations where she had no choice but to act on her own instincts to lash out and hurt people. from inside, the narrative webs they weave just seem inescapable.

I think you're kind of touching on something with the idea that characters "can't want", though I don't know if it's necessarily quite that straightforward. characters are slaves to their own personalities, and while we like to think that our personalities lead us to make decisions that benefit us or make us happy, it's just as easy for us to make decisions that align with our own values but still have negative consequences. so it's less a question of whether Tavros "wanted to jump off a cliff" in that exact moment, and more a matter of whether we think it's in alignment with Tavros' personality for him to risk severe injury in order to avoid a confrontation with a mob of impossible enemies. we should treat the question 'why did the character react to this psychic stimulus in that way?' the same way we treat questions like 'why did the character behave this way in this timeline but another way in that timeline?'

or maybe Vriska really is just a special girl who gets to do things to trolls that the Condesce isn't allowed to do to humans.

[wisteriasymphony]

If the ML world special focusing on Kagami is all about launching a spin-off then I need the Rio one with Luka to be entirely lore based just to make up for it. That's why he's still in Brazil, Su-Han is teaching him All The Horrors

Technically, I feel like it won't even focus on Kagami, either. The bulk of that looks like it'll go to the three new pilots (Miki, Mayotte, Yu Lu iirc?) as this will essentially be setting up the aforementioned spin-off.

I doubt any of the specials are going to be lore-heavy, if I'll be honest. At least when it comes to kwamis—New York and Shanghai were about establishing the other magic systems/powers existing in the world, and I feel like the Native American Miraculouses in New York and the Supreme/Reverse shit in Paris were a lot more shallow than I'd like them to be and only served to bring up more questions than answers. The London Special was half- damage control for S5 finale and half- Chrysalis setup.

While I have mentioned to people in the past that I was not a fan of the early special ideas (Lady Rose, Lady Tiger, Lady Lion, Lady Butterfly, see a pattern?), they at least promised the introduction of new kwamis.

So, why are they not doing that anymore? My theory is that establishing separate magic systems (in addition to frontloading the whole planned superhero comic book universe setup as fast as possible) is a very easy way to prevent power creep. They don't have to worry about making kwamis with powers that are increasingly bigger threats if they don't make kwamis at all, right?

...The fan kwamis I've made for the tongue-in-cheek "Chat Noir London/Tokyo Specials" are in essence me trying to argue that this line of logic is faulty. I think weaker kwamis would make fantastic villains, because then you have to get creative with how it's executed in ways that can still be threatening. Hell, Tenggu is a great example of this! Capture perfectly skirts around being a direct copy of Fetch or Voyage*, and while on its surface a power that lets you remotely move one thing once sounds lame I wrote a scene where a character uses it to kill someone! And, sure, maybe networks are so sensitive nowadays that nobody can die anymore in a kid's movie even offscreen. My point still stands, there are ways to expand the kwami roster without jeopardizing the system as it is.

*When Capture is activated, the holder draws a boundary around an object, and with a flick of the wrist the object is transported to a location of their choice. Because it does not require touch and does not bring the object directly into the holder's hands, it's not Fetch. Because it can only move one object and is a one-way transportation, it's not Voyage. Plus, the caveat of a boundary means that the object needs to be immobile or otherwise unable to exit the boundary, which causes problems for capturing moving or complex targets. Simple to understand, has a lot of room to be used creatively, etc. With the existence of Genesis and Amokitization I would even say the resemblance-but-not-direct-copy is a point to its favor and not against it.

[verysium]

blu lock top artists on Spotify??? i need your thoughts on it

anon you had me pulling up my spotify playlists and browsing through the entirety of genius.com for three hours straight. i'm going to tweak this prompt a little bit and include specific songs that best represent them since it's easier for me to explain that way.

RIN

the fanon answer for this is chase atlantic. while their songs do encapsulate parts of his personality (mostly the edgy teenager and disillusioned youth persona), i feel like this choice does not do his full character justice.

the canon answer for this is king gnu, more specifically the song "prayer x." i can picture this since rin seems like the type to enjoy alternative rock/indie, but the fact that it's the ending theme to banana fish is what gets to me. like...do you see yourself in ash or something? i hope you don't cus it doesn't end well. that anime had me bawling my eyes out for months, and i still can't think about it without breaking down again.

furthermore, the lyrics and music video to this song are very cryptic and borderline nihilistic. for example, "hiding behind this nonchalant smile" and "my life's spark will wink out of existence." i feel like this speaks volumes about rin's mental health and internal thought process. he obviously does not process his emotions normally and instead represses them. he also struggles with the idea of finding a purpose in what is otherwise a cyclical routine with no end. he's worried and, quite frankly, afraid that if he ever stops pursuing his dream, everything will come crumbling down, and he will have to face all the demons he's avoided for so long. the main theme here is that he cannot face his reality (the fact that sae's dream is not his own.) so he does everything in order to escape this fact even if it ultimately destroys him.

from my own playlists, i'd assign him the following songs/artists:

"beautiful boy" by john lennon

this is a love letter to baby rin. i feel like he would've enjoyed this song as either a lullaby or something he listened to on car rides to the beach during summer vacations. he probably still listens to this when it's raining outside or he's had a bad day. reminds him of his childhood and the good parts of it.

"the love club" by lorde

this is something pre-teen rin listened to. the irony is spot-on, and i feel like the lyrics would be relevant during a time when he was going through his rebellious phase and fully fleshing out his place in society. in this instance, the club would metaphorically be wherever his brother is at, whether that's the guys sae meets in spain or the group of football players considered "top-notch" in japan. everything is about finding a place in this club/clique in an effort to become free and differentiate himself from others. the only problem is that rin ironically loses his freedom because he tries so hard to be among the best. he signs his life away in pursuit of a dream, and it's something that now defines him.

"the only problem i got with the club / is how you're severed from the people / who watched you grow up"

this lyric in particular could apply to either one of the itoshi brothers. it's one of the caveats that comes with fame. you gain everything, but you lose everything before that. both of the itoshis likely experienced some amount of separation from their loved ones, including each other. also lorde's vocals are beautiful as always, so there's no reason not to include this song.

"howlin' 404" by DEAN

the production for this song is on point. the intro has a segment from a 1930s american horror radio program which is fitting because rin canonically watches horror movies. i think this song is something rin might listen to during cold autumns or midnights when he just can't sleep.

lyrically, there is the motif of a time loop which is also present in "prayer x." rin's character itself just has this connection with the raw grittiness of existentialism and this idea of repeating days without purpose. (in fact, he would make a great psychological thriller lead.) rin is also a control freak. if he lets one loose end go, it will unravel the entire thing. that matches up with the idea of "killing me softly." rin would rather prolong his pain than have it ripped from him all at once and leave him with nothing. i find this in a lot of people in real life too. even if your trauma wasn't good for you, it sometimes becomes the only thing you truly own. it's like that one quote from bojack horseman. "if i don't, that means that all the damage i got isn't good damage, it's just damage." rin feels like he has something to prove, and if he fails, all his suffering would've been for nothing.

"moonchild" by RM

i may be a bit biased since i love the mono mixtape, and i've written a rin fic about celestial bodies, but....this song just fits him. there's also a remarkable similarity with the lyrics of the previous songs i've listed. i'm just going to list a few:

"smiling in endless pain / you know / there's no freedom when you say freedom out loud"

one thing i love about RM is that he doesn't shy away from character flaws. he writes songs specifically for those who are always picked last, who aren't remarkable in any way, who feel weighed down by their normality. he gives them their spotlight and due diligence. for example, the entirety of the chorus is a repeat of "moonchild, you shine." i find this interesting since it's usually the sun that shines. but the sun is already sae, and rin is relegated to being the moon. yet even though the moon doesn't have its own light (it merely reflects the sun), it still shines bright in the darkness. rin doesn't know it yet, but he himself is a big role model for others such as isagi, his fans, and people just like him. so yeah....i'd take this song as a message of hope for future rin.

SAE

the fanon answer is lana del rey, and i would agree to a certain extent. under the right circumstances, he could become one of those dreamy, emotionally stunted, and tired men you guys all lust over. if y/n ever wrote a romantic song about him, it would be either "west coast" (for the spanish influences) or "art deco" (for the vibes.)

the headcanon answer is nothing. i don't think he listens to music much. even if he did, it would be probably classical/instrumental or just white noise for his long flights. i imagine him listening to erik satie's "gymnopédie no. 3" on a train ride or something.

from my own playlists, i'm going to give him these songs/artists:

"remind me" by röyksopp

i don't know how to explain this, but this song gives a bittersweet sense of nostalgia. think early 2000s when the TV footage was still grainy and had retro graphics. you're carrying around your mini mp3 player whilst wandering through the airport and wondering how the hell you even ended up there. that's the general ambience of this song.

lyrically, the song also matches well with sae. i'm going to give you a few examples:

"it's only been a week / the rush of being home in rapid fading"

again, this is a tribute to the disconnection sae feels from his home. he goes everywhere, but he belongs nowhere. when he finally returns to japan, he finds himself missing spain. when he's in madrid, he thinks about the ocean back in kamakura. there never is a place that truly fills that gaping hole in his chest. i also feel like sae experiences FOMO on a whole other level. he constantly feels like something is wrong/missing and he's not doing enough.

"brave men tell the truth / the wise man's tools are analogies and puzzles"

the idea here is that though sae is blunt with his words, he is a coward with his intentions/true feelings. he can brutally call out someone without hesitation, but to actually reveal his own truths and motives? he'd rather shrivel up in a hole and die. this is especially applicable to love. to him, a wise man is someone who doesn't open his heart up easily. instead, he hints at his feelings, and whether or not you can figure that out is on you. sae hates it when others play games with him. it's where his hypocrisy lies. he demands straightforward honesty from others, but he himself will unintentionally play games with you if it means he can hide himself behind his walls.

"a woman holds her tongue / knowing silence will speak for her"

this is the closest you guys are ever going to get to sae itoshi's ideal type. he loves people who don't need to say something for him to believe it. they just get it. your silence is automatically enough for him to know that you love him. similarly, you don't even need to speak a word to understand what he's feeling.

"night shift" by lucy dacus

this song is sae if he was that one ex-boyfriend who really fucked you up emotionally, and you never got over him even though you said you did. now that i think about it, the story could be told from either POV. this could be sae trying to erase you from his mind, or it could also be you post-breakup.

"you've got a 9 to 5 / so i'll take the night shift / and i'll never see you again / if i can help it"

i know this one lyric caused controversy all over tiktok, so i'm going to add my own interpretation. at face value, this is exactly what it says it is. sae doesn't want to see you again, nor do you. he's willing to go out of his way just to avoid you, and truthfully he would. when sae finds himself in trouble, he doesn't look for something new to fix him. instead, he cuts everything off and subtracts anything that is deadweight. if you're out of his life, then you're out of his life. he's not coming back for you (or at least that's what he says to convince himself). same thing with rin. he knows he hurt rin, but he's not going to go back and try to make it right. he's going to move on and try to justify his actions every step of the way. one day, rin will move on too, and then sae would have been right all along. (unfortunately, that is not the way things work, but that's a lesson for another time.)

the alternative interpretation is that y/n is the other woman. this could be literal as in sae already has someone else in his life, and he only sees you at night. you're only ever going to be the night shift. it could also be metaphorical as in you're merely a distraction in the grand scheme of things. you're the mistress, but football is his wife if that makes sense. his career will always take precedence.

"you get me so high" by the neighborhood

this song is all the words sae wished he said to rin but never did. it made me cry because everything would have been so different if they had just set aside their pride and truthfully sought each other out.

"hope you don't regret it / i pushed a lot back but i can't forget it"

repressing feelings seems to be a recurring issue with the itoshi brothers. like....maybe if i just push it out of sight, it will also go out of mind. and at its core, this all stems from fear. fear of facing the consequences, the hypotheticals, the terrifying realization that you did something you regret and there really is no turning back from it. but realistically, if you think about it, a lot of this is the byproduct of overthinking. sometimes the situation isn't as complicated as we might make it out to be. sometimes an apology doesn't fix everything, but it's a proposition to be something more, an attempt at a solution. but sae and rin are so blindsided by their own internal turmoil that they cannot see this.

"for a long time i took it all for granted / i really thought we had it / but at the time it was more than i could manage"

ah....the "taking for granted" part. i could ramble on about that for hours. i think it really is some sort of self-fulfilling prophecy that we never miss something until it's gone. and in a way, it's not something that we can always control. the value you assign to a person/object when you have it is going to be fundamentally different from the value you assign to it when it's no longer in your grasp. that's how scarcity works. something with a limited supply is always going to be worth more. the vice versa works as well. you might yearn after something but then throw it away the moment you finally have it and grow tired of it. this sort of dilemma that comes with appreciation is so common i really wouldn't blame the itoshi brothers for what they did. it is immensely difficult to know when you're going to lose something or when you need to let it go. and sometimes it's hard to be constantly grateful for what you have because many of us are wired to want something more. tbh that's what makes the itoshis relatable.

"if we can leave it all behind us / and meet in between"

now sae would never say this unless he himself had actually reflected on what happened and fully processed it. but maybe in the future, they could set aside their differences and reach out to each other. (this is how i cope)

"but i just had to let you know / i never meant to hurt you, though / i had all my motives / i didn't know they wouldn't mix with your emotions / i just had to reach my goals / never knew i'd meet you though"

that's the thing with personal ambition. sometimes you get so caught up in yourself, you forget all about others. and this isn't really selfishness, or at least intentional selfishness. it just sort of happened that way. you never meant to hurt them, but you still somehow did.

"we should stick together / you're my best friend / i'll love you forever"

yeah....this line was the one that did it for me. something about the dysfunctional sibling dynamic just eats away at my insides. like....i could've loved you, we could've been so much together, but why aren't we? what we have isn't hate, but it isn't the love i know and crave either.

"we could be the greatest / it doesn't matter if we're never rich or famous"

ok but if rin ever heard this leave sae's lips, i think all of his trauma would just be magically healed. he just wants his brother to see him. like fully see him and love him. but alas, what is blue lock without angst, am i right?

"love in the dark" by adele

now i don't think sae would ever listen to adele, but the lyrics are just too fitting. i was going to write a fic on this, but it's going to have to ferment a bit in the drafts for now. basically this is the entire rin/sae traumatic scene but as a melodramatic torch song with adele's heavenly vocals.

"take your eyes off of me so i can leave / i'm far too ashamed to do it with you watching me"

um...this is literally sae's internal monologue??? i feel like letting go of things is something both the itoshi brothers struggle with. their lives are constantly pulling them in different directions, and eventually they become numb to it all. they don't form any strong attachment to anything besides football because that's the one thing that won't change for them. in a way, this is necessary for their character development (in the sense that they need to discern for themselves what to keep and what to let go), but it also destroys any sense of belonging they might have (hence why they feel lonely.)

"don't try to change my mind / i'm being cruel to be kind"

sae would definitely say this. like word for word. if only he wasn't a vague dumbass with no communication skills.

"i can't love you in the dark / it feels like we're oceans apart"

this is literally their dynamic in one lyric. there is the physical distance, and then there's the emotional distance.

"we're not the only ones, / i don't regret a thing / every word i've said, / you know i'll always mean"

this sort of reminds me when sae said that the world is huge, and there's so many players way better than him out there. i think spain really gave him a reality check, and he grew angry at rin when rin couldn't understand his disillusionment.

"everything changed me / and i don't think you can save me"

adele sort of echoes this softly at the end of the song. i feel like sae would do that too. he wouldn't admit his own insecurities until the very end, and only then does the truth come out.

"i'll sleep when i'm older" by bruno major

this is sae when he's older and fully mature, preferably after he meets you. he finally decides to damn it all and do what he wants.

"conversations with elders and the wisdom they bring ... / the view from an aeroplane at twelve thousand feet"

sae views things that previously annoyed him in a new light. he used to hate his elders, but he visited you and your mother once, and something changed within him. now he calls his parents more often, and his eyes linger on the old couples near the park benches. sometimes, his gaze softens just a bit when he imagines the two of you growing old just like them.

flights used to be a mundane part of his routine, but now he finds himself leaning over your window seat to see the mountains down below. the clouds and sunny weather set him aglow. and you just look so pretty when you fall asleep on his shoulder. he doesn't ever want this change.

"meet god on a mountain top along with the stars / find love somewhere, anywhere / fall deep from the start"

sae used to avoid love, but now he's running at it full-force. people tend to shy away from making sae a romantic because it seems too ooc. however, in the right situation, i think sae could entirely abandon his previous ideals and become someone else entirely. (that's why it's called a character evolution guys.)

"misplace my mind and follow my heart"

again, if you're able to make sae lose all rationality and let his heart guide him instead, then you've really done something. kudos to you for penetrating the walls of the coldest asshole known to mankind.

"i'll be a firework, not a flickering flame / treat life all around me like a one-player game"

this one lyric applies both to younger and older sae. younger sae is someone unafraid of risking it all if it means he can achieve something worthwhile. it doesn't matter how many players he has to defeat, how many people he has to leave behind. in this world, it is just him and the goal he has to accomplish.

however, after he's mellowed out after a few years (i'd say around middle age), he probably reinterprets this as something else. he's not going to constrain himself to his tunnel vision anymore. there's so much more to life than that.

"i'll go to the party and forget all the names / should it climb back to haunt me, / it ends all the same"

sae finally lets himself live the life he never thought he'd have. he does stupid things like get drunk and make a fool of himself. but you're there for him, so he doesn't really care. in fact, he can finally say that for the first time in a long time....he's having fun.

KAISER

the fanon answer is the weeknd. i'm not going to lie, i completely agree with this one. i saw this one edit of him to "party monster," and i can say i have been fully enlightened and converted. however, this is not just about a toxic male manipulator anthem. it's much more than that.

this is about running away from the ugliest parts of yourself, becoming a slave to your vices, knowing you're broken somewhere and you can never fix it. i would say his character is most similar to "starboy" in the fact that he literally flaunts everything he has to hide the fact that deep down inside, he really has nothing else to hold onto. "starboy" is all about the status symbol (money, red lamborghinis, glass table girls turning into ebony table girls lol). but at the end of the day, he doesn't really have anything except an empty heart and a satirical quip for all those who made him famous. the same theme applies to "the morning" and "house of balloons."

in the romantic sense, i think "don't break my heart" would represent kaiser. and no, this is not a justification for him being an f-boy. it's more so an exploration of why people might think he is an f-boy. i do not condone his actions, but i do try to understand them. in particular, i feel like the lyrics of "sacrifice" also fit him well.

"i was born in a city / where the winter nights don't ever sleep / so this life's always with me / the ice inside my veins will never bleed"

i headcanon kaiser as being born in either berlin or munich. and if you don't know anything about those two places, just know that you freeze your ass off during wintertime. i think it's interesting how his past could be intrinsically tied with a place, and he takes a piece of his past self with him wherever he goes. the ice in veins part also made me think about how kaiser would rather freeze up every weakness within himself than let them run free and make him human.

"every time you try to fix me / i know you'll never find that missing piece"

guys...did you hear that? to all you delusional people out there, this is your service announcement. you cannot fix someone who does not want to be fixed. write that down and memorize it. all meaningful change starts with a shift in mindset, and if they themselves are not in the right headspace to recognize that something is wrong and actively want to change, you're not going to get anywhere. so yeah....kaiser is not going to change unless HE starts doing the changing.

"i hold you through the toughest parts / when you feel like it's the end / 'cause life is still worth living"

i think this lyric sort of explores kaiser's dynamic with ness. on one front, he is the one picking ness up from his miserable past and instilling a sense of hope into him (intentionally or not.) but on another front, this could also be a problem. kaiser is almost forcefully optimistic in the way that he believes anything is possible. it has to be possible because there can be no other way. but the thing is.....you have to know your limits sometimes. blind optimism is, ironically, similar to cornering yourself.

"i can break you down and pick you up / and fuck like we are friends / but don't be catching feelings"

this is definitely the type of bullshit kaiser would spew. i could picture a fwb or situationship with him where y/n just constantly receives the short end of the stick. now this may be reaching, but i also feel like this is how kaiser projects his own trauma onto others. he himself clawed his way up to the top and put himself back together every time he fell down. the problem is that he also expects you to be that resilient. he's going to treat you badly because you're supposed to be like him: someone who can overcome everything and strive towards the impossible.

the headcanon answer to his top artist would be keshi. in particular, i think kaiser would fit the vibe of "2 soon" and "drunk." long story short, you finally broke up with him, and he's still reeling from the impact.

within my fics, i envision a dialogue between kaiser and y/n from each one of their perspectives. so based on that, i'm going to assign him the following songs/artists:

"gibson girl" by ethel cain

i know i said earlier that kaiser's character is not solely about toxic manipulation, but you have to understand that all bad habits originate from somewhere. kaiser is innately self-destructive, and he brings you down along with him. this song is about that but from y/n's perspective. there's this idea of trying to find agency in a situation where you have none. i don't have the word count to explain ethel cain lore in all of its naked glory, but all i can say is that this song is a banger and deals with themes like femininity as a performance, finding power in pain, religious motifs, etc.

"glory box" by portishead

this song is y/n's last plea to kaiser before they fully give up on him and leave. i'm also a sucker for anything that involves an exploration of gender dynamics and what it means to be a woman, and this song is riddled with it.

"suffocation" by crystal castles

this is kaiser post-isagi defeat (cue that one scene where he was trying to choke himself.) similar to sae, it's all or nothing with him. he suffers from this feeling of inferiority. everyone made him out to be this great figure of impossible dreams and legends, but look at him now. he's nothing. aren't you disappointed? he had you fooled, but he also fooled himself. so yeah....kaiser is definitely the most self-deprecating out of all of the boys at blue lock.

ISAGI

the fanon answer is laufey, and i also agree. he's so sweet, and laufey's music just makes me feel all warm and fuzzy inside. he would also be that one love that came creeping up on you when you least expected it. "valentine" would be the song for that. i picture a reader who's had a series of unfortunate breakups and is right on the edge of giving up entirely. but then isagi comes along, and it's just so easy to love him. as easy as breathing. and then you think maybe it wasn't so bad after all. you just never found the right one until he came into your life. furthermore, isagi is a jazz pop princess, and you can't convince me otherwise.

the headcanon answer is IU. more specifically, i would say "troll" from her lilac album. i feel like even if you and isagi broke up, it would still be like you two never broke up at all. you're both on good terms, and even though you know it's counterproductive to keep cycling back to each other, you do it anyways. and it's okay because you're both still in love.

from my own playlists, i would assign the following songs/artists:

"winter bear" by v

this is my comfort song. it feels like those big sherpa blankets you tuck yourself under when you're lying next to the heater in winter. isagi would kiss your forehead and nuzzle your nose before you two drifted off to sleep.

"a boy named pluto" by hailey knox

this one is so romantic lol. i also like the dynamic where one party is afraid to love, but the other person loves them unconditionally. that would be isagi. he'd respect your decision and wait for you as long as you need it. but if you're ever ready to give him a chance, just know that he's going to treasure all of you.

"put your records on" by ritt momney

the inspiring thing about isagi is that he never lets anyone put him down. he takes rejection as redirection, failure as room for improvement. and in that way, i think this song encapsulates his resilience. he'd be such a good boyfriend not just romantically but in the way that he would literally pick you back up to your feet, dust you off, and make sure everything was alright.

"fairy of shampoo" by dosii

i picture isagi as someone who falls first and falls harder. he just loves you so much, and he doesn't even need a reason why. i saw somewhere that sometimes you don't love someone because they're your soulmate/twin flame/supernaturally fated other. you love them because you consciously made the decision to. isagi is like that. he loves you on purpose.

helppp why does this sound like an academic paper...i'm sorry anon. i got carried away with this, but i hope u like it.

[javierpena-inatacvest]

Pedro Boys and Their Favorite Wicked Songs

How many times will I listen to the Wicked soundtrack before the year is done? 😅 The musical theatre nerd in me can't help but think about what songs from Wicked each Pedro boy would like the most after seeing the movie (with or without being forced to go against their will LMAO) This is all just for fun, if you have a different suggestion, tell me who, and why!!!

No One Mourns the Wicked- Obyern Martell

Strikes me as a man who lives for a backstory. Very satisfied that he gets all the information he needs to enjoy the movie in the first 15 minutes. Deeply offended that everyone is so mean to Elphaba because she's green, and can't fathom disowning a child for that very reason. Develops a fat crush on everyone in the movie by the time it's over

Dear Old Shiz- ......

This is no one's favorite song, be fr

The Wizard and I- Din Djarin

Loves the song because of how much it makes him think of Grogu. No one is rooting harder for Elphaba than Din because of how excited Grogu is to see another green friend, and how much Elphaba reminds him. He's so proud he is of his kid for all the challenges and obstacles he's overcome. Loses points only because he does have to chase Grogu down the aisles of the movie theatre when he sees the frogs at the beginning of the song.

What is This Feeling?- Javier Peña

Definitely did not come to see this movie by choice. Confused why the original characters from the Wizard of Oz are not in this movie. Also confused why Glinda and Elphaba have to sing an entire song about how they just can't share a room together. Will he admit that this song makes him think of him and Steve Murphy? Over his dead body. Will he quietly tap his foot through the entire song and be humming it to himself days later because it's just so fucking catchy? Absolutely.

Something Bad- Dave York

Though the movie was going to be a lot darker than it actually was because of the title. Humored by the idea of being a hired assassin to a goat so he can keep his voice. Has so much beef with the Wizard (sorry Dave York fans, I know nothing about this man)

Dancing Through Life- Agent Whiskey

Whiskey absolutely loves Fiyero. A carefree, reckless man who doesn't live by the rules AND can ride a horse? Sold, immediately. As soon as the movie is done, he's looking up where he can buy Fiyero boots to add to his collection. Names his next horse Fiyero. Learns the dance not for anyone else, but just for himself, because he thinks it 's cool. The only caveat is that he refuses to listen past the first 3 minutes of the song because Fiyero doesn't sing after that

Popular- Joel Miller

This is the only correct answer to this question. In a happy, blissful world where the outbreak never happens and Sarah is alive and well, you know for a fact she has been playing this soundtrack around the house for WEEKS. No, he doesn't want to go see Wicked (he's heard enough of the soundtrack to last him a lifetime), but he's not telling Sarah no when she asks if he wants to go. By the time Popular comes on, he's completely sucked in, and quite literally giggling throughout the song. There's not a day that goes by that she doesn't hold it over his head. Popular is one of his top 5 songs on Spotify wrapped next year.

I'm Not That Girl- Marcus Pike

While he'd probably rather see a play than a musical, he knows about Wicked and likes it enough to go see it on his own. Has listened to the soundtrack once a while ago, and has a general idea of the plot, but completely forgets about this song. Marcus Pike is literally the definition of not being that girl. Tries his best to keep from crying, but is sobbing by the end of the song. Definitely needs a while to recover after seeing the movie because of how much it made him feel things.

One Short Day- Javi G.

This song is nothing but fun and good vibes. No internal conflict, no turmoil, just two gal pals enjoying their journey to Oz. Very much a fan of the fun colors, can't stop laughing at the guys in the egg shaped suits in the fountain. Didn't know anything about Wicked before he bought tickets, but heard everyone was talking about it, and now he's seen it 7 times and dances around his house to the soundtrack on repeat.

Sentimental Man- Dieter Bravo

This is no one's favorite song. It's not Dieter's, either. But he wasn't paying attention enough to remember any of the names of the songs, so when someone asks him what his favorite is, he points at this one and shrugs, thinking it was Dancing Through Life. He's confused why everyone is so surprised by his response. He watches it 3 more times and still never picks up on it.

Defying Gravity- Frankie Morales

The lyrics to this song hit SO HARD for our sweet boy. "As someone told me lately, everyone deserves a chance to fly?" Do you know how loud he sings this song to himself if he's flying alone in a helicopter? The song truly makes him reflect on a lot of life choices for the better. Already loved the movie up until this point, but this is just the icing on top of the cake. Goes to see it again specifically for this song.