#writing this instead of writing my essay...

[astrolook]

🌌 Retrogrades in a Birth Chart - Some Roots Take Time To Grow 🌿

Note: These are all my personal observations and patterns I've noticed over the years. Take what resonates with you more and leave the rest. Lemme know in the comments if it hits home! A single placement or aspect isn't enough to conclude and the whole chart has to be analyzed!

Mercury Rx - I think in essays, speak in tweets. 🧠✍️

Mercury Rx natives sometimes overshare or say nothing at all. They think fast, speak slower. They edit their sentences in real life. These natives pick things up quickly but lose focus just as fast. Their projects start strong, then get abandoned or revisited later with a whole new mindset. Mercury Rx can have grand ideas in mind but struggles to put them into words or into reality. Usually, Mercury Rx natives are better at texting, writing, and drawing than talking. Two Mercury Rx people can either understand each other on another level or be completely out of sync with each other and can talk in circles. Mercury Rx natives can change the topic mid-convo and go on like nothing happened. Mercury Rx natives can be good at stirring the pot for entertainment. They are good at negotiating, convincing people to believe their ideas. Can make money out of thin air. These natives have selective memory.

For example: Mercury Rx in 6th/8th/12th natives are so good at twisting narratives to suit their needs and are good at lying. You don't even know whether they're telling the truth or not. Their opinions can change like seasons, and they can struggle sticking to a certain mindset. However, this is a great placement for fantasy writers, journalists, bloggers, media-related jobs in general, lawyers, filmmakers, actors, programmers, etc. Mercury Rx in 5th/11th natives are bad at lying. They can be involved in too many things at once only to abandon them. Mercury Rx in 3rd/9th loves to prank others or the other way around. they love DIY and crafts and might follow niche communities. Online trolls.

Venus Rx - I ghost myself before I ghost you. 👻😅

Venus Rx natives are either impulsive in love or avoidant. These natives give mixed signals to their partners. One day they're warm and giving, the next they're building walls and won't let anyone in. Love either comes too soon, or when the timing is off, or never comes when they need it the most. These natives will remember how the other made them feel, whether it's rejection, not being enough, unwanted, too much, or ignored. It lingers in their mind, and it shapes how they view love. These people don’t “date around” easily. They wait for people to choose them. They test their partner to check if they're worth it! Late bloomers in love. Sometimes, they might even lower their standards and expectations just to feel any love, only to end up feeling drained and exhausted. They might choose partners who treat these natives like a backup plan. However, these natives will remember it and instead of letting go, they carry that disappointment into the next person, the next connection, the next version of themselves. Depression. They sometimes would be loyal to the wrong person just because they have "history."

For example, Venus Rx in 6th/10th can attract envy from women, discrimination in the workplace, judged by their appearance or clothing styles. People might underestimate them or won't take them seriously. So, these natives overcompensate and work overtime to prove themselves that they deserve it. Still, their co-workers/ peers would think they slept their way to where they are or not that talented. Venus Rx 1st can be the target of harassment or could have been called crazy for their lifestyle choices. People tend to attack these natives more easily than others, whether it's racism, appearance, religion, ethnicity, or other factors. They could be either old-fashioned or into niche fashion.

Mars Rx - I argue better three days later. 🕒😐

If a dormant volcano were a person. People think these natives are calm. But no, they're holding it in. Sometimes for years, until their anger turns volcanic and their words spew out like lava. Unfiltered. Their regret shows up in action, not words. They might look or seem lazy, but they often feel stuck between wanting to act and being unsure how. They second-guess their instincts. They might want something badly, then sabotage it out of fear or confusion. In conflict, they’re unpredictable. Either they avoid it completely or burn the whole thing down. Some pick fights just to feel something, others disappear to avoid hurting anyone. They don’t always know the difference between defending themselves and attacking. Sometimes they hurt people with words, then feel guilty forever. Sometimes they say nothing and carry resentment for years. Desire is complicated. Some of them feel numb to it. Others have urges they don’t understand and would be chasing people, projects, or things that don’t make sense. Some isolate when they’re mad. Some turn pain into action like breaking things, quitting jobs, and blocking people. Others turn it inward and self-destruct first. When they finally stop holding back, when they choose action over avoidance, their energy becomes exact. Focused. Intense. Unstoppable. The storm clears, and they learn how to move without destroying everything in their path.

For example, Mars Rx in 8th/12th bury their anger six feet deep. They definitely hold grudges quietly and would strike at the worst time for the person who hurt them. The other person won't even know that the native is behind it. Mars Rx in 2nd can either overspend or hoard things. These natives might not get a reward for their work, or it may be delayed. Mars Rx in 7th can attract passive-aggressive partners or become one themselves. When snapped, they can go from silent tolerance to full-blown blow-ups over small things.

Jupiter Rx - I left faith on read. ✝️📱

Jupiter Rx natives practice 3 different religions within a year and still feel unsure. Teenage crisis. What people call expansion, they call noise. Their lessons come from within, not from gurus or traditions. They don’t believe in blind luck. They believe in trial and error, and mostly error. Wins feel delayed. Guidance shows up late. Things eventually work out, but rarely in the way they are planned or wanted. Once they let go, things would happen to them in the most harmonious way possible. When good things happen, these natives won't give a happy or butterflies-in-the-stomach reaction. Instead, they would be suspicious of it. After believing it's for them, they would still maintain a composed posture. These natives are liberal minded, agnostic/irreligious/atheist, and can still be spiritual. These natives come off as skeptical, cynical, or too “in their own world.” They hold on to past decisions too tightly or judge themselves for outgrowing past beliefs. They often feel like they're behind their peers until one day, these natives get 10 levels ahead of them once they surrender and let things happen. The beauty with Jupiter Rx is that luck doesn't knock on their door. They're the luck. It just takes them years to find that out.

For example, Jupiter Rx in 5th natives' children would be lucky to have the native as their parent. Jupiter Rx in 7th or as 7th lord, their spouse would be lucky to have the native as their spouse. Jupiter Rx in 4th can mean that the native's family would feel lucky to have the native as their child or having them as their family member.

Saturn Rx - I work smart. Or not at all. 🛋️🧠

Saturn Rx natives don't trust authoritative figures, including their own. These natives learn early that rules don't always protect you. they might have a figure in their family who was basically a "rules for thee, not for me" type. Grow up too fast. Responsibility was either too much too soon or avoided until life forced them to deal. Afraid of failure. One thing with Saturn Rx is that when these natives are scared, they would never admit it. They don't want to feel weak. Some might even avoid crying in front of others, including their family. They would go to great lengths to hide their weakness instead of working on it. Build walls instead of asking for help. They stay in jobs, habits, even relationships way past their expiration date just to feel safe. They don’t like being seen trying. Effort is private. So is shame. If they fall, they do it behind closed doors. Smart workers. Knows the shortcuts to achieve success in life, but some won't take them. Impostor syndrome. Can be unemployed for months at some point in their life. Once their career takes off, these natives become unstoppable. Saturn Rx here is protecting these natives from troubled career paths and only gives them the right path at the right time.

For example, Saturn Rx in 7th can mean an absent father figure. Their older spouse can be laid back or take a back seat in their career after marrying the native. Attract partners who are serious and long-term and have little to no options for dating here for many with this placement. Saturn Rx in 10th can mean that these natives can have long gaps in resumes or even unemployment. Might get into jobs that don't reflect their real skills. For some, their career takes off in their 30s or even 40s. Saturn Rx in 2nd can mean that these natives can come from a low-income family or a household with financial struggles. Might get into connections with people just to feel secure. Money grows after 30 and only after they have learned to earn the right way.

Uranus Rx - I forget on purpose. Or do I? 🤫📂

Uranus Rx natives can look traditional on the outside but rebel on the inside. One may never know what these natives are capable of, as they're good at deceiving others. They can easily blend in with the crowd and seem agreeable. Deep detachment, sudden rejections, and quiet cut-offs are their recipe to stay chill. These are the people who smile at the dinner table while silently unsubscribing from the whole dynamic. A Uranus native doesn't trust "the system". But a Uranus Rx native won't even trust their own family, community, co-workers, religions, and even themselves at times. A lot of them appear to follow the rules, but only because they’re rewriting them behind the scenes. These people outgrow people fast. But they don’t always let them know. Instead, they disappear or would make it impossible for them to reach the native. Distance becomes their protection. It’s easier to vanish or become out of reach than to explain their evolution to someone who wouldn’t get it anyway. Their memory is selective but sharp. They forget what they ate for breakfast, lose their keys, ignore calls, but remember exactly what you said five years ago during a fight. Hard to pin down, but impossible to fool. One may never know what they're thinking, but that's what these natives want. When they snap out of the blue, these natives end friendships/ relationships, move cities, shift careers, or even move countries without mentioning a word to anyone. These natives' relationships are either all-consuming or ice-cold. Freedom matters more than comfort. Their unique trait is that they can be loyal and distant at the same time. They’ll ghost you and still think about you every day for a year. Wrong them once, and they will get over you within 30 seconds and never look back. You're already dead to them.

For example, Uranus Rx in 5th can have a crush on someone and obsess over them for months, only to change their mind after finding out that their crush did something they don't like. Would break up with someone over text and not look back. They would reject the same person they fell for before it even begins. Uranus Rx in 7th can be unpredictable in love. Do they even have a type? They long for stable relationships but routine feels like a trap. Uranus Rx in 4th could have had a tough home life or been unconventional. Single-parent households, stepdaddy/ mommy figures, stepsiblings, etc can be seen here in some cases.

Neptune Rx - I’m softer than I look. Colder than you think. 🧊🫀

Neptune Rx people are hard to fully know and half the time, they don’t even fully know themselves. They second-guess what they feel, what they see, and who they are on the inside. Reality blurs. Memory twists. They’ve been gaslit or emotionally manipulated, sometimes without even realizing it. These people learned early how to hide. How to escape. How to shape-shift into what was needed. Truth became flexible, and so did identity. They have powerful inner worlds. Too powerful, sometimes. They’ll fall in love with a fantasy version of someone and ignore all the signs. They’ll convince themselves they’re okay when they’re drowning. They might cry alone and then act totally fine in public. They pick up on energy they can’t explain. Can have imaginary friends or talk to self in private. They talk, sing, and dance when no one's looking. They can actually fake their persona depending on the person they're with. They don’t show the full truth until they’ve seen yours.

For example, Neptune Rx in 4th always dreams of the perfect family, home, and everything since they didn't get it in reality. These natives often move countries/cities and stay away from family members to live their dreams. Might live in a toxic family household where everyone thinks they're fine and happy. Neptune Rx in 8th natives has intimacy issues. They don't know if they're the victim or supposed to feel sorry for the one who hurt them. They're good at reading others, bad at reading themselves. Neptune Rx in 11th natives never feel truly fit in anywhere. There’s a pattern of feeling invisible in groups or being part of social circles that don’t reflect their actual self.

Pluto Rx - I outgrow myself annually. Stay tuned. 🔁🖤

Pluto Rx natives are always going through some kind of inner death. You may not see it, but they’re constantly burning bridges inside themselves. It's like they burn their old versions, dead emotions, people they haven't spoken to in years, and toxicity every year like a ritual. These are the ones who don’t show their breakdowns. They disappear, transform, and return new. The world never really sees their mess, only the rebirth. They upgrade themselves each year. These natives would keep secrets, even from the people they love and trust. They're deep, but not always emotionally open. They fear being exposed, especially when they’re vulnerable. So, they test people. Push them. Watch how they react before deciding if they’re safe. They either face their wounds fully, or they run until life forces them to. Their biggest breakthroughs happen in silence. One year, they’re one person. Next, they’re unrecognizable even to themselves. Physical transformation is possible too. They outgrow people, places, even entire identities, like it’s an annual process. Some might change their name or have a "stage" name in their career.

For example, Pluto Rx in 1st natives are either obsessed over by others or hated by others. Always in survival mode. They rebuild their self-image every season, and no one's ever truly met the real version of these natives. Pluto Rx in the 3rd natives can be good at coding, writing, drawing, etc. Can be cryptic in the way they speak. Ghost friendships out of the blue and would never look back. Pluto Rx in 5th natives pour their trauma into art or through their creative outlets.

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[mikastormborn]

#the thousands of 15k word essays are what kills me#like... i understand the impulse of talk about something you don't like and vent#i even understand the impulse of writing one or two essays with your reasons#but dedicating most of your time and entire blogs to something you hate instead of dedicating it to your faves?#that i will never understand#like... when i hate something i don't really like to keep talking about it#i like to talk about my faves (tags by @rainhadaenerys)

Aggressively hating a fictional character isn’t a personality trait. Why do some of you dedicate SO much of your time to the things you hate? It truly never ceases to amaze me. You could be celebrating something you love instead. You could be using that energy to do something that makes you or the people that you love happy. Instead, you’re obsessively attacking people for liking said character and writing 15k word essays about why this said character should shrivel up and die. Please.

[patchwork-crow-writes]

Ralsei is the Literal Personification of Abandonment And Self-Esteem Issues - and it's all because Kris threw him away in their childhood.

Been a while since I've done a long-form essay on Ralsei Deltarune! Chapter 3 and 4 really blew the doors wide open on this guy - how he sees himself, how he relates to other darkners, his place in the prophecy (and his attempts to subvert it), how he echoes the goatlike Dreemurrs but isn't a carbon copy of them, and his relationship with Kris Dreemurr particularly, entirely divorced from the SOUL/player possessing them. I've been swirling it all in my head over the past two weeks, trying to figure out what it all says about him, alongside what scant knowledge was established in prior chapters.

This is the result: a thesis that will lay out my vision on who and what Ralsei truly is, why he's manifested in this way, why he dotes on Kris specifically, and how everything ties together to explain some of his more... questionable actions in the chapters we have so far. Altogether, I want to provide context for his actions in previous chapters, his beliefs about himself and darkner-kind in present chapters, and where the future chapters might take his character.

Buckle in, this is going to be a LONG one.

Part 1: "I just wonder what... being "Ralsei-like" even is...?"

Before Chapters 3 and 4 came out, the question of "Who or what is Ralsei" was a rather open-ended one. Concrete evidence was scant, and what little could be gleaned from optional dialogue or careful observation didn't shed much light on anything. For every point that indicated Ralsei was Kris's horned headband, another would refute that and suggest he was created whole cloth as a character for the player's enjoyment. Was he a naive, inexperienced youth struggling to deal with his friends' big emotions, or an uncaring gamemaster who was determined to keep events on the rails? Perhaps he was a creation of Gaster - a Goner, like those transient souls we sometimes see in Undertale if we're lucky. Or maybe he was a Titan Spawn, rebelling against his ordained purpose and using his knowledge for the forces of light.

With the new chapters, what we got instead was far more interesting and compelling than any of us could have possibly imagined. What we got... was a scared, lonely, sad boy, burdened with knowledge he didn't ask for, raised in isolation from anything approaching care or compassion, desperate for love and camaraderie but never feeling like he truly deserved it. Alone so long he doesn't know who or what he is, so conditioned by prophecy that he sees himself as little more than a playing piece on a board much grander and more important than himself.

Yet, for the sake of his friends and their happiness... he tries to defy the fate set out before him. Write a happier ending for them... but not for himself. Never for himself.

Because he's a darkner. And darkners don't matter.

Part 2: "Just forget about us and make some real friends."

You do not have to play Deltarune long to get a sense of how Ralsei sees himself in relation to lightners (See: literally anything he says to Kris - we'll visit this later on)... or, for that matter, how he sees darkners as a whole in relation to lightners. Everything is framed through this lens for him, even all the way back in chapter 1:

And chapter 2:

All of which culminates in the bombshell revelation at the beginning of Chapter 3 - Darkners are nothing more than inanimate objects given life by some sort of "meta-darkness", permitted to exist only in a liminal, "indistinct" state of being. For all intents and purposes, darkners are entirely imaginary... and Ralsei is entirely, painfully aware of that fact, even as he's explaining it to Kris and Susie.

Astute players will have noticed clues indicating this truth, and even that Ralsei himself has known about it this whole time - particularly when it comes to getting Kris to gather up all the objects in the Abandoned Classroom to bring back to his Castle Town.

However, the implications of this knowledge that Ralsei possessed, or whether it affected him in any capacity, weren't fully apparent until he tried to "console" Tenna at the end of chapter 3:

"Mr. Tenna… I… understand how you feel. To want to be… important. To be… useful. Perhaps… you might not be watched much anymore… But… that doesn't make you a failure, Tenna! You've brought smiles, light into Lightner's lives… to Kris's family and friends, for so long. So, there's nothing to be ashamed of.If… that ever comes to an end. Darkners.. all become obsolete eventually. But we aren't "real", Tenna. We shouldn't make Lightners worry about what happens to us. It'd just… make them unhappy, wouldn't it?"

This speech is, for want of a better term, a trainwreck. If it was intended to provide comfort and solace, it did the total opposite, and it was only thanks to Susie's timely intervention that Tenna was able to rally. But what it says about how Ralsei feels about his station as a darkner - as the Prince of the Dark, no less - speaks volumes. Stated plainly, he sees the relationship between lightners and darkners as a purely functional, transactional one, where darkners are destined to amuse, entertain and bring happiness to their lightner betters. Once they can no longer sustain that function, for whatever reason... it is then their destiny to be cast out, disposed of, left behind and forgotten. In fact, he goes further than this, implying that darkners as a whole should be GRATEFUL to have been useful in any capacity, and that they should not lament their fate, in case they upset the lightners they are supposed to serve.

To most anyone else, this would be a horrifying portrayal of existence - but to Ralsei, it is his lodestone, the guiding principle that informs his every action. A true darkner would be happy to have served so faithfully, so he thinks... it's not as if he or any of the others are real, in any case, so what they think doesn't even matter in the first place. He will be useful to his friends - his masters - for as long as he can serve, in whatever capacity he can serve.

And Ralsei will condemn himself to abject misery in order to do it.

Part 3: "If anyone's going to hurt... let it... just be me."

To call Ralsei "self-sacrificing" is a level of understatement that borders on the tragically comic. He constantly falls over himself offering his services to Kris and Susie, ensuring they are happy, trying to protect them from things that might make them sad. He sees Lancer "transform" into a stool ONCE, then takes that transformation for himself so he can be a literal object for his friends to use at their convenience - even when there's an actual perfectly usable stool nearby.

(For the record, I don't kinkshame. Go off prince!)

Want more? Okay - Ralsei is so preoccupied with making cakes for Kris and Susie, but has never even attempted to try one for himself - and is then ashamed at how much he enjoys it.

Still not convinced? Okay - Ralsei goes to all the trouble to create bespoke rooms for Kris and Susie in his castle, AND all the major chapter antagonists (except King lol), decorates them all to their occupants' liking... and then we stumble across his room in chapter 4 and it's completely empty. Not even a chair to sit on - Nothing except a small window looking out into the world.

Ah, but luckily, there IS something he feels like he deserves: pain. Physical pain, mental pain, emotional pain... he's such a glutton for punishment that he won't settle for his own pain, but put himself in ever-greater anguish for the sake of his friends... and smile while doing it.

He'll suffer the crushing burden of knowledge, the tragedy of the final prophecy, Kris and Susie thinking he's weird, the PLAYER thinking he's suspicious, being belittled, demeaned, looked down upon and ignored... he'll take it all upon his own shoulders, and not once dare to complain about it.

And for what? To risk alienating the very people he cares so much for? To risk Susie's anger and frustration at his constant pussyfooting around difficult subjects? To one day take on too much, to watch as his careful facade shatters and crumbles around him, to burn himself out so utterly that he ceases to be of any use to anyone?

Good thing he's friends with Susie, right?

...right?

Part 4: "How can she be so kind...? How...?"

Susie sets herself in opposition to Ralsei's worldview from the very start of their adventure, rejecting her status as a hero and walking off to do her own thing. She rebuffs his lofty speeches about "prophecies" and "purpose", choosing instead to trust in what her senses are telling her in the present moment.

And she has very little patience for his more... self-denying tendencies. She'll insist he's real to her and Kris at every turn, she'll pledge to get him furniture for his room and make it the most "bad-ass room in the castle". She'll cut over his "motivational" speech to Tenna and replace it with her own, insisting that "someone wants you" and "no-one's getting thrown away".

Even when faced with the inevitability of the Final Prophecy - the tragic ending that Ralsei has tried so hard to stop her from learning about - she refuses to bow to it, shattering it into a million pieces and reassuring him it won't ever come to pass - because they won't let it.

So it is that Susie's example sets a fire in Ralsei's heart. He finds himself endlessly inspired by her, not in spite of her crass, irreverent manner, but because of it. Everything she does, she does because she WANTS to, not because anyone told her to. And that fills Ralsei with hope - hope, however dim, that perhaps they can defy the cruel fate set out for them.

But hope alone isn't enough.

Part 5: "Darkners... all become obsolete eventually."

This line, taken from the aforementioned trainwreck of a rousing speech to Tenna, perfectly encapsulates everything that Ralsei believes about himself, about darkners in general, and about the way things must be. And it stabs right at the heart of his trauma.

Because he has already experienced it firsthand.

This is the point where we must venture into conjecture - everything I've established over the past few minutes has laid the groundwork for my theory on what Ralsei is, why he's the way he is, and how we might predict how he'll behave in future chapters.

Remember Toriel talking about Kris's old horned headband back in chapter 1? How they asked her when their horns would grow in? How they wore it for months, before it suddenly, mysteriously disappeared? Those horns played a role in Kris's life, and an important one at that - they helped to validate their feelings around their identity, allowed them to feel more akin to their adoptive family, more like a monster and less like... an outsider. To have lost or otherwise misplaced such a treasured object would be unthinkable.

Now... have you noticed the way that Ralsei will fawn over Kris specifically throughout their adventures together? How he'll doggedly follow in Kris's shadow no matter what they do or how they act? How he'll excuse them any behaviour, no matter if he'd rebuke another for that same behaviour? How he'll go out of his way to reassure them, console them? Validate their identity, their talents, their choices - to an almost obsessive degree?

Put these points side-by-side, and you start to see how they correlate with each other - how Ralsei's behavior in the present follows on from the headband's role in Kris's past. It is the strongest indication we have that Ralsei's light world object is more likely than not to be that very same horned headband. Indeed, the parallels between them are so strong that once you see them, it's almost impossible to believe otherwise. It neatly explains Ralsei's almost crush-like obsession with Kris, his need to validate their identity at all costs, and his acute embarrassment and joy at being seen as their equal.

But my assertion goes further than this anodyne observation: I assert that, at some point after wearing the headband for months, Kris realised that they were NEVER going to be a true monster, a true Dreemurr... that they'd always be shackled to their humanity, no matter what. And so, far from accidentally losing the headband, they made the conscious decision to throw it away once they realised the lie it represented. It had served its purpose, brought joy to a child who felt like they didn't belong... and then its purpose was used up, and it was discarded.

Abandoned.

At a stroke, this explains all of Ralsei's strange behaviours - his obsessive need to be useful, his almost-slavish devotion to the happiness of his lightner friends, his twisted and utilitarian views on darkner-kind, and his own catastrophic lack of self esteem. He is TERRIFIED of being abandoned again, and will do anything in his power to remain useful, to not become obsolete and unwanted... and yet at exactly the same time, he sees it as his inevitable fate. One day, his use will run out, and without warning he'll be cast back into obscurity. And try as he might, there is nothing Ralsei can do about it.

He failed in his purpose once before... and he could just as easily fail it again.

Part 6: "Hearing that from you... I might just..."

I've mentioned before that Susie attempts to counteract Ralsei's narrative that neither he nor the other darkners are "real", and that none of them really matter in the grand scheme of things. She loudly proclaims the opposite, any chance she gets, asserts her profound believe that Ralsei IS real, and that they ARE friends. And not just Ralsei - her concern and compassion extends to ALL darkners. It's sweet and touching, and brings the two of them closer together.

And none of it has any effect on Ralsei's view of the world whatsoever. To him, Susie's grand platitudes are just that - they can enkindle hope in his heart that their grim future can be averted, and they can bring comfort in a moment of insecurity... but they alone cannot heal his trauma. Because while he DOES desperately want to hear those words spoken to him, it's not Susie he wants to hear them from.

It's Kris.

And we know this because there are two instances where Kris CAN say something approaching those words to him - once in chapter 2's Acid Tunnel, where they can say "It's nice that Ralsei is Ralsei", and again in Chapter 4, upon discovering Ralsei's unfurnished room, they can say "Please be yourself". And the way he reacts in both instances is telling:

The takeaway here is that, no matter how ardently Susie proclaims and validates Ralsei's fundamental identity and existence, it won't be until Kris echoes that sentiment, freely and of their own volition, that he'll begin to truly believe it for himself. It has to come from Kris - the one who had once needed him to validate their own identity, before they unknowingly consigned him to loneliness and bereavement.

Perhaps at that point, Ralsei's trauma can finally begin to heal from the damage that was done to him.

Part 7: "My own desires. My own... fears."

So. Now that we've reached this point... where does Ralsei's character arc go from here? How can we use what we've built up here to try and anticipate where Chapter 5 might take him, and how his relationships with Kris, Susie, and everyone else will change as a result?

We see glimmers of what it could look like in his talk with Kris, discussing him coming to discover his own likes and dislikes, his own selfish desires... contrasted with the "hobbies" he took up just as a way to further serve his lightner friends, and the internal conflict he feels at such:

I don't really have any hobbies, or interests. Baking, sewing, singing... those are all just... things I thought to do... for you two. But recently... I'm starting to feel like... like I'm developing my own opinions. My own likes. My own dislikes. My own desires. My own... fears. ...please... tell me... should I... Should a... Darkner... be feeling like this?

Do I think this means he'll one day abandon the persona he's so carefully curated up to this point? No - rather, I believe he will iterate and build upon it. His edges may become a little coarser, but fundamentally he'll still be the same caring, considerate fluffy boy we all know and love.

But that isn't to say there won't be bumps in the road along the way.

I brought up Chapter 5 specifically because of a few interesting hints about what it will entail. In Susie's trial against Gerson, he mentions the events of each chapter we've run into up to this point, and also this hint for Chapter 5's content:

Now, most people will see this and infer that this "jealousy" will be from Asgore, upon discovering that Toriel has shacked up with Sans. And while I do believe he will have his part to play, allow me to add another potential point to consider: I think RALSEI will be the one to experience this burning jealousy for the first time - and in its newfound intensity, make a crucial mistake that could wind up making things worse down the line.

Jealousy that he cannot be at peace with his purpose like the other darkners seem to be.

Jealousy that it took him so long to realise he could start to be his own person, independent of the lightners.

Jealousy that Susie's healing capabilities are beginning to eclipse his own, his "unique talent".

Jealousy that he cannot have what everyone else takes for granted - a normal, carefree life.

Jealousy that Kris seems to prefer Susie over him.

I believe that chapter 5 will be the point in the story where Ralsei's sense of purpose and obligation crashes headlong into his new, burgeoning wants as his own person, and he'll finally begin to reckon with the events of his past... how he was loved and cherished only to be thrown away without warning. The sadness and the bewilderment of such a traumatic event... but also, the resentment, the bitterness.

What had I done wrong to deserve such treatment? Why did I have to suffer like this? Why couldn't I have been kept, even if just as a memento?

Why won't Kris look at me the way they look at Susie...?

How can I get them to see me the way they used to?

Why can't we go back to the way things were before?

And where else would such an epiphany take place but the very space where another person struggles with their own questions about the past, and where every flower is seemingly grown for the sole purpose of proving his undying love to his former partner, in the hope that things may one day go back to the way they were before...?

Indeed, once you see the parallels between Ralsei and Asgore, they're almost impossible to unsee. And the more I think about it, the more certain I become that this is where Ralsei's character arc is progressing towards - a reckoning with the past, a lamentation at the present... and a resentment that threatens to burn down the very future he's fought for so valiantly up to this point.

And oh, what an inferno it will create.

Closing Thoughts: "I want to believe... it can change!"

Ralsei is a character who has been largely misunderstood by the fandom at large for a long time. Part of my motivation for writing this essay was to help steer people towards a more nuanced understanding of his behaviours, his role in the story, his potential past and future, and his strange, almost limerent connection with Kris. The scenario I outlined in the previous part was an attempt to show what I believe would be the most interesting and compelling direction for his character to go in, based on everything that had been established in both the game and my speculation up to that point. I hope that I have succeeded on this point.

I should say right now, for the purposes of clearing up any potential misunderstandings: I don't believe this potential is in any way indicative that Ralsei's gonna turn "evil" - just that he's a young person suffering a great deal from immense trauma and crushing responsibility, who doesn't have much experience with people, or even his own feelings, and who has the potential to lose control at a crucial moment. That doesn't make him evil - it makes him a person.

Likewise with Kris "abandoning" Ralsei - that act doesn't make them evil. Indeed, how could they have possibly known the significance of that action prior to reuniting with him years later? How many precious toys have you thrown away in your lifetime, and does the act of doing so make you some kind of villain? Perhaps in a world where darkners have the potential to exist... but otherwise, the question is ridiculous and doesn't merit discussion.

I suppose what I wanted to achieve by writing this essay is to allow people to see in Ralsei what I see in him - a flawed, tragic character, struggling to make sense of himself and his place in the world; to love and trust people as he finds them, not as he wishes them to be; to have the courage and belief to let go of the injustices of the past, and to face the uncertain future without fear... wherever it may take him.

I see a great deal of my own prior struggles in Ralsei. It's why I strongly believe that, if not actually autistic, he has been written with autistic coding in mind - the masking, the people-pleasing, the lack of finer social mores... but those same traits that endear him to me seemed to repel a great many others. I don't want a repeat of the chapter 2 times, I don't want his character to be defined by a misunderstanding like it has been up to this point. I hope that, after reading this, you all feel the same way.

Thank you so much for reading <3

special thanks to @dawnthefluffyduck and @bleakoutlo for their input and suggestions! :D

[p-00e]

teaser - Cauldrons and Charms (?)

slytherin!gojo satoru x afab!Gryffindor!reader

Warning! - I do not agree with nor condone any of the heinous things JK Rowling has said about trans people and the LGBTQ+ community! This is my first real try at a fanfic and I hope you enjoy!! A full story is in the works right now, but heres a peek :)) -

Professor Binn’s history of magic paper was going to be the true cause of your death. In fact, Hermione’s better than magic zero sugar red bulls weren’t enough to pull you through the ten scrolls you had due in the next two days. Running a hand through your disheveled hair, you swept past the excited first years with a fresh two hours of sleep, sporting eyebags heavier than a mountain troll. 

“Mione! I swear if Binn doesn’t reduce his course workload, I will hex him into a-” 

Your fellow Gryffindor winced as she saw your shoulder shoved violently against broader and sturdier ones. Knocking your scrolls of parchment and sending them flying in the Great Hall. 

“Rats..” you muttered under your breath, quickly collecting your unfinished work and thinking of how you could use that Tongue Twister hex Fred taught you on the witch or wizard that shoved you. 

“What kind wheezing MORO-” your verbal tirade was interrupted by the sound of boisterous laughter, a laugh you were unfortunately extremely familiar with. 

Clad in black and green robes, stood the obnoxious, annoying excuse of a wizard, Gojo Satoru. A notorious snake who made it his personal mission to harass and ruin your life at Hogwarts. 

“Watch where you’re walking, someone might think you bumped into me on purpose, sweets” He chided with a smirk, silver ring clad hand ruffling his snow white locks. Picking up and unraveling one of your stray parchments, he eyes it like you've written some ancient undecipherable alien text then suddenly bursts into a fit of dreadful laughter.

“Listen, Gojo, I really really do not have the energy NOR the sufficient hours of sleep to deal with your goonish activities, so give me back my assignment before I send you a one way ticket to Madam Pomffrey.” You heard a small snicker, stemming from the tall figure next to your sworn enemy. Geto Suguru, in all his Slytherin glory, draped a lazy arm over his friend, sending a smile that didn't quite reach his eyes, your way. Opening your assignment, Gojo feigned a wince, shaking his head while tsking. “You know, for a witch as bright as you, obviously not as bright as me... I expect a better essay… like what is this? “The Goblin King, a fierce dictator..” You writin’ a paper or a fanfiction?? Honestly, considering your brains, you're doing a rather poor job at trying to impress me"

Letting out the loudest sigh in wizarding history, you turn to Geto, giving him a quizzical brow, as if to say aren’t you a prefect? Do something? - Unfortunately, Instead of doing his job, he peers over his friend's shoulder, reading along. "I mean, I could probably write a better essay with my EYES closed" He snickers, sending a wink to the hoard of slytherin girls that gathered at the Hall.

Pulling out your wand, you hesitated between hexing the living Gojo out of him and accio-ing your essay from his grasp. Tuning out his mindless criticism and self-satisfaction, you opted for punching him in the gut, swiftly grabbing your essay, hexing his hair piss yellow and cackling your victory away.

Just as your hex takes effect, your thoughts are interrupted by a violent, high pitched scream followed by the gasps of young girls, echoing along the halls, startling Nearly Headless Nick and causing the Fat Lady's glass to shatter.

"MY HAIRRRRRRRRR"

You pick up the pace, trying to reach the safety of your common room before you face the consequences of his wrath. Your escape was short lived, however, as his freakishly long legs strode to you with a speed that could rival a thunderbird. Grabbing you by the robe collar, he slowly leaned forward, grin still intact but a visible irritated wrinkle creases his eyebrows. "If you were trying to get my attention, you've certainly done a wonderful job L/n." You roll your eyes, trying to tug your robe out of his grip. "Why don't you let me go and saunter off to entertain your little cult. I mean WOW Gojo, you never told me you could sing! For half a second I reckoned a banshee had broken into Hogwarts!" Impatience colours his face, yet his smile remains,

"Right? there really IS nothing I can't do" He sighs, with genuine dejection, “But my overflowing talent is nothing new, now why don't YOU undo the hex, sweets? I have a quidditch practice in an hour and I really wouldn't want my loyal fans to faint from the hue of my hair”  

Scoffing you chide “Fans? You can't possibly be refering to that hoard of third years? That's not admiration, they're just blindly obsessed with your pompous personality, Godric knows why..."

He grinned, eyes gleaming at your words, as if your retort had reminded him how huge his ego actually was. “While I relish the praise, I’m not obsessed with your attitude, keep being so prickly and I might hav’ta kiss ya, sweets, but I doubt you'd be that lucky” 

Feeling your heart drop into the pits of your stomach, you resist the urge to expel the bile building up at the thought “Gojo I’d rather kiss a toad with a thousand boils than even IMAGINE a kiss with the likes of yo-” 

A stern cough interrupted your soliloquy, turning your heads to the sound, a not so happy Professor McGonnagall, stood, wand in hand. “Ms L/n! And to think one of the brightest witches in Hogwarts is acting a fool in the Great Hall, now if your show is over and done with, I’d suggest you carry on with your day.” Flushing, you're quick to defend yourself.

“Professor you don’t understand! He started it!” pointing your index to Gojo, who was not so sneakily trying to weasel himself out of losing house points. She raises her pointed nose at the lanky wizard, tsking in disappointment. “And Mr Gojo! I suggest you return to your table and get that ghastly hair fixed before your quidditch practice, I doubt Madame Hooch would be happy to see her star player looking so… yellow." He perks up at her words, "Awww professor, you think I'm a Star Player? I mean I obviously am but to think you agreed!" Sighing, she shoots him a glare that immediately shuts him up. Shooing the gawking students, McGonnagall quips "And to think that two of my most intelligent wizards are to be seen publicaly jousting in the hall, five points from both Gryffindor and Slytherin! I will see the two of you, in my office friday evening." Eyeing your hunched figures, she briskly turns away. Leaving the two (three with Geto who was thoroughly enjoying himself) of you with another detention together.

"Great"

divider creds to : @thecutestgrotto

thank you for reading :?

[little-autistic-gremlin]

wish I had " write essays on fictional characters autism " instead of " words do not word autism " because I have many thoughts on Hetty Woodstone. do not know how to get some of them across but trust me they make sense in my head

[morgaseus]

I’ve encountered a few on AO3 but I too am desperate for more Gojo fics anywhere 😭 if you have any recommendations too please I beg give some to meee 😭😭

Ohhh yesss ive got quite a few! Also, please look out for the content warnings!

Series

Sincerely not by saintobios (arranged marriage, modern au) (read this yrs ago so i cant remember much but i do remember crying at 10 pm in the kitchen while reading this)

Sundered by tojikai (baby daddy gojo, modern au)( made me sob )

Kintsugi by NoahLaval (arranged marriage, enemies to lovers, gojo x oc) (I love this! made me cry a lot, like really..)

No Cure by Tawus (enemies to lovers, reader is a curse user)

Exposure therapy by seoafin (angst, reader is in the same year as sashisu, au where toji became a teacher, also a geto/reader, but shoko is the endgame)(you should check out their other works too!)

Monster Hospital by mushmoon12 (enemies/rivals to lovers, lots of smut)

intrinsic warmth by thatdesklamp (angst, childhood friends to lovers)(yeah...)

Cursed Love by maespaces (angst, reader is a not a jujutsu sorcerer )(i forgot to add this!😭😭😭 but srsly tho rllylove this one, vry well written! im still reading it but u can tell ure in for a bumpy ride🥹)

Oneshots

Grey Cashmere by vagabond-umlaut (angst with a happy end, set during hidden inventory, reader is in the same year as sashisu)(one of my all time faves!!! its also part of a series but can be read as a standalone!)

an unwanted letter by piichuu (angst, post ch 236?ig?)(i read this during class... i just hope my classmates didnt see me cry)

Others. (I have not read this yet but ive been keeping an eye on it! Thought i might share as well)

Infidelity by tawus (angst, gojo and reader are married)

one day, three autumns by vagabond-umlaut (arranged marriage)

Minazuki by quirklessidiot (enemies to lovers, arranged marriage)

Devoted by aerinth (angst, friends to lovers)(also a geto/reader)

the color yellow by rhydonium (angst, hanahaki disease)(also a geto/reader)

Bonus!

Abalone on the shore by unolvrs (I dont rlly read much toji fics but this one made me sob on a morning! You'll need tissues for this one ig...😞)

[elven-butts]

🌈 happy crime do gay to them 🌈

[ohhamlet-art]

let's have an ms paint

[phantome29]

"No point in feeling down about it now Just let my feelings reach your heart"

[lieutenant-amuel]

My Favourite Helluva Boss Character - Fizzarolli

[katabay]

fifteen men on a dead man's chest, it's time for: pirates!

there's an idea here, and the idea is slowly turning into a story, and in march I've got some one shot comics about pirates I want to post! ideally, in march. hopefully in march. there's a lot of stuff to figure out, drawing wise. I spent an amount of time I won't mention researching the history of leg prosthetics & vintage leg prosthetic designs for basilica, and I haven't even figured out tall ships. which is. well. it's pirates, what are pirates without tall ships

[maple-leaf-feet]

Wanderers Above The Sea Of Fog

I hope you like this because I wanted this image to exist so much that I learned to paint in order to make it happen

[lmao-ooooooo]

wwx is the type of guy who always has 100000000+ yuan worth of items in his cart in online shopping stores but never buys ANYTHING like ever! so one day he leaves his computer open and his lovely husband lwj sees all the items on his cart, he decides to buy everything on it because if wwx has it in his cart he must really want it! and wwx needs to spoil himself more. wwx gets soooo freaked out when he sees his shopping cart (that hes been adding stuff onto for years btw) sitting infront of his door, acting as an extra wall when he tries to leave their house for something. he starts panicking bc he thinks he accidently pressed check out. he starts trying to return everything bc theres NO way he can justify spending that much money, no matter how much his husband makes. later lwj stops him ofc, telling him he should have everything he wants and if he wanted everything that was on his cart then he should have them. wwxs argument was there was not enough space in their house for all of this random shit (there definitely was) and lwj said with the straightest face ever

"fine. we'll get a larger house then"

"WHAT NO LAN ZHAN"

wwx somehow made everything worse wtf!

"anything for my wife."

[flugame-mp3]

the funniest option for the reason why shrek and fiona's daughter has brown eyes in the new movie is actually transgenderism. but, you ask, if their blue-eyed cis daughter is already named felicia, how will their brown-eyed trans daughter also take that name? simple: blue-eyed "felicia" is also trans, and swaps names with whichever of the other triplets transitions into felicia. transmasc/transfem sibling solidarity.

[kkoct-ik]

milgram analysis: the orekoto (オレ) of Neoplasm is not the orekoto (俺) of John Doe

analysing both orekotos and then some, how mikoto's dissociation misdirects us, and how mikoto's DID operates to help him function, to express what he needs but cannot tolerate, and to cope with shame.

will be referring both to milgram-en's (John Doe, Neoplasm) and Maristelina's (timeline) translations. thank you for your work!

note on names: for the purposes of this post:

mikoto refers to the person/system, all parts included

'mikoto' refers to any normative mikoto, ie. not either ore. i'm not going to assume the normative mikoto from John Doe is the same alter as the normative mikoto in Neoplasm, because i don't think they are, but that's for another time. for now, I am grouping them together, because, functionally, mikoto's normal parts serve the same purpose and role for this discussion.

ore (俺) and mikoto (俺) refer to the mikoto that appears in the John Doe (Trial 1) voice drama and attacks es.

ore (オレ) and mikoto (オレ) refer to the mikoto that appears in the Neoplasm (Trial 2) voice drama and claims to be the alter who commit murder.

if you can't read japanese, just remember that any name with one japanese character (俺) refers to the ore of trial 1, and any name with two characters (オレ) refers to the ore of trial 2. these are how both ores' personal pronouns are spelled according to the official scriptbooks, respectively.

i also use the word 'unacceptable' 'intolerable' etc. a lot in this analysis. please note i don't use this word in a judgemental way. i will always mean it in the sense that whatever i am referring to 'cannot be accepted/tolerated by mikoto/the world he comes from'.

i'm working with translations and mikoto is a complicated character, so please forgive any slip ups!

thank you for reading.

introduction: there's two orekotos?

mikoto's case, as i've criticised in my last major essay, is often reduced to a conflict between how one votes a system of one 'innocent' personality and one 'guilty'.

as part of the reducing of his character to a split personality trope, it is popular and easy to assume that mikoto only has two major alters: 'mikoto' (who appears normative, uses the boku personal pronoun, and has a confused, sociable demeanour) and 'the other one' (who appears more aggressive, uses the ore personal pronoun, and noticeably switches in at some point during both VDs).

i'm also guilty of this assumption. despite having a sense that things were not that simple, i have assumed, for convenience, that both ores were the same alter, mostly because the ore (オレ) of Neoplasm expresses familiarity with ore's (俺) actions in John Doe (in that he references the event immediately after switching in, amongst other things), and i had no major reason to question that continuity.

at the end of the day, mikoto is mikoto, and since i had (and still have) no interest in attributing guilt to any specific alter, i didn't have a major reason to deduce which alter 'did what'.

(it's also more important to me to dissect what alters think they did and identify with than literally did, because its in how alters psychologically divide up their life and actions once they've happened that their purposes for existing and dissociative functions shine. my last essay was also almost entirely focused on Neoplasm in isolation, so i stand by most of what i said — just replace any assumptions that ore (オレ) is ore (俺) with their new relationship that i'm about to identify.)

all this said, despite surface-level similarities (seeming to use the same personal pronoun, both speaking roughly, existing as a protective force, and identifying as/presenting themselves as the archetypal 'monster'), the way these two alters — ore (俺) and ore (オレ) — function and think are also very distinct from one another. despite the intentional misdirection that would have you assume they are the same part, both ores display very different approaches to responding to and coping with mikoto's life and traumas, and we have seen them emerge respectively based on mikoto's different, changing circumstances within Milgram and the triggers he encounters.

after the extent of this fully dawned on me the other day, it also occured to me that distinguishing them could be very clarifying for how mikoto has grown to function and cope with his life and actions, and also, maybe, finally shatter the illusory binary that surface-level fanon is so attached to.

so. enjoy.

main body 1: psychoanalysing the ore (俺) of John Doe

the ore (俺) that appears in John Doe switches in after mikoto begins to have a panic attack at es' ceaseless prodding.

we can analyse what seems to have triggered mikoto (俺) forward as a starting point for deducing this part's purpose and understanding where mikoto's headspace was at to contextualise his behaviour, so let's assess the situation.

normative 'mikoto', who is present for the majority of John Doe, presumably exists as an alter to allow mikoto to function and engage with people. he seems to do this by having no awareness (or at least, identification) with anything shameful and intolerable, including his murders, and identity as a killer.

therefore, es' insistence to 'mikoto' that he has killed pushes mikoto into a situation that this normative alter is fundamentally unable to handle. es' suggestion of dissociative amnesia also directly attacks the plausible deniability and dissociation normative 'mikoto' clings to to cope. in order to protect himself and preserve his dissociative defense mechanisms, mikoto finds himself required to switch into an alter more suited to this situation, and disengage normative 'mikoto' from this psychological attack.

it is also worth pointing out that es is an authority, and an abusive one at that; considering that mikoto has suffered workplace abuse (as seen in the relentless texts from his chief outside of work hours in Double) it is almost certain that mikoto has been belittled, scapegoated, and pushed to his limits by higher-ups at work before. this situation that es is subjecting mikoto to is not only psychologically overwhelming to his normative alter, but also emulates a source of trauma for mikoto, and thus will absolutely trigger his fight/flight/etc.

lingo: fight/flight/freeze/fawn are words used for different areas of common stress and trauma responses. the principle is, when faced with an overwhelming threat, you may become aggressive and combative (fight), may become restless and want to escape (flight), may shut down (freeze), or may try to appease the threat (fawn).

mikoto is currently in an interrogation room, within Milgram: he cannot run. simply shutting down will not stop es from provoking him. and he has tried to appease es, to be friendly, and seem pathetic, and es has not wavered. the only real option left for mikoto's completely fried nervous system is to remove normative mikoto from the scene, and then force/intimidate/beat the threat into submission.

whew, what an adrenaline rush.

mikoto's (俺) initial demeanour is mostly an expression of his fight response that has been triggered and rage at this situation that 'mikoto' could not handle. mikoto (俺) lashes out at es, yells, curses, and loudly expresses that es' prodding has been far too much for him. he's pissed, and honestly, i don't think he's overreacting. he's far from the first prisoner to attempt to attack es, and he only does it when pushed to his absolute emotional limit, on multiple accounts.

as the scene progresses, mikoto's (俺) rhetoric becomes reminiscent of abusive people of power. a friend i have has pointed out that these lines in particular sound a lot like what a shitty, ageist boss would yell at a young new recruit to verbally abuse them into submission and impose their authority. it's likely ore (俺) is emulating the kinds of things people have said to mikoto, that have forced him into submission, to protect himself, in the hopes that he can turn the tables on es and reap the benefits of becoming the abuser, so to speak. he refuses to engage with whatever es is saying, and focuses on establishing his power through force and verbal abuse.

this bit is speculation, but i do think the fact that es is on the smaller side definitely helps mikoto, triggered into fight response, feel like he should be able to hold power over him. mikoto may see himself in es and feel incredibly angry that es, while small, is in a position of power that he himself never had, with mikoto therefore wanting to put them in their place.

ore (俺) also projects a demeanour of being somewhat sadistic, likely because of just how fucking angry he is at this moment, and especially because es is not easily slipping into the fawning role that mikoto would in his position. he also may be enjoying the high of not being the victim for once, and now that he's in this position, wants to make the most of it, and really prove his point.

essentially, mikoto's (俺) demeanour communicates, don't mess with me, i'm bigger than you. i won't lie down and take this shit, and you have no business hurting or challenging me.

i know this is from neoplasm and is ore (オレ) speaking. i'm using it to illustrate what 'mikoto' does not not do (ie. not cry himself to sleep, not suffer in silence, fight back).

when applying ore (俺)'s demeanour back to how mikoto typically presents and conceptualises himself, it becomes very obvious that everything about mikoto (俺) is intolerable and unacceptable to mikoto as a whole.

being angry, to mikoto, is not acceptable. expressing anger and fighting back against injustice is not acceptable. challenging your place in the social hierarchy and acting outside of socially acceptable behaviour is not acceptable, because all of these are expressions that would lead to dire consequences in his life and within his culture, despite being natural human emotions and expressions.

if these rudimentary and necessary human emotions and rights are unacceptable to mikoto, it can help, psychologically, for the part that handles/contains/expresses them to present themselves as a different sort of person. by wholly dissociating himself from this side of himself — such as this episode, or any other instances of standing up for himself or feeling unacceptable feelings — mikoto can protect himself, and have these unacceptable parts, without compromising his self image; 'mikoto' remains unchanged, unrelated, untainted, because it was absolutely 'not mikoto' that did or felt those things.

what a lovely dissociative contradiction.

the further mikoto (俺) is from how mikoto typically presents, the easier it may be for mikoto to reassure himself that anything they do was 'not him' or 'not real' and entirely cut himself off from identifying with or processing that memory or act. therefore, appearing sadistic when expressing his anger at injustice is not only practical for successfully intimidating es, but may also be part of ore's (俺) (and many of mikoto's parts') presentation as the archetypal 'monster', and clearly 'not mikoto', that helps to reassure mikoto of their estrangement.

this estrangement also helps ore (俺) to protect himself from everything 'mikoto' is associated with (namely, having to be friendly and conscious of his social position, and being a person who tolerates abuse). while the change in accent, personal pronoun, sense of status, the abusive rhetoric he regurgitates, and overall departure from mikoto's typical presenting personality all add to the prior point and to 'mikoto's benefit, it also helps ore (俺) feel like a different person, who is not constrained by having to tolerate things and acting according to his social position. this helps ore (俺) emotionally remove himself from the fact 'mikoto' was trapped and overwhelmed, and allows him to express the intolerable things he does.

unfortunately, emulating the tactics of his abusers and portraying himself as a rough-speaking tough guy who is sadistic and cruel did not go over well with the audience. you might say that this mask was a little too convincing.

we can be almost certain ore (俺) did not fully grasp the position he was in, and the extent of the scrutiny that would go into his behaviour. we can also be certain ore (俺) had no idea he would be unique in being able to attack es, and the ramifications of such.

despite not being uniquely violent as a prisoner, because mikoto was successful in the attack due to the alters loophole, mikoto seems more violent than the others. it also doesn't help mikoto was put under severe psychological pressure, by es being incredibly careless with his dissociative barriers, leading to a sudden and extreme trauma-triggered switch.

it also doesn't help that there is a lot of social stigma in the real world around the mentally ill being unpredictable, violent, and senselessly volatile, and mikoto seemed to align with that, and thus the audience came to conclusions about what this outburst 'meant' about mikoto and the circumstances of his crime.

the audience at large did not like his vibe, and mikoto was deemed unforgiven.

in summary, John Doe ore (俺):

emerges when mikoto is overwhelmed and has his fight response triggered, exhausted of all other options to combatting an overwhelming psychological attack.

presents himself as the archetypal 'monster' (using rough speak, threats, and becoming violent) to intimidate es, stop their prodding at his dissociative barriers that keep him functional and stable, and hopefully prevent further abuse.

main body 2: defining the ore (オレ) of Neoplasm (quick section)

before i dig into Neoplasm, ore (オレ), and ore's (オレ) relationship to ore (俺), i have actually already written an essay and a half analysing ore's (オレ) presentation and motivations in Neoplasm here.

i'm not going to repeat all of my analysis, but i'll summarise the relevant bits, so we are on the same page going forward:

essentially, in Neoplasm, ore (オレ):

emerges coming into trial 2 to be interrogated by es, makes a point to identify 'himself' and only 'himself' as the killer, and spends almost all of his time negotiating mikoto's innocence accordingly.

claims his purpose is to "take it all - bear it all (...) [and] be rid of it."

presents himself as the archetypal 'monster' (using rough speak, threats, dehumanising himself, and making no effort to provide motive or explanation for his murders) to make himself appear unsympathetic and mikoto, in contrast, purely a victim.

you'll see already that the way the two ores function are pretty distinct. despite both having rough demeanours, functioning to protect himself, and evoking the archetypal 'monster', the circumstances in which they come forward and their specific goals in the moment and with their presentations are very different.

despite this distinction, ore (オレ) does intentionally seem to imply that he and ore (俺) are the same, and definitely does not correct this assumption on es' part. so what gives?

main body 3: psychoanalysing the ore (オレ) of Neoplasm

well, let's analyse the circumstances of ore's (オレ) appearance and callbacks, consider ore's (オレ) self-proclaimed purpose and role, and deduce the practical advantages of misleading es and the audience in this specific way.

very importantly, coming into trial 2 and the opening of Neoplasm, the situation for mikoto has changed, a lot.

firstly, mikoto has been voted guilty once. that is to say, whatever mikoto did in John Doe, did not work in his favour. he's also familiarised himself with Milgram by now, and is more aware of his position. so, he's not going to try what he did in John Doe again.

secondly, despite his 'odd case' meaning he has been free to roam the prison, he is chained and restrained for the events of Neoplasm. this also essentially eliminates the chance of any fight or flight response should he be triggered again, doubly.

differently to what brings ore (俺) out, the ore (オレ) of Neoplasm switches in with little fanfare, after a short period of a very dissociated mikoto expressing that he doesn't understand what's going on.

the specific note that he switches in on is on the note of being accused of things — mid sentence, he goes from passively laughing about his hopeless situation, to expressing irritation at it. before the switch, this 'mikoto' expresses that laughing things off comes naturally to him; it's likely this 'mikoto' is unable to feel or identify with frustration as 'himself', hence, the switch.

i also think, due to ore's (オレ) role (as the scapegoat alter who identifies with acts, takes blame and singular responsibility, and may already be planing to lean into his disconnect from 'mikoto' to absolve him), it was very necessary for him to come forward and negotiate with es at some point. hence, the situation of being interrogated by es (and specifically, the topic of blame) brings ore (オレ) forward.

after es immediately verbally takes note of the switch, ore (オレ) makes himself known; he does not pretend nothing has happened or continue with his train of thought. he immediately calls back to ore's (俺) actions in John Doe, implying that this is the same alter that perpetrated them, and generally associates himself with these parts of mikoto that are typically intolerable to him.

(note that while in the original text no specific personal pronoun is used, the obvious implication of bringing up the attack on es immediately after switching in is to create a connection between 'that' ore and 'this' ore. also, assuming the audience has a rudimentary understanding of DID, this alter not having amnesia for the event would also imply that it must be the same alter that perpetrated it.)

in my opinion, and the reason i was typically reluctant to interrogate which of mikoto's alters 'did what', the only reason for calling back to an alter's continuity like this is to establish blame. this goes double when the continuity involves associating yourself with typically intolerable (and socially unacceptable) acts, and triple when, as we have seen as Neoplasm progresses, this alter is generally entirely concerned with taking blame for 'mikoto' to relieve him of culpability and negotiate his physical and psychological freedom.

assuming ore (オレ) is associating and aligning himself with ore's (俺) actions as a way to take the blame for them, there are a few ways we can make sense of this decision.

1: in light of what we know about ore (オレ) as a scapegoat alter who clearly hates himself, who has taken responsibility for their murders to protect 'mikoto's self-image, one likely answer as to why he takes responsibility for ore's (俺) outburst is because he is an alter that handles shame.

even towards the beginning of Neoplasm, ore (オレ) expresses a desire to be dehumanised, and implies that typically, he is not considered human, likely because that would make matters of shame simpler: he is irredeemable, he is a monster, he is everything wrong, this is simply who he is.

this makes it likely to me that whenever mikoto expresses intolerable things or feels shame/is shamed for acting inappropriately, it would be the job of this alter to internalise the emotional fallout, reinforcing this self-image, all slightly away from normative 'mikoto', to protect 'mikoto's self esteem and ability to function. this existence would require ore (オレ) to be aware of any shameful things mikoto has done, including any standing up for himself as mikoto (俺).

mikoto essentially disowns and vilifies anything he does or expresses he considers socially unacceptable through having mikoto (オレ), who sees himself as a 'monster', take responsibility for all his shameful acts. ore (オレ) also handles and makes sense of the overwhelming shame mikoto feels for these acts, expressions, and abuse he has suffered through this way of seeing himself.

this implied long-term vilification of and 'inherent badness' to ore (オレ) could also tie in to a possibility of ore (オレ) existing before the events of milgram, as a part of mikoto that handled shame in his daily life and due to his everyday traumas.

it is also very common for other alters to reinforce introjected abusive rhetoric and lash out at parts that contain and handle shame.

when the person, as a whole, has been made shameful, but most alters cannot handle that level of shame, a typical response is for most alters to dissociate from it, and instead emulate the abuse they have suffered and inner critic they have developed onto only a part of them. this dissociative scapegoating protects the majority of the system from the feeling and experience of being shamed and belittled by themselves, and contains the overwhelming shame in one extreme, but often repressed part.

the fact the majority of mikoto's alters' seem psychologically unable to handle being or acting shamefully, instead blaming and verbally abusing a part who takes responsibility and is scapegoated for everything, and feels shame for everything, is textbook.

i find it likely that to protect himself from abuse at work, mikoto subconsciously separated himself from the 'him' that felt shame, and this alter grew to develop the belief that he must be, and may deserve to be made, responsible for everything.

2: in light of what we know about ore (オレ) as a scapegoat alter who intends to sacrifice himself while bearing all mikoto's sins, one likely answer as to why he takes responsibility for ore's (俺) outburst is also because mikoto's (俺) acts have put him into deep trouble.

towards the beginning of Neoplasm, ore (オレ) comments that one reason he feels he has been out a lot, as opposed to normative 'mikoto', is because of their guilty verdict. i find this makes sense. because 'mikoto' was labelled as culpable for his actions and the audience did not buy the alter excuse, mikoto has been forced from normalcy and forced to reside in a shame part more suited to this reality, where 'mikoto' is unforgiven, socially unacceptable, and labelled as 'dangerous' and otherwise ostracised.

mikoto, in general, does not seem very happy about this. after all, it's in his best interest to remain normative and functional and socially accepted. therefore, mikoto needs to work out how to be forgiven, and overcome the social predicament he has found himself in (both in terms of being a murderer, and being considered a 'volatile' mentally ill man due to his outburst).

the strategy mikoto lands on in Neoplasm comes in the form of ore (オレ) scapegoating himself for the murders, claiming to es that he perpetrated them without mikoto's consent or control, yada yada, as explored in my last essay.

considering the predicament mikoto is in is not only about being a murderer however, and ore (オレ) considers his role to "take it all - bear it all (…) [and] be rid of it," it would also make sense that for his attempted crucifixion, ore (オレ) would take on the responsibility of everything that has rubbed the audience the wrong way, before promising to vanish.

this includes his murders, but it also includes mikoto's (俺) intolerable and socially unacceptable outburst in John Doe, and mikoto's general being considered 'a man with alters, that make him dangerous'.

ore (オレ) wants the audience (and also, probably, himself) to think that after he has 'disappeared', everything unacceptable about mikoto will be gone; the 'alter that murdered', is ore (オレ), and will be gone, the 'alter that lashed out in John Doe', is ore (オレ), and will be gone, and perhaps even 'mikoto's alters in their entirety, that frighten people', are only ore (オレ), and will be gone.

hence, ore (オレ) takes responsibility for everything, before promising to vanquish it, accumulating every symbol and act and demeanour that may have made mikoto unforgiven, and promising to be rid of it, in the desperate attempt to return normalcy and forgiveness to themselves.

(in fact, he even may have implied he and ore (俺) are one and the same, and thus leaned into the presumption that there are only two alters, to make his (オレ) decision to vanish seem like a 'cure' for mikoto's DID (in leaving only the 'normative alter' in existence), and therefore free mikoto from the socially unacceptable status of being an 'othered' mentally ill man with alters, a status that has become apparent as Milgram has progressed and mikoto has been scrutinised. i hope i don't have to explain that you don't 'cure' DID by lobotomising yourself, and mikoto is currently learning this the hard way, based on his T3 lines, but as long as the audience is swayed to this way of thinking, and it is possible ore (オレ) genuinely believed removing all trace of mikoto's mental illness in 'vanishing' 'his alter, who is responsible for everything unacceptable' could help, is all that matters.)

this, actually, brings me into the third element, that i'm going to make a nice little title for, despite being a continuation of the ore (オレ) psychoanalysis, and another possible reason for why he gives us the impression he and ore (俺) are the same.

main body 4: mikoto's convenient false binary

as i said when i opened this essay, mikoto's case is often reduced to a conflict between how one votes a system of one 'innocent' personality and one 'guilty'.

when it comes to approaching and attempting to understand mikoto's crime, many people abstract him, and reduce him to a stock, hollywood, split-personality stereotype. this model, while simplistic and reductive, is easy for a lot of people to understand.

compared to real DID, in which a person is so conflicted on themselves and their actions that it sometimes feels as if they are possessed, and may not understand what they do or who they are, with a lot of muddy middle ground between self-states, identity and memory discontinuation, and blurring, split personality trope provides clearly defined boundaries.

clearly defined boundaries are an illusion in DID. they are also something a person with DID may attempt to reinforce when something a part of them handles or represents is intolerable to them. drawing a firm boundary in their mind helps them feel that they are separate from this part of themselves, and may help to explain the feeling of separatedness: 'if i feel it, it must be true'.

often, it is easiest for a person with DID to make sense of themselves to see themselves as multiple distinct entities, reflecting the different parts of self they have and the barriers between them. and yet, even so, most people with DID struggle with blurriness and existing beyond the confines they've drawn in the sand to make sense of themselves. at the end of the day, a model for understanding one's self is only a model.

that is to say, DID is messy, contradictory, and muddy.

mikoto, with no real coping mechanisms to overcome his symptoms, at the end of his psychological rope, and on the chopping block in Milgram, with already one guilty verdict under his belt, is not in a position to be messy, contradictory, and muddy.

he needs to be easy to understand. he needs to have clearly defined boundaries.

not only is it personally important for ore (オレ) to take the blame alone for all of his shameful actions, and then disappear, but if ore (オレ) can sell to the audience that there are only two alters, clearly defined, one innocent and one guilty, and play along with how the audience stereotypes and abstracts him into a conventional split-personality trope, ore (オレ) can sway the vote to his favour, and attain a forgiven vote, providing (relative) normalcy and social acceptance within Milgram for 'mikoto'.

by leaning into the false binary, creating false continuation between different normative mikotos and between different scapegoated and unacceptable mikotos, and make it seem as if there is no middle ground between them, mikoto creates a 'good' and an 'evil', a 'guilty' and an 'innocent'. he can compartmentalise everything in him that he feels has caused him abuse, blame all his outbursts and crimes on it, and then promise to vanquish it.

and if, 'without' his unacceptable, parts (who are clearly 'monsters', killers, and act out without reason) he is only his normative selves, who have 'done nothing wrong' and were 'helpless to their other side', and will never cause any issues again, the question of what Milgram's audience should do with mikoto becomes simple.

you vote to forgive mikoto.

and wow, it really worked. well done, mikoto. well done, ore (オレ). well done leaning into your own complex dissociation, the illusion of defined boundaries, and the audience's own pop-culture understanding of DID.

conclusion / tl;dr:

the ore (俺) that appears in John Doe and ore (オレ) that appears in Neoplasm are two separate alters. despite appearing on a surface level to have similar demeanours, and both portraying themselves as 'different kinds of people' to mikoto to help mikoto reassure himself they are 'not him, their triggers, actions, reasons, and motivations are distinct.

while ore's (俺) demeanour, aggression, and rhetoric serves to intimidate and challenge an overwhelming threat and escape from the confines of 'mikoto's identity to allow him to protect himself, ore (オレ) emulates a similar demeanour to portray himself as a shameful 'monster' who does not conform to socially acceptable behaviour and represents everything unacceptable about mikoto, to serve as a scapegoat.

despite the fact they are different, ore (オレ) intentionally leads the audience to believe that he is responsible for mikoto's outburst in John Doe, likely due to his role as an alter who handles mikoto's shame and takes the blame for everything mikoto deems unacceptable about himself, as well this claim being convenient for his ultimate plan to be crucified while bearing every unacceptable part of mikoto, in the pursuit of mikoto's forgiveness.

ore (オレ)'s misdirection also ties into the illusion of alter separatedness and mikoto's false binary, that he both utilises to cope, and to navigate the Milgram audience's expectations, as a strategy for securing his forgiveness, as well.

epilogue / reflection

i accidentally strayed into another essay i'm working on towards the end there. i am fascinated by how mikoto responds to the label of DID and conforms to the audience's stigmas and models they apply to him. a full essay on that train of thought is in the works. hang in there. that end bit was just a taste, i guess.

as always, please let me know if any of this is incomprehensible. i can be wordy, and i may accidentally use inaccessible DID jargon. if i have, please let me know and i will correct it. it is very important to me that my analysis can be understood and discussed (and even challenged!) by a wide audience.

anyway, pat yourself on the back, because, even not including text in images, you've officially read 5k words of nonstop mikoto analysis. this is longer than my 'john didn't do it' essay. holy fuck.

i hope you enjoyed. & thank you for sticking with me

no funny meme this time. go mikoto dance.

[insomaniacat]

orv spoilers

tbh I'm so happy there is no explicit romance in orv (minus the brief stuff that happens with jhw and lhs) and because of that I feel like I've been able to appreciate kdj in such a profound way as a character

like sure i like joongdok and yoohankim but to me at least kdj has this level of asexuality to him that I don't usually associate him with anyone that romantically. And their relationships are still as complex and has such a great depth that they are like THE foundest of families and I can return to the kim dokja company at the end of the day as all of them being my comfort characters. you know that saying like 'i love you so much i'd make the world burn for you'? it's meant to be this dramatic line about how much you love someone (romantically), but kdj's company fully encapsulates this in a platonic way that just isn't cringey or anything like that

they are all so platonic but they love each other to such an unconditional way that they ALL decide to relive through all the scenarios again in the hope of finding kim dokja again. and later, they all help to write and spread a story - stories, the thing the reader loves - again, in hopes of bringing kdj back home. they aren't sure if it'll work, but it is through this love they all have that they don't give up and put their hope in this seemingly impossible method

and this is also what makes them fundamentally different from kdj. unlike kim dokja in the apocalypse, they do not have any sort of proof their methods will work. kdj has twsa - the novel he grew up reading, the novel he fantasized living in, the novel that he's spent 13 years following, learning every nook and cranny and probably even planning out his own way to survive the apocalypse from this lengthy novel. he has some sort of assurance his methods will work, with the amount of time hsy put into describing the settings (remember that twsa was not popular and one of the complaints was that tls123 put too much emphasis on the settings that deterred people from reading it, when really, that too was a way to ensure kdj survived the apocalypse later on). he has had time to reassure himself and plan for it, and probably had yjh case test them all

but kdj's company had no assurance - they did not grow up with a book that confirmed their methods of bringing kdj back would work. they did not have any 'third plans', no 'ressurections', no 'restarts', that kdj had in the apocalypse. all they had was their own hope - something kdj didn't have when he was fifteen sitting in that hospital bed after that failed suicide attempt, feeling like the whole world was against him. Until he searched up those three words on his phone. Those three words that were probably 'Ways of Survival'.

And then he found his hope in twsa. he found his hope in yjh, the protagonist made just for him. he found hope in the story that he believed in for the next thirteen years. the story that got him through high school, the CSATs, the military. his hope was in this tangible book that carried him through the apocalypse.

kdj's company had none of that. they only had their hope in kim dokja - the man they survived the scenarios with. they could only put their hope in their memories of surviving with the man that saved them, even though there was no evidence he lived in their world anymore. they had to put their hope in the fact that they remembered he existed, even though they had to acknowledge that they didn't know everything about him.

sing shong touches upon this idea a lot throughout orv - does something really exist if no one knows about it? or, in a more modern saying, did a fallen tree in a forest really fall if no one heard it? what proves the existence of something? what proves that something truly happened? sing shong seems to make it pretty clear that the existence of something can be represented metaphorically like a 'story', and stories need a 'reader', some sort of spectator that witnesses it, for the 'story' to exist.

for kim dokja, his final sacrifice, where he split into infinite little pieces scattered across the universe, was to ensure that everything existed. that open ending, as tragic as it was, was meant to be comforting. that his sacrifice was supposed to be so existences like you and me, are real. no matter how lonely we may feel throughout our lives, a metaphorical 'kim dokja' is looking at our own stories, spectating our own stories, even living our own lives himself.

and what i hate to say sometimes is that kim dokja is not really a character - he is an idea. he is an idea of some being affirming our lives, that it's real, that what we do from day to day, even something as simple as getting up in the mornings and brushing your teeth, or thumbing through a store catalog, matters. and this is why kim dokja sacrificed himself. for all the stories that may have not 'existed' if no one was watching it.

and it's out of love. this tragic, terrible love for the world, that eats away at yourself until you are nothing. but at least you exist.