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i think i have a favourite ship dynamic (also i think its funny alhaitham has problems with a blond in every universe)

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I meann

Detangling Mydei's Backstories Backstory?

My last post, casting doubt on 3.2's revelation that Mydei's immortality is deliberate on his part, led to some interesting discussion in the comments that definitely reinforced my earlier thoughts that the inconsistencies in Mydei's backstory are too numerous to be accidental. Star Rail is not known for its flawless continuity (Robin and Sunday's backstory, I'm looking at you lol), but usually the inconsistencies are not so overt, and repeated so many times, that they become central to the entire plot of a character.

So I wanted to refine my earlier theory a bit: I'm cautiously optimistic that there are enough signs that the inconsistencies in Mydei's backstory are deliberate, and that the Mydei of the current cycle in Amphoreus is actively experiencing an entanglement between two different timelines, without (yet) consciously recognizing the incompatibility of his own "memories."

When we work from the standpoint that the events of Mydei's backstory can be separated into two distinct timelines, the inconsistencies vanish:

The "Sea of Souls" Timeline

This is the most prominent timeline, and the one that appears most accurate for "our" Mydei. In this timeline, Mydei was thrown into the Sea of Souls as a tiny infant and spent the first nine years of his life there. This is confirmed both in the flashback we're provided early in 3.1, as well as in Mydei's voicelines and character stories.

After nine years, he crawled out of the sea (possibly motivated by witnessing Tribbie's "star" in the sky). On the same day (or very near it), he met with a band of Kremnoan exiles.

Whether this was a larger group already, constituting a small "detachment" army of exiles, or just started with the five exiled friends and Mydei then grew into a small army by picking up other exiles over time, is still unclear. However, at this point, Mydei makes no mention of returning to Kremnos and instead goes straight from "leaving the sea" to "living ten years in exile:"

This is the key point of inconsistency between the two "halves" of Mydei's story--either he lived in Kremnos or he didn't. We can handwave here and say "Yes, he returned to Kremnos with his friends and they just hid their identities, leaving Kremnos years later in a self-imposed exile," but the story gives us absolutely no indication that this realistically could have happened. Mydei never once mentions hiding his identity, changing his appearance, or living a double life in the city, and never explains how he would have had access to the inner city of Kremnos ("as befitting a crown prince") and the royal library, yet still go totally unnoticed by his father or anyone loyal to Eurypon, including Krateros. (There's also no explanation at all for why he would have wanted to return to a city ruled by someone who tried to murder him and where he would have had to live life under a fake identity just to get by, but you know...)

Instead, the game does give us several pieces of information indicating that the five Kremnoan exiles did not return to Kremnos after meeting Mydei:

First, Mydei's character stories confirm that Mydei deliberately hid his name while traveling in exile across Amphoreus, indicating that he knew he would be recognized by Eurypon/Eurypon's loyalists if he didn't hide his identity. This awareness suggests it is extremely unlikely that Mydei could have returned to Kremnos without being identified:

This also suggests that, at this point in this timeline, no one in Castrum Kremnos knew for sure that Mydeimos had survived being thrown into the Sea of Souls and returned. This is further confirmed by a memory fragment where Krateros says there has been a "rumor" that the leader of the exiled Kremnoan army is one who "defied death." Krateros alone makes the assumption that this could be Mydei and decides to defect to aid him:

This memory suggests two things clearly: Mydei was not living in Kremnos at the time Krateros defected, and the exile of all of Mydei's friends must have taken place before they met Mydei, years in the past, as there is no way an entire small army could have been exiled from Kremnos, with Mydei in toe, and not at all attract Krateros's attention until after they were gone.

The idea that Mydei never returned to Kremnos is further enforced by Eurypon, who did not recognize Mydei when he confronted him, to the point that he didn't believe Mydei was even Kremnoan. This suggests that Eurypon not only didn't know Mydei's true identity--he'd never seen him before at all, making it extremely unlikely that Mydei was walking around Castrum Kremnos, talking to Chryseus Leo, and reading in the royal library all under some false identity for years. Eurypon certainly wouldn't have been capable of exiling someone he'd never seen before from Kremnos, in any case!

Therefore, we can assume the series of events in this timeline is pretty straightforward: Mydei entered the Sea of Souls as a baby, came out nine years later, went straight into a life of exile with his five friends, amassed power and support for ten years, and then returned to seek vengeance on his father.

The only remaining question in this timeline becomes "When did Mydei join up with Okhema?"

I think, in this timeline, it makes the most sense for Mydei to have only joined up with Okhema after killing his father. In 3.1, Mydei confirms to Phainon that all his friends died before he was able to kill his father, and that none of them ever made it to Okhema:

Therefore, the final order of events for the more prominent timeline is:

Dumped into the sea as an infant, nine years in the Sea of Souls

Ten years in exile with his friends amassing strength and support

Returns to Kremnos, kills his father, and the last of his friends dies that day

Then he defects to Okhema, leading any of the Kremnoans willing to follow him there.

By itself, this story makes perfect sense. If this was all the information we'd been given, there wouldn't have been any gaps.

Unfortunately, we also have a whole other set of information that massively conflicts with these events, which can only really be explained two ways: Either Hoyo messed up (again) and really dropped the consistency ball when it comes to writing Mydei's backstory... Or there's an entire separate timeline going on. Personally, I'm leaning toward the latter, because there are just too many seemingly deliberate fingers in the story pointing toward the inconsistencies for them to feel entirely unintentional to me.

Therefore, I propose that Mydei's memories are actually getting infiltrated by a second, entirely different timeline:

The "Gorgo Lives" Timeline

From 3.0 all the way to 3.2, we're given numerous pieces of information that point to a wholly different order to the events of Mydei's life, contrasting the story that Mydei tells Phainon in the Garden. At first, these events seem scattered and nonsensical, contradicting the "main" timeline in too many ways to be anything but errors... But when taken as a whole, we can build a second coherent timeline out of these events if we make one assumption: There is a timeline where Gorgo lived longer.

In the second timeline which is intruding on Mydei's memories, there appears to be one key point of divergence: Gorgo did not die dueling Eurypon. Either she never challenged him to the duel, or (more likely) she was never successfully poisoned, and therefore it's possible she won the duel, allowing her to rescue Mydei from the sea.

Working from that possibility, a second complete timeline emerges:

Mydei was thrown into the Sea of Souls as an infant but did not drift there for nine years. Instead, he was rescued and brought back to Kremnos, where he was allowed to grow up in the inner city, with access to both Chryseus Leo, who served as his teacher, and access to the royal library, which he is proud enough of to call "his" library. He is able to lead Phainon and the Trailblazer around Castrum Kremnos even in its ruined state because he grew up there, spending enough time there to know the city like the back of his hand:

This is where we can slot in the inconsistent memories Mydei has of Gorgo:

(By the way, although Mydei writes this scene off as a dream, you can actually hear Oronyx's whisper play in the black screen seconds before this "dream" occurs...)

But okay, let's say this is just a wishful dream. Maybe this scene never happened. If all we got of Gorgo supposedly raising Mydei was this moment in 3.1, I might agree that it was just a dream (other than there being no reason to play Oronyx's sound effect there, but you know). However, in 3.2 they then hit us with this:

That's multiple moments now pointing to a timeline where Gorgo raised Mydei. Once is handwave-able--twice? That's deliberate.

In this secondary timeline, Mydei appears to have grown up as Kremnos's beloved crown prince, being warmly embraced by his people (at least until Kremnos fell into calamity). Apparently his days consisted of eating pomegranates, training for combat, playing with Kremnos's kids, and hanging out with his five friends. We see snippets of this idyllic life (along with his five friends appearing to be roughly the same age as him--something that likely wouldn't be true in the "main" timeline, by the way) on Mydei's long march back into Castrum Kremnos:

I know some people took this to be Mydei hallucinating or just wishfully imagining a life where he was able to be happy with his friends, possibly even some metaphorical "encountering the souls of the departed in a paradise," but I don't think this is true. Every single time Mydei phases in and out of this "hallucination," the visual effect and the sound effect of Oronyx are distinctly played--the exact same sound and visuals that play when Trailblazer activates Oronyx's prayer to jump between timelines.

Mydei himself doesn't seem to quite understand what is happening to him in this moment, as you can hear him stumble and pant as he repeatedly goes through flashes of Oronyx's power. You can listen to comparison video clips on the prior post I made about Mydei's backstory.

Furthermore, if we work from the assumption that these moments actually represent a rupture between timelines, then the rest of the inconsistencies can finally be cleared up:

In 3.0, Mydei says that his choice to leave Castrum Kremnos was not a forced exile but a "self-imposed" one:

And this aligns with what he stated in the Garden of Life to Phainon, that he and his friends "left Castrum Kremnos" to go into this self-imposed exile, rather than having never returned to Kremnos from the sea:

Furthermore, this also aligns with the angry NPCs in the past version of Castrum Kremnos that Trailblazer and Castorice travel back to:

Remember that this version of Castrum Kremnos was supposed to be occurring while Eurypon was still alive, so there is absolutely no way this line makes sense in the same universe where Eurypon didn't even know Mydei had survived. There isn't any way, in "our" timeline, that Mydei could have been both the "crown prince" of Kremnos for these NPCs and completely unknown to his father, the king.

These NPCs, furthermore, directly accuse Mydei of "deserting Kremnos," suggesting that Mydei was living in Castrum Kremnos as their prince, and then abandoned them to join Aglaea in Okhema, getting himself and everyone who went with him labelled as "traitors to Kremnos" in the process. None of this makes sense in the context of a timeline where no one in Kremnos knew he had even survived.

Instead, all of these elements point to a different sequence of events:

Gorgo lived, likely winning her duel and thereby (likely) giving her the right to save Mydei from the Sea of Souls and bring him back to Kremnos. He was raised by his mother as the beloved crown prince of Kremnos. Then, years later, as his father and Nikador both descended into full madness, Mydei and the Kremnoan detachment defected.

But what would have triggered this sudden need to defect after years of leading Kremnos as a well-liked prince?

The flashback between Mydei and Eurypon actually suggests a possible reason:

Apparently, at some point, in some timeline, Mydei knew about Eurypon's plan to break Nikador's divinity into separate parts and seal him away, harnessing the power of their titan for himself.

Yet the Mydei of 3.0 seems to have no idea about any of this, never able to give any explanation for how Nikador has degraded so much nor why Nikador is seemingly unkillable. Castorice, Mem, and the Trailblazer have to come up with the idea to go back in time to the past Kremnos by themselves, because Mydei never makes any mention of there ever having been a plot to break up and seal away Nikador's divinity, even when they walk past the very blades that did the sealing.

Finally, there's one last piece of conflicting information: While talking to Phainon in the Garden of Life, Mydei states that all of his friends died before the detachment could ever join up with Okhema and that all of their deaths occurred by the time he went to kill his father. But this conflicts with the NPCs above, who state that Mydei had already defected to Okhema and joined the Flame Chase Journey as a Chrysos Heir while his father was still alive.

This inconsistency is further reinforced by a memory fragment with Krateros, who confirms that Mydei had joined up with Okhema already before killing his father:

Putting all of this together, the complete series of events for this second timeline becomes:

Infant Mydei is quickly rescued from the Sea of Souls, is instead raised by his mother, and grows up as the crown prince of Castrum Kremnos with his five friends.

At some point, years later, he discovers Eurypon's plot to break up and imprison Nikador's divinity, and he and his friends and supporters defect from Kremnos as a result.

Either they go straight to Okhema (I'm inclined to say that "ten years of wandering" doesn't fit, chronologically speaking, into this secondary timeline) or they do wander a bit, but ultimately, Mydei reaches Okhema and aligns with Aglaea before killing his father.

After aligning the Kremnoan Detachment with Okhema, Mydei returns to Castrum Kremnos to kill his father, possibly to halt Eurypon's evil plan to harness Nikador's power.

At some point in this timeline, presumably before Mydei returns to kill his father, Gorgo likely still dies (possibly killed by Eurypon and/or Nikador), which explains why the Gorgo in the Sea of Souls seems to be the one convinced that she raised Mydei.

And this is just pure personal speculation, because there isn't enough evidence to really confirm it, but I almost feel like we can even pinpoint how/when the whole decision to defect to Okhema took place. At the end of Mydei's flashbacks to the "peaceful" Kremnos, Peucesta says that Mydei has been away from Kremnos for a while.

Leonnius assumes that Mydei was away on some apparently extended training trip, but this moment specifically ends with Gorgo welcoming Mydei home and asking him one very important question:

Obviously these lines are doing double duty, symbolically welcoming the present Mydei back to the ruins of Castrum Kremnos and asking him whether he's finally ready to take on his role as the "Guardian of Amphoreus." But as the wiki notes, this takes place in a flashback to the past, and for the "Mydei of the past" (aka the Mydei of the alternate timeline), this could very well have been Mydei disappearing from Kremnos to make contact with Aglaea in Okhema, and Gorgo questioning him about his decision to commit himself to the Flame Chase Journey, leading up to an ultimate and permanent defection from Kremnos. (This is just speculation though, trying to tie the last few loose ends together.)

Anyway, when taken from this perspective, that there are two separate backstories here, one from a world where Gorgo lived and the more prominent one where she died, we can sort all the seeming inconsistencies in Mydei's backstory into two surprisingly tidy and complete timelines.

I haven't yet found anything in any Mydei scene that doesn't fit one of these two scenarios, so I'm starting to definitely feel optimistic here that this writing was intentional, and that the "contradictory" backstory we're seeing for Mydei isn't "the worst continuity Star Rail has served up to date," but instead an actual deliberate choice to present us with a character whose memories are a hodge-podge of two divergent timelines, snippets of one timeline constantly erupting and "filling in the blanks" of the other.

I think this would be a fascinating way to lead up to the idea that Amphoreus's world isn't real, that it's a cobbled together story or set of memories that someone is barely holding together, and that it's constantly cyclical in nature, with events repeating with slight variations across times. The idea that Mydei is actually experiencing two different sets of memories crushed together into a tangled jumble and that he's only just now starting to become aware of the discrepancies would be such an excellent way to reinforce the "unreality" of Amphoreus's plot as a whole.

I really hope this is the direction that they take the story... Or at least that I won't one day be looking at all my Mydei posts and sadly thinking to myself that I put a lot more thought into the character's backstory than his own writers did, RIPPPPP. 😂😂😂

Cope with me, people!

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Comparing Phaidei and Other Hoyo MLM Ships (Part 2)

<- Part 1 is back that way.

In the first part of this, I laid out some of the ways Phaidei fits within Hoyo's normal pattern for queer-coded MLM ships: They're equals but opposites, perfectly matched; they've ostensibly got a "rivalry" as a cover for their laser focus on each other; their models are deliberately placed closer together in cutscenes than other characters' are, and they're intentionally paralleled to a heterosexual married couple. All of these are traits that other Hoyo MLM pairs also show, a sort of foundational standard for Hoyo's queer-coded MLM ships.

But then Phaidei just took a huge side-step around all of them, and started doing things that Hoyo hasn't done in any of their other recent games. (Tiny aside here: HI3 does wildly different things with its characters; I think that being first published when Hoyo was a more obscure company allowed them to get away with things--like the Bronya/Seele kiss and Welt and Co.'s cross-dressing, for example--that "modern" Hoyo games cannot get away with due to greater levels of public scrutiny.)

I said it in the other post, but it bears repeating:

You really aren't imagining things--Phaidei is actually different.

So I wanted to take a closer look at what was making it feel so unique, by comparing its differences to other popular Hoyo MLM ships.

Here we go:

1. The Feeling's Mutual

There was no heterosexual explanation for this framing.

In Part 1 of this post, I noted that Hoyo has a typical personality pattern they follow when queer-coding their male characters, particularly in using "difficult" personalities to create an artificial sense of distance between the characters. If one character is angry all the time, or tsundere, or using sarcasm to cover for their fear of getting close to others, Hoyo can mobilize that personality gap as a shield to give anti-LGBT+ players plausible deniability. Hell, there are people still out there genuinely convinced that Alhaitham and Kaveh have a toxic relationship. There are people out there saying Ratio despises Aventurine because he was mean to him one (1) time while undercover. That's how effective injecting a little bit of bickering into a queer-coded relationship is.

Hoyoverse is very, very familiar with creating this delicate balance of teasing the ship while feeding anti-LGBT+ players and censors just enough "Look, they don't like each other; they're arguing!" contrary material to avoid setting anyone off.

Which... makes it absolutely bizarre that they made almost no effort to do this with Phainon and Mydei.

Sure, on paper we're told that Phainon and Mydei are rivals. Phainon describes it as "He's both my friend and my foe." And yes, they have their quips (Phainon's "It's exhausting talking to you sometimes" comes to mind).

But animosity--the genuine desire to one-up each other--is completely missing from Mydei and Phainon's "rivalry." They aren't Sasuke and Naruto. They aren't Izuku and Bakugou. They don't actually even want to beat each other--they want to be equals. If you defeat Mydei in the 3.0 competition, Phainon immediately folds and calls the contest off. If you let Mydei win, Mydei immediately folds and declares no contest.

Although Aglaea notes they compete because they're "impulsive youths," what she was actually missing is that Mydei only let himself be goaded into Phainon's hot bath competition because he was worried about Phainon and wanted to take Phainon's mind off the failed trial. Then, immediately after beating Phainon in the hot bath challenge, he lets Phainon win the "take more people home" challenge, to tie up their score again.

In fact, Mydei and Phainon's relationship is so devoid of the actual back-and-forth typical of other Hoyoverse MLM ships that at one point, Phainon even asks for it:

(Though he's equally quick to demand compliments from Mydei too.)

Instead, virtually every line from Phainon and Mydei through both 3.0 and 3.1 reiterates that they care deeply about each other, and are concerned for not only each other's physical well-being but also each other's mental and emotional health. They freely and consistently support each other both on the battlefield and off, confessing their struggles and relying on each other for advice. Whenever they're separated, the game intentionally hammers home how worried they are without the other around.

Over and over and over again, the devs tell you how well Mydei and Phainon know each other and how much effort they're putting in to take care of each other:

The game doesn't let us forget that they are one another's "closest person," and that the respect they have for each other is mutual. Although I wouldn't go so far as to speculate they actually recognize romantic feelings, canon makes it clear that they are aware their emotional connection goes both ways. They don't just value each other's battle prowess, intelligence, or usefulness--they value each other's feelings explicitly, every single time emotions are expressed between them in the game's text.

In fact, Mydei even scolds Phainon for approaching their goodbye with a straight face; he knows that Phainon is hurt by their parting, and he wants Phainon to be honest, as Mydei is being honest in turn:

The rainbows in the background really sold the scene, ngl.

This isn't Renheng, where resentment has taken away any glimmer of joy. This isn't Ratiorine, where even if Aventurine were in a more stable mindset, Ratio's inability to spit out his feelings might keep them from going anywhere. Even with Haikaveh, the Hoyo ship known for Alhaitham's devotion, Kaveh's own struggles and refusal to accept Alhaitham's kindness are an active plot point keeping them from progressing. Maybe you could draw a parallel between Phaidei and Cyno/Tighnari for levels of "mutual," but even then, Cynari interactions are often left off-screen or in the background, for the players to fill in the blanks. On the contrary, Phainon and Mydei's fondness for each other is constantly in our faces.

The devs wanted players to know Phainon and Mydei are invested. We're supposed to see how much they want to be near each other.

More than that, we're supposed to understand just how deeply they trust each other.

Okay, okay, yes, I know this is massive foreshadowing to the inevitable betrayal and tragedy impending (come on, Amphoreus wouldn't qualify as an ancient Greek drama without it!), but I think that a lot of people are missing the key here: By this point in the story, Mydei already knows how he's going to die. He knows someone is going to stab him in the back and finally end his immortal life. When he entrusts Phainon with this secret, he's not trusting Phainon to keep him safe. He's trusting Phainon to do the opposite.

He's telling Phainon: "I want it to be you."

If the prophecy can't be changed and fate is set in stone, then Mydei wants Phainon to be with him in his final moments, to be the one to finally set him free from the "curse" he perceives his own immortality to be. Of course it would be Hoyo who makes "I want to die by yours hands" into a declaration of ultimate trust, but it is an explicit statement of trust, in a way that very few--if any--other modern Hoyoverse MLM ships get to show each other on screen.

Phew, that was a lot!

But I think this is one of the clearest and most defining differences between Phainon and Mydei and other Hoyo MLM ships--the devs took away players' ability to claim they don't get along. You might still be able to call them "just friends" or "brothers in arms," but unlike Alhaitham and Kaveh who fight, Ratiorine who scheme, or Renheng who are actual enemies, Mydei and Phainon explicitly like each other. They trust each other. They seek one another out.

It might seem like a small thing on paper, but this is actually a big thing in practice. Hoyo is pushing the boundary here, reducing the avenues for deniability. It is harder for anti-LGBT+ fans to claim that Phainon and Mydei don't have obvious in-game ship-tease than for virtually any other modern Hoyoverse MLM ship. (By the way, this is why people have resorted to calling Phaidei "industry plant yaoi;" because they can't deny the queer-coding is actually there this time, they instead have to try to de-legitimize the ship in other ways, such as dismissing it as nothing more than bait.)

This also means Hoyo has less of an "out" if people start to really question. It would be harder to explain away Phainon and Mydei's relationship than it would be to explain away even Alhaitham and Kaveh's. Alhaitham and Kaveh have "They're always arguing" and "Their friendship was ruined by their fight" or "They're just roommates," etc. to lean back on. Phainon and Mydei... are really bad at even pretending to be rivals...

All of this to say: Hoyo made a bold and deliberate choice allowing two of their mainstream male characters to be so emotionally close and attentive to each other on screen. They went outside their own current comfort zone for this one, guys.

2. We're Conspicuously Missing a Twink

Moving on from Phaidei's emotional differences, I wanted to talk specifically about Hoyoverse's perspectives on gay men, and how easy it is for companies to slip into not only stereotypes for gay characters, but also extremely heteronormative portrayals of gay relationships. As sad as it is, it is easier to market queer-coded male characters if they fit into the expected pattern for heterosexual relationships: a highly masculine man to "wear the pants" in the relationship, paired with a delicate, effeminate man to obviously be the bottom.

Now, don't get me wrong: Gay relationships come in all varieties; people have different preferences, and categorical groups like "twinks" and "bears" exist so people who have those preferences can find each other. Obviously plenty of hyper-masculine gay men do want more effeminate partners. But "masculine man with feminine man" isn't the only kind of gay relationship around, despite what yaoi ship-tease might suggest.

I don't want to say that Hoyo's track record on this front is bad, because honestly it's not. Their male characters often have surprisingly complex expressions of gender identity, with interesting blends of masculine and feminine traits. But... Hoyo does have a pattern. Plenty of their queer-coded MLM ships fall into this same general (and kind of stereotypical) profile: a masculine man with a more feminine man. Alhaitham is inexplicably ripped and represents calm rationality, while Kaveh is "the spitting image of his mother," has to wring out his wrists when he uses his own weapon, and represents passion and romanticism. Ayato is the head of his clan; Thoma holds housekeeping classes for Inazuma's other housewives. Xingqiu is the "refined" rich boy in ruffles; Chongyun is the down-to-earth working lad. Wriothesley is the most masculine man in Genshin Impact; Neuvillette mothers the entire race of Melusines. Over in Star Rail, Aventurine covets pink diamonds, bathes himself in sparkling perfume, and is so tiny Ratio's hands can encircle his waist. (I don't actually think Aventurine is that feminine, but trying to pretend that he isn't designed to evoke queer tropes is just silly.) Moze is as ripped as Alhaitham, while Jiaoqiu is... very pink. I'm going to talk more about Renheng in a sec, but Renheng is also this way, with the more "delicate"-looking Imbibitor Lunae to Yingxing/Blade's solid frame.

Mydei and Phainon don't fit this pattern at all. Both of them are as tall as Star Rail models come, and while Mydei's build has an impressive degree of bulk, Phainon is no slouch either:

Neither one of them is visually effeminate in any manner, and they're also not effeminate in personality or role in the story. Neither of them is a housekeeper or a home-maker; (again, poor Aventurine catching strays, but:) neither of them is in the business of blinding people into deals with their good-looks or careful facade of helplessness.

Theoretically we could say the devs tried to squish Mydei into a more heteronormative role by giving him traditionally "feminine" traits: he cooks, he plays house with children, he puts milk in his juice and turns it pink, he's paralleled almost exclusively to his own mother... But his role in the plot is such a quintessentially masculine story (son of a self-fulfilling prophecy, father-killer, god-slaying warrior, king to his people, aura-farming champion of the Amphoreus battle cutscenes, etc.) that clearly we are not meant to perceive him as a stereotypically feminine figure. The whole "malewife Mydei" thing comes across as so comedic because he is so masculine.

Conversely, Phainon, despite being the "gentler" of the two characters, the one who is described as having a soft heart and being outgoing and kind, is even less suited to being called feminine. His "Messiah"-esque role in the story, literally being the "prodigal son" of Amphoreus, paints him as the very picture of a classical male hero. Even more so than Mydei, he is a private and closed off person who hides his heart--and his own identity--from those around him, traits more often stereotypically associated with emotionally-closed-off men than female characters.

Up to this point, Hoyoverse had a relatively stable pattern in the MLM ships they baited in their recent games. They primarily played it safe, sticking to queer-coding relationships that both visually and narratively reflect heteronormative relationships.

But Phaidei once again broke the mold.

This time, Hoyo chose to queer-code not the more delicate-looking man (although I guess there's still plenty of time for Anaxa, I shouldn't sell him shorter than he already is lol), but two overtly masculine male characters, who can't be readily projected on to a stereotypical heterosexual relationship. This was a big departure from the norm, and I think this actually deserves a lot more respect than people are giving it. Hoyo didn't have to pick their two muscle-bound warrior male leads and make them close and caring. They didn't have to expose themselves to the obvious question: "Why are two 'manly' characters being so soft on each other?" It is harder to pass off Phainon and Mydei's queer-coding as accidental, or suggest the fans are just reading too much into it, when nothing about them can be mistaken for a "traditional" heteronormative relationship. For a game produced in China, where standards for depicting men and masculinity in media are so high, making the choice to bait two masculine men together (let alone this expansion's "hero," who is an expy of a beloved former character), was a very bold and risky choice on Hoyo's part.

Companies don't make bold and risky choices on accident.

Finally, I wanted to make one more point about why I appreciate Phaidei's emotionally attentive depiction--it's because there's a whole other realm they could have taken the "definitely going to turn into a villain" queer-coded main character. As I mentioned in the first part of this post, queer-coding villains is a trope as old as dirt. When you queer-code a male villain particularly, you add an extra layer to the danger: Now the male villain is not just a physical threat, but a sexual one. Adding queer-coding to the male villain conflates homosexuality with deviance or perversion and suggests sexual violence even if nothing ever truly occurs.

Maybe the real Hoyoverse queer-coding was the red flower petals we threw along the way.

I said I was going to bring up Renheng, and here it is: Unfortunately, Blade and Dan Heng fall into this latter pattern a bit. Although he has his reasons, the game's portrayal of Blade's "pursuit," especially in the early portion of their story, casts Dan Heng into the role of the victim, a young man being hounded by a crazed stalker who refuses to let him go. Their cutscenes, including Dan Heng's nightmares, paint Blade as an overwhelming presence who invades both Dan Heng's physical space but also his mental space, making it impossible for Dan Heng to escape his clutches. This "We must pay the price together" absolutely reads, out of content anyway, as some sort of yandere death pact. Their lightcone is literally called "Nowhere to Run."

Even though Blade is not deliberately engaging in any form of sexual behavior, his obsession with Dan Heng gives some impression of a cliched "depraved homosexual" and the implication that sexual violence could occur is present through their early interactions. I'm not going to lie, part of Renheng's early appeal was how scary and dominating Blade came across as. The subtle sexual implications of pursuit are the point. As things progress, of course, we saw this dynamic dissipate, which I think speaks to the devs reflecting a bit on how they want Blade to come across to audiences.

We know that Phainon is headed for a downfall. It's been so obviously foreshadowed at this point that there's really nothing much more to say than that--however, even though he will likely also descend into villainy like Blade, and even though we know he's very likely going to kill Mydei... I don't think that the devs will use Phainon's queer-coding as part of his Flame Reaver identity. I don't get any sense that the dev team will conflate Phainon's potential homosexuality with depravity, or use it as a motive for his descent into villainy (he might be gay and a villain, but he won't be a villain because he is gay). I definitely don't think we will see the kind of sexually-threatening physicality between Flame Reaver and Mydei that the devs did earlier with Blade and Dan Heng, even if "stabbing someone from behind" does have an inherent sort of sexual symbolism.

I appreciate that even in a story headed for the obvious "stabbed in the back by the villain form of the man I loved," the devs seem like they will avoid any portrayal of gay men as predatory.

3. Leave Room for the Trailblazer

In part 1 of this post, I mentioned that Hoyo uses the placements of characters in scenes to indicate closeness, and I already pointed out that Mydei and Phainon stand really... really... close together, much closer than they stand to other characters.

However, it's not just that their models are literally positioned closer together in cutscenes--it's that their body language explicitly closes other characters out. Plenty of Hoyoverse MLM ships are ship-baited by moving the models of the male characters closer together, but very, very few of them are positioned to so consistently exclude even the player.

For comparison, consider the well-known scene where Alhaitham brings the Traveler and Paimon to his and Kaveh's house, which was framed with both domesticity and intimacy:

Although Alhaitham and Kaveh are also prone to the "stand shoulder-to-shoulder" thing that Hoyo does when they want to imply closeness between characters, the framing of their scenes nevertheless leave enough space for the Traveler and Paimon to be active participants in the conversation, enough space between Alhaitham and Kaveh for Traveler to not look blocked out.

For example, despite standing next to each other in that moment above, the camera deliberately cuts Alhaitham out, so that only Kaveh and the Traveler duo occupy the shot. Later on, Alhaitham bridges the divide between the Traveler and Kaveh, turning away from Kaveh toward the Traveler--once again, the conversation and scene are open to the Traveler, and thus, to the player.

Here's a live demonstration of my earlier point: Alhaitham and Kaveh stand closer together than the player and Candace, indicating their closer connection.

Other scenes play out similarly--although Alhaitham and Kaveh are close, their body language doesn't actively exclude other characters or the player from feeling like part of their conversations.

Over in Star Rail, we see the same general situation. We know that Aventurine rarely stands close to other characters, with Ratio being the one relatively consistent exception, but even so, the camera will usually give them some breathing room, making it feel like there's enough space for the player on the other side of the screen to be part of the moment:

Meanwhile Blade excludes both Dan Heng and the player, putting us on equal footing to Dan Heng and giving the impression that the player and Dan Heng are standing against Blade together. There is still room for "us" in this scene.

However, once again, Phaidei proves the exception. Mydei and Phainon don't just stand close--they don't even want to share air with anyone but each other.

A very normal way to have a group conversation. Definitely.

Consistently when standing side-by-side, they turn inward to face each other, rather than facing other characters in the conversation, literally forming a closed unit despite the fact that they're supposed to be in a group scene:

The thirdest third wheel to ever third wheel.

If it wasn't enough for the devs to just imply that the Trailblazer isn't able to break through Mydei and Phainon's circle, they decided to call it out in the text itself, echoing the player's own thoughts: "What about me?"

As I mentioned in the first part of the post, the devs also consistently use specific camera angles to capture both Mydei and Phainon in the frame together, at the same time, further emphasizing the closed nature of their conversations.

You will never see so many over-the-shoulder shots again in your life. You are the outsider looking in!

Perhaps most telling about the devs' intention to create an intimate air for Phainon and Mydei's conversations is that literally everyone else disappears when they speak to each other. For example, Phainon and Mydei's first goodbye takes place in the Garden of Life, which is actually a pretty bustling plaza with numerous NPCs. But every single NPC was deliberately removed by the dev team for Mydei and Phainon's scene there, to allow them a private moment:

Even in their final farewell, where Mydei was seen off by a literal bustling crowd of NPCs, not a single person is visible during their goodbyes--until the exact moment Mydei reminds Phainon that the whole rest of the world is waiting for him. The whole rest of the world didn't even exist for Phainon until Mydei forced him to remember.

It's not just the Trailblazer (and us, the player) who is third wheeling Mydei and Phainon's relationship. They literally exist in a world of their own when they speak to each other. No other modern Hoyoverse ship is on this level of excluding even the player--excluding even the damn NPCs!--to make a point about their closeness.

I thought I was going crazy the first time I was watching these scenes, thinking "It can't be that the devs actually went that far in framing Mydei and Phainon as a pair." But they did. They actually did.

The envelope has been pushed off a mountain, my guys.

But that still wasn't enough for the devs. They needed to go further.

4. Deploy Shoujo Manga Trope #57

I know I just said that Phainon and Mydei's relationship doesn't map well a typical heteronormative male/female relationship, but that doesn't mean the devs gave up on any and all attempts to apply typical romantic cliches to Phaidei. On the contrary, the dev team's thought process seems to have been "Hey, we're doubling-down on our queer-coding for Phainon and Mydei. How can we make it really, really, really obvious they're a ship?" And then they literally spun a roulette wheel of romantic tropes and threw every single one of them at patch 3.1 at the same time.

We have the "romantic lead beautifully framed by red rose petals blood glitter":

The "You used my love to manipulate me" subplot:

Phainon begs for compliments, and Mydei's reaction is to look away demurely and call him a scoundrel?? Am I seeing things?!

This is where he'd be blushing like a tomato if he was a female character.

The "please look after my dear husband when I'm gone" tragedy trope:

THE RING???

"LET'S MEET AGAIN IN THE NEXT LIFE"?!!

What do I even say about all... this...? Do I even need to say anything at all? Has any MLM ship in a recent Hoyoverse game gotten remotely as many romance flags? Alhaitham, where is Kaveh's ring?!

What I actually want to say isn't a specific breakdown of any of these moments, but what they mean in totality. Remember that Hoyo made every one of these choices with deliberate intent. They knew what the picture would add up to. These are explicitly romantic tropes that are extremely difficult to interpret in other lights.

You are supposed to read "If there's a chance in the next life" as "I want to be reincarnated with you; I want to meet you again; I want to be with you in a softer world."

You're supposed to think of the ring as a wedding ring. For one, Gorgo would only have gotten it through her marriage to Eurypon, but even more so--there was no reason this item needed to be a ring in the first place except to evoke images of wedding rings. We already knew from 3.0 that Castrum Kremnos used crests and seals for identification. Why make it a ring and not just the crest of Castrum Kremnos? Furthermore, why involve Phainon at all? The audience would never have known any different if Chartonus just said "Found this I did, have it you should, Mydei." It's a ring and it's a ring deliberately from Phainon because the devs want you to see it as a wedding ring.

What an incredibly bold move on Hoyo's part, and I don't even really mean just in the context of being a Chinese company, but even in the context of being a global company. Hoyo lives and dies by the revenue of their character banners, and choosing to explicitly and (nearly) exclusively apply romantic tropes to their male lead and deuteragonist in a brand-new patch cycle was a legitimately daring choice. Their deliberate application of romantic staples to an MLM ship, in a way that is difficult even for anti-LGBT+ fans to write off, was a very, very calculated decision. I genuinely hope it pays off for them. I hope Mydei and Phainon's banners both sell well, so the devs' receive a clear message in turn that fans appreciated their boldness and their commitment to creating queer content for these two characters.

I'm just going to end on one final note, about a scene that you may have noticed I conveniently skipped. Yes, the most conspicuous scene of them all:

5. A+ Censor Dodging

By some miracle of obliviousness, some Olympic-level mental gymnastics, or by sheer force of will, I think some people might still have made it to this point thinking that Phaidei was not being deliberately baited by the devs. You could maybe, somehow, convince yourself that the blood glitter rose petals and the shoulder-to-shoulder emotional conversations were just coincidences, that the tsundere "I'm not worried about him" was just dudes being tough guys, that the Trailblazer was a third wheel because Phainon and Mydei are "just good friends."

But then devs said "No, we need to be unmistakable. We need to make ourselves 1000% clear. We are baiting the yaoi fangirls, guys; please stop ignoring our hard work."

If going further than they've ever gone with Mydei and Phainon's body language wasn't enough, if Phainon's being willing to kill a god to save his man wasn't enough, if implying a wedding ring wasn't enough, what else could the devs possibly do to remove all plausible deniability and make it undeniably clear that Mydei and Phainon are queer characters (even if it is only for the benefit of yaoi fangirls)?

They can do something they've never done in their recent games before: Imply actual sex between male characters.

(Side note, Hoyo lesbians have had this implied sexual content pass from the beginning. You will always be famous, Beiguang. It's only the male characters that can't even have implied sex. 😂)

Obviously Phainon and Mydei are not having sex in the game. The dialogue even goes out of its way afterward to remind us that they remained fully clothed in that bath, thank you. But the refusal to show what was actually happening--censorship used as a tool to imply--the cut to the black screen, the narration of one animal pursuing another, the discretionary water droplets between the moaning... (And another little edit because @mynabirb made such a good point in the tags: The fact that they chose to "censor" this with a butterfly, the literal symbol of romance in Amphoreus, is almost too much. The devs really did say "Time to silence all doubts.")

From the player's perspective--and examining this as a choice on the dev team's part--there is no way to read this scene other than "sexually suggestive." You're supposed to think "This sounds incredibly sus." Because it is sus. Because the devs added this scene knowing that it would intentionally make people think about the idea of Phainon and Mydei having sex.

Sure, this scene is really funny in context. You're supposed to come out of it laughing, going "Wow, they're idiots." But you will also, whether you like it or not, come out of this thinking "Damn, Hoyo really went all in on the yaoi bait, didn't they?"

You can't "Devs didn't mean it" out of this one.

Which is brave as hell on Hoyo's part, to be honest! Even if this is nothing but queer-baiting, they saw that sick yaoi fan money and decided to go all in on it.

Say it with me: A dev team from a country with notoriously strict rules against depictions of homosexuality in media, from a company with a huge global fanbase including many conservative and religious countries, and with a majority male target audience, went out of their way to undeniably include sexually suggestive gay content in their game.

Whatever their motivation--be it simply money or from a genuine desire to tell gay stories--this wasn't a casual decision. This took commitment. This decision almost certainly went all the way to the top brass of the team for clearance. Someone probably had to fight to get this added.

But they did it, and not with Kaveh and Alhaitham (the previously undisputed kings of current Hoyoverse queer-coding) but with two brand-new (to Star Rail at least) characters who have extremely important roles in the game's on-going narrative--major characters who can't be overlooked.

Phaidei is literally built different.

But I'm still left with one lingering question:

Is Hoyo queer-coding or just queer-baiting?

Even though I played 3.1 in a sort of stupefied haze because I actually couldn't believe what I was seeing in Phainon and Mydei's scenes, I also ended it with a pretty bittersweet feeling.

How amazing that Hoyo pushed the envelope so far with Phaidei... But at what cost?

Did Mydei really have to leave Okhema never to return? Or is he being banished from the plot because his relationship with Phainon was too intense?

Isn't this just the "bury your gays" trope, in essence?

Lore-wise, there isn't any reason Mydei actually has to leave Okhema forever. Sure, he presumably is going to fight the Black Tide where it manifests across Amphoreus, but what about that requires him to "never return"? Demigods aren't geographically bound to the locations their Titans blessed, or Aglaea and Anaxa wouldn't be able to leave the Grove. There shouldn't be any reason Mydei can't visit Okhema when he wants.

The more you think about it, the worse it looks that the dev team implied Phaidei harder than they've ever implied an MLM ship before, only to immediately turn around and go "And then Mydei left forever." As if the only way it's okay to make characters that gay is if you then get rid of at least one of them. (Speaking humorously, at the rate Phainon and Mydei were going, if the devs didn't get rid of Mydei, he and Phainon probably would have been making out on-screen by 3.2, but you know what I mean.)

Sure Phaidei can be the MLM Star Rail ship with the most support in canon--but only at the cost of never being seen together again, apparently.

I'm not sure I like this trade off.

However, I am telling myself to remain cautiously optimistic. We know that Mydei's role in the story is not done, and that he and Phainon are destined for at least one more reunion, even if it won't be a happy one. We've been told that Amphoreus's story will be "heart-warming." I choose to believe that the devs will try to scrabble some sort of positive ending out of all this. At the very least, perhaps we'll end with a "in another life montage," and get to see Phainon and Mydei finally meeting in that library.

So is Hoyo queer-coding from a genuine desire to include gay characters or just baiting hard to sell Mydei to fangirls?

I'd say let's wait and see. Amphoreus has barely started cooking.

In the meantime, I think it is worth examining (and appreciating) Hoyo's willingness to mix up their own patterns, break their own trends, and to try something truly new and different with Phaidei. Even if this is all the content we ever get, Hoyoverse did things they haven't done before in any of their recent games, and showed that they're willing to push the limits for queer content in order to tell the stories they really want to tell.

I am a served fan, Hoyo. Well played, well played.

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Comparing Phaidei and Other Hoyo MLM Ships (Part 1)

I barely know how to begin, honestly, because I'm still so taken aback by the absolute Phaidei feast that was 3.1. But perhaps because we were so overfed by the patch, I was actually jarred a little out of the story itself--too busy turning over the broader ramifications of such blatant queer-coding of two male characters in a modern Hoyoverse game.

Of course, Hoyo isn't remotely new to queer-coding their characters (or to queer-baiting, either, gacha games gotta hustle at all times). They absolutely have a history of hinting at both WLW and MLM ships and of including fanservice between the player's MC and other playable characters regardless of gender. Strangely enough, due to the unique confluence of their target audiences' tastes, the Hoyoverse team has an active profit motive to create gay characters:

WLW ships are appealing to heterosexual male players.

MLM ships are appealing to heterosexual female players.

Simultaneously, WLW and MLM ships are appealing to queer players.

Heterosexual ships with characters other than the MC are unappealing to a large percentage of the game's playerbase, particularly to heterosexual male players who want to keep their waifus to themselves but also to female yumeshippers.

Hoyo's market is literally telling them that 1) male characters sell better when they're ship-baited with other male characters, and 2) players don't actually want heterosexual ships between playable characters if the MC isn't involved. (Hell, look at Firefly--players hate romances with the MC too lol!)

But at the same time as the market is telling the devs to keep making queer characters, Hoyoverse also faces immense social pressure to avoid including actual queer content.

Let me hold off on the political and legal consequences of including gay characters in Chinese media for just a second, and look at the situation from the perspective of Hoyo's target audiences first:

Take this data with a grain of salt though; I'm not sure where they got their numbers.

First, Hoyoverse games are increasingly global and surprisingly popular in conservative/religious countries such as Russia, Malaysia, and the UAE. The western world as a whole is shifting increasingly right on LGBT+ issues. For the games to be marketed well across the globe, they've got to avoid challenging the morals of these highly varied audiences. (Perhaps this is why past Hoyoverse titles seemed more open to LGBT+ content than present Hoyoverse games do; a broader audience actually means more restrictions on content.)

Second, even though conservative heterosexual male players are actually surprisingly fine with MLM ship tease, that only applies so long as it stays at the level of "I can pretend I don't see it." As long as anti-LGBT+ players can write off any MLM content as "just close friends," the dev team can get away with frankly shocking amounts of queer interaction between male characters. (I'm sorry to any straight male fans reading this [could there possibly be any?], but half of y'all could win gold medals if mental gymnastics were a sport. The lengths I have seen some male Genshin players go to try to explain away Haikaveh are honestly awe-inspiring. 😂) However, the boundary must be respected. The moment a male character's queerness exceeds subtext and becomes text, when even mental gymnastics cannot come up with a heterosexual explanation, and the plausible deniability goes out the window, it is no longer acceptable to anti-LGBT+ players, and they will be "turned off" from pulling that male character en masse. In essence, the market is telling the devs: 1) Huge amounts of queer-coding = a-okay, but 2) Actual canon queer content = that's gayyyy, no wayyyy.

And third, the obvious: China's stance on LGBT+ people is weirdly stricter in media than it is in "real" life. It is not illegal to be gay in China but it is illegal to be gay in a video game in China. Restrictions on media portrayals of gayness are significantly more strict than restrictions on actually being gay (which is interesting cognitive dissonance for those from outside the country, but that's an essay for another day). Hoyoverse legally cannot show characters engaged in any explicitly queer behaviors--at least that can't be explained away.

Furthermore, the rules apply very differently for male and female characters. WLW content gets way more of a pass from the censors. Bronya and Seele can blush at each other, but Alhaitham and Kaveh cannot. You would never see "Rondo Across Countless Kalpas" happening with male Hoyoverse characters. The censors literally would not allow it, strictly because Chinese standards for portrayals of men are different--and more strict!--than standards for portraying women. Legally, there are strong and serious limitations on what Hoyo can do with their male characters.

Summing all of this up, in trying to create their male characters and content, Hoyoverse is actually fighting a battle of conflicting pressures: Male characters sell better when they are queer-coded, but their interactions can never rise to the level of being canonically gay.

Everything must exist in the realm of implication.

(Yes, I can hear you: "Can you please get to Phaidei already?" 😂)

All of this foreword was to lay a foundation for the actual point I want to make about Phaidei: Because Hoyoverse can only queer-code and not actually queer their male characters, they have (in their modern games), fallen into a sort of pattern with their MLM ship bait. Certain plots and personalities keeps reappearing again and again. They've developed a sort of short-hand set of traits to give to their male characters--the Hoyoverse "queer-coded MLM starter pack" if you will lol.

While not every popular MLM ship in Hoyo's games has the same traits (obviously not), certain elements seem central to creating the delicate necessary gray area between "They're just baiting fangirls" and "The devs intended these two characters to be canonically gay but just couldn't state that textually."

And yet... And yet...

You're not imagining things: Phaidei is actually different.

To demonstrate just how different though, I wanted to take the time to compare Phaidei with other popular Hoyoverse MLM ships, looking at both the similarities (the patterns that Hoyo relies on to reliably queer-code their characters) and the noticeable differences (where Hoyo pushed their own boundaries in surprising ways).

Unfortunately, in the interest of full transparency, my own Hoyoverse experience is limited, so I can only use examples from Star Rail and Genshin Impact. I just haven't played HI3 or ZZZ, so I don't feel comfortable trying to use examples from those games, although I think there may be many ships that fall into similar patterns in those games as well. (Maybe some people can share in the comments?)

Anyway, let's start with similarities:

1. A Pair of Equals

The number one "rule" for popular Hoyoverse queer-coded MLM ships is that the two characters must be evenly matched. This isn't to say they have to have identical levels of physical strength (although that is also often the case); instead, the audience needs to perceive them as being on equal footing in some way. They must either be intellectual equals (Alhaitham and Kaveh), political equals (Ratio and Aventurine; Neuvillette and Wriothesley), equal in social standing (Tighnari and Cyno), or, yes, actually physically equal their capability for going toe-to-toe against each other (Blade and Dan Heng; possibly Zhongli and Childe; for those who ship it, Diluc and Kaeya).

For modern Hoyo games, queer-coded MLM ships with noticeable discrepancies in power dynamics are particularly rare; possibly the only one that comes to mind is Ayato/Thoma (though this is mitigated by the game deliberately telling us that Ayato treats Thoma like family, rather than like a servant). And I think this actually says a lot about the devs' thought process: They are deliberately avoiding scenarios in which one male character seems capable of "preying" on another, where the queer-coding could accidentally be perceived as sexual perversion due to a discrepancy in power dynamics.

They're intentionally averting the "depraved homosexual" trope by--sometimes literally--spelling out for the players that both male characters in their queer-coded MLM ships perceive each other as, and are interested in each other as, equals.

We see this explicitly with Ratio and Aventurine in Star Rail:

And Alhaitham and Kaveh in Genshin:

Even Blade and Dan Heng are likened to "a pair" of identical objects:

So of course, Phainon and Mydei push this to an extreme. Phainon describes himself and Mydei as "friends and foes," and the game goes out of it way to reiterate over and over that they are perfect equals. Although they compete in everything they do, there is never a clear victor; their score card is constantly balancing out because they match each other's skill and power perfectly.

But there are even hints in the game that this isn't just happening naturally, but also by choice: Even when one of them triumphs over the other, they both backtrack and insist on getting on equal standing again. Whether you win or lose the "competition" in Kremnos in 3.0, the outcome is the same:

Phainon and Mydei perceive each other as perfectly matched (in strength, right, right...) and are actively working to keep it that way.

The game also goes out of its way to insist that Mydei and Phainon aren't just equals in terms of strength but also in social standing. It theoretically should be impossible to match Mydei's place on the social ladder--he's the literal crown prince of an entire nation of world-renowned conquerors. Even Aglaea is not a queen; we see her on screen being forced to contend with Okhema's Council who are fighting her for power. There technically isn't anyone in Amphoreus (at least that we've met so far) who should be able to stand on equal political or administrative footing to Mydei.

Except, of course, for Phainon, who supersedes all others by virtue of being the literal prodigal son, the "Chosen One."

The game insists on putting this in our faces over and over again: Mydei may be a king in the making, but Phainon is the "Deliverer." They are equally matched in terms of authority.

The game even goes out of its way to tell us they're perfect mirrors in personality too:

Hoyo, in the kitchen cooking up another gay ship: LISTEN GUYS, they're equals, do you understand me? A MATCHING SET.

But also...

2. Diametrically Opposed

It isn't enough for the queer-coded men to be each other's perfect equals. They also have to be opposites, typically in terms of their personalities. This is the pattern that repeats itself most consistently across Hoyoverse MLM ships with strong textual support: the two men may be equal, but they're also nothing alike. (At least on the surface.)

Alhaitham and Kaveh's entire plot hinges on their directly opposing personalities and morals, representing the clash between rationality and sensibility. Dan Feng was reserved and cool-tempered, while Yingxing was "arrogant" and brash. Hell, Xingqiu and Chongyun are "refined and clever" versus "forthright and trusting." I actually think Zhongli and Childe, despite being the most popular Hoyoverse ship in the western fandom, have very little canonical support, yet they still fit this pattern, with Zhongli as the refined gentleman to Tartaglia's blood knight tendencies.

We know how Ratio sees himself and Aventurine:

Hoyo really said "Opposites attract" and ran with it for every single MLM ship they ever teased.

And there's a logical reason for this. Making the two male characters dead opposites actually slightly decreases people's ability to argue that they're "just friends"--if they have next to nothing in common, they're not usually bonding over mutual hobbies or basing their connection on shared similarities. It becomes harder to portray two male characters as "bros who just get along great" when they're deliberately written with opposing tastes and personalities. (Real friends can sometimes be dead opposites, obviously, but most friendships are built on mutual interests rather than opposing ones, while romantic relationships hilariously have the "opposites attract" stereotype.)

There's no reason to shove polar opposites together again and again except to watch the sparks fly.

Even Hoyo's male characters' color schemes are often perfectly opposite. Plenty of people have figured out if you palette swap Alhaitham and Kaveh, Dan Heng and Blade, and Ratio and Aventurine, you end up with the same colors. Ayato and Thoma match the pattern here too ("red and blue gays" is a well-known trope).

But once again, the devs pulled out ALL the stops for Phaidei:

They're red versus blue. They're sun and moon. They're outgoing versus introverted. They're a king and a peasant (if we believe what Phainon's telling us about Aedes Elysiae). They're the "outsider" and the "golden boy." One fights with strength and the other with technique, brains versus brawn (actually they're both kind of idiots though, so take this one lightly lol).

However, what I think is most interesting about Hoyo's pairs of MLM opposites that is that the devs deliberately subvert expectations by assigning the opposing traits to the "unexpected" character. In both Haikaveh and Ratiorine, it's the rational scholar who is more overtly caring and attuned to their partner's feelings. In Renheng, it's the kind-hearted Yingxing who is consumed by anger, while the aloof, expressionless Dan Heng's voice trembles in wonder at the mere mention of Yingxing's name.

For Phainon and Mydei, this inversion of opposite traits occurs with their personalities specifically. People expected Mydei to be a gruff, hot-headed, battle-hungry berserker with a sarcastic or arrogant personality at best.

Instead, Mydei is an extremely thoughtful person, who struggles with his fate not because of what will happen to himself but because of a desire to bring the greatest good to the greatest number of his people. He's a respectful, gentle (when he needs to be), and even sentimental young man who continues to hold on to love for those who have long passed away. He's reserved around strangers but generous and warm to his companions, and struggles to express himself but has a clear desire to be considerate of others.

We also know he's deeply aware of and emotionally affected by the racism his people are experiencing in Okhema; one NPC in Okhema reports how Mydei, despite being new to Okhema himself, stood up to the very council still plaguing Aglaea in order to protect his people:

Despite having difficulties expressing his own thoughts, he even scolds Phainon for approaching their farewell with a nonchalant expression--Mydei doesn't reject emotions or shy away from becoming close with people he cares for.

Instead, it's Phainon who actually struggles to be honest. While he might connect easily with others on the surface, seeming outgoing and kind-hearted, he is actually a much more private person, one who is reluctant to show his true feelings and dismissive of questions about his past and identity. As opposed to Mydei's desire to avoid Nikador's power, Phainon is (despite his doubts) eager to prove himself, spurned on by the pressure of the prophecy telling him he needs to achieve greatness. We're told that he craved the power of strife specifically, while Mydei summarily wishes to reject it.

It's Phainon who frequently has to be reined in by others--he was ready to kill Oronyx for delaying his rescue of Mydei--and Phainon who fails to let go of his hatred and desire for revenge, causing him to fail Nikador's trial, which Mydei easily clears.

By inverting the traits of the characters, creating designs which visually oppose each other while assigning the actual opposing personality traits to the "mismatched" character, the devs hammer home an implicit message: These two characters complete each other. They fill in each other's gaps. What you expected to find in one of these men, you will instead find in the other. What they wish to be, they will be drawn to in each other.

(Frequently bought together, do not separate!)

3. The Distance is Artificial

Okay, so if they're so obviously written as a "pair," being perfect equals and perfect opposites, how are they just "queer-coded" and not explicitly queer? How is Hoyo keeping up the illusion of the characters not being an obvious couple when they're literally written to complete each other?

Hoyo has one major tool in their arsenal to do this: Prickly personalities.

With the exception of Renheng, which I'll get to in a second, Hoyo has a favorite method for enforcing the rule of plausible deniability, the idea that "Nooo, we promise, they're not in love; they don't even like each other, see??"--and that's giving one of the characters an intractable personality.

This can manifest, like Alhaitham and Kaveh, as constant bickering, where the pair's main method of communication is to devolve into petty arguments or sarcastic quips.

Fans who support the ship can view this as an "old married couple" dynamic; but for those who do not support the ship and choose to insist that Hoyo isn't actually queer-coding their male characters, they can lean on these arguments as "proof" that the characters don't actually love each other.

A similar pattern was recently repeated with Sethos/Wanderer, with Wanderer's prickly personality being used to keep Sethos at bay.

By placing the characters at odds with each other through bickering, Hoyo introduces just enough doubt to make the "They're only friends/roommates, we promise" argument hold some water. This allows them to get--quite honestly--a lot of queer content past the censors and past homophobic audiences too.

We see them repeat this trope with Aventurine and Ratio in Star Rail, introducing the two characters as initially "at odds" with each other and trying to pass it off as Ratio despising Aventurine.

Even after revealing that they were plotting together, the game insists on introducing some lingering doubts, suggesting that Aventurine fears Ratio would actually betray him.

This creates the necessary "gray area," the gap that Hoyo can use to hide in--no, Aventurine doesn't trust Ratio at all, see? Maybe they don't even like each other? Who knows! The doubt doesn't exist because the story particularly needs it, but simply so that Hoyo has a shield to hide behind if people begin to question how close the two male characters are.

Even in comedic material, Hoyo intentionally keeps this "necessary distance" in order to allow themselves wiggle room. Is Ratio an enamored tsundere who can't spit his real feelings out, or does he actually think Aventurine is illogical, mediocre, and ridiculous? Was the "Keeping Up With Star Rail" video an example of Hoyo deliberately baiting by making Ratio flustered over Aventurine "on air," or is he being Aventurine's biggest hater in this clip?

It's just questionable enough that those players who hate MLM to interpret it as the latter, and provides just enough doubt to help Hoyo slip queer-coding under the radar. Those who want to see it will see, while it's written just vaguely enough that those who don't want to see it will not see it.

(That's the point Owlbert, that's the point.)

When in doubt, and when stuck with a pair of characters who aren't likely to bicker with words, Hoyo sometimes has to progress to the next level: making them actual enemies.

What's better for creating plausible deniability than one of them trying to kill the other? (They definitely were not fooling around in a past life. We promise.) In an ironic twist with Renheng in particular, the fandom seems to have somehow come to the (mistaken) consensus that Dan Feng and Yingxing were "confirmed canon" (truly, I see this stated everywhere; we love when reading comprehension fails in the right direction for once lol), leaving only Dan Heng/Blade as being of questionable "canonicity." However, this still works as far as Hoyo is concerned, because only Dan Heng and Blade are left on screen.

By insisting on their present inability to reconcile, Blade and Dan Heng are able to introduce just enough doubt into the equation to offset even significant ship tease for Dan Feng/Yingxing.

Enemies to lovers 150k+ slow burn, please look forward to it.

Okay, but back to Phaidei. At first, it seems like Phaidei is going to follow this pattern to a T: When Phainon first introduces Trailblazer to Mydei, the two seem to be at odds, bickering over how Mydei is choosing to confront the enemy. Mydei even calls Phainon out for an unintentionally insensitive statement (when Phainon demands to know why Mydei isn't "protecting the citizens," Mydei asks "Who are you implying is not a citizen here?" i.e., "Are you saying because I'm Kremnoan I don't count as a citizen?" You can see Phainon practically bite his tongue to take back his words.)

Also known as: Mydei experiences a microaggression.

Mydei's very first line directly to the Trailblazer is to insult Phainon's hospitality, and we know they definitely have plenty of silly insults to lob at each other while competing.

But this is actually where we see the first deviation from the pattern for Phaidei. Although there's a few cursory lines throughout their early dialogue, that's all there ever is--just cursory attempts at suggesting the two bicker and don't get along.

Within one scene, the "tension" present in their first meeting entirely devolves into purely playful banter, and it is clear by the time we finish 3.0 that Phainon and Mydei are actually very close and get along well, with virtually none of Haikaveh's biting comments, Blade and Dan Heng's violence, or Aventurine and Ratio's questions of loyalty. Phainon and Mydei took one look at the rest of Hoyoverse's MLM ships and said "How about we skip that will they-won't they?" lol.

But I'm not quite ready to talk about the places where Phaidei departs from the normal pattern yet, so I'll leave this point by just saying that Hoyo did start Phaidei on the same path as a majority of their other MLM ships, making a vague attempt at using their rivalry to suggest they wouldn't get along--thereby allowing for the alternative interpretation to quiet the haters (and the censors).

4. The (Physical) Distance is Non-Existent

Okay, but if Hoyo uses personalities to inject just enough distance into their queer-coded pairings to avoid crossing any boundaries, then what do they do to tantalize the audience, to make it seem like the characters might actually like each other?

They use body language!

First, just to reiterate a basic video game design principle: All animations and character placements have to be programmed by someone, and that means that all animations and the physical locations of characters in scenes are intentional. Nothing happens in cutscenes by accident.

Designers are constantly making a series of choices any time they have to put together a cutscene, and one of the key choices they have to make is how to express each character through their movements and their positions relative to other characters. (I've talked before, for example, about how Aventurine frequently turns his back on people, forcing their eyes to follow him throughout his cutscenes, taking physical control of the reactions of people around him.)

Hoyoverse games have somewhat standardized scene layouts for conversation cutscenes, with characters typically being placed at different distances from each other depending on their relationships. A majority of conversations happen from a generally cordial conversational distance, which means that any time characters cross this gap and close the distance, the dev team is intentionally sending the players a message.

Like, no one mistook what this was about, right?

Heterosexual jumpscare in my queer post; I'm sorry, I was just too tired to find a video with Lumine lol.

Repeating for good measure: Unless it is with a male playable main character (where the presence of the female main character is what lends the deniability), Hoyo legally cannot show their male characters engaging in physical contact that could be construed as romantic. Male characters can't hold hands; they can't even really hug unless it's "caught you as you fell after battle" (props to Dan Heng for being the only male character in Star Rail to get a "hug" with Jing Yuan lol.) There's a boundary that Hoyo male characters do not cross, and that's almost universally the realm of physical touch.

But Hoyo can place their queer-coded male characters into scenarios of physical closeness that they don't typically show among other characters.

Alhaitham and Kaveh's table says hello.

So does Tighnari and Cyno's single tent from this same quest; Cyno's Story 2, truly the quest that kept on giving.

Aventurine, a character who traditionally keeps half a room's distance between himself and the people he's talking to, suddenly doesn't seem to mind closing the distance with Ratio:

And even Renheng, the eternal enemies, are depicted as crossing physical boundaries, explicitly "getting in each other's faces." Yes it's a battle, but also, I've seen yaoi with less domineering poses lol.

You might think these lightcone examples are a stretch, but seriously: Go look at all the lightcones in the game. Does a single heterosexual couple have a lightcone where they are in each other's space in this manner? No, because physical closeness is actually a tool Hoyo is consistently using to queer-code. (Well, there would probably be more heterosexual closeness too if the incels weren't so weird...)

Anyway, when I saw the devs might be heading the direction of baiting Phaidei, I fully expected that we would see them side-by-side more consistently and with less of a gap between them than between other characters. But I wasn't remotely ready for the degree to which Hoyo would take that.

Here is an example of Phaidei exhibiting the "normal" Star Rail conversational distance:

Andddd... here's where they spend the other 90% of their scenes together:

The unnecessarily large distance between them and the Trailblazer gets me every time. Like they are not leaving room for Jesus Kephale.

Even when they aren't standing practically on top of each other, the devs deliberately choose camera angles that frame them both in the cutscene at the same time, which is relatively rare for Star Rail (not unheard of, but usually the camera will just go for the "first person POV" when two people are speaking, allowing for a close up of the speaking character). Instead of back-and-forth close ups, many of Mydei and Phainon's conversations are framed from a "behind-the-shoulder" angle, to catch them both in the frame. This creates the illusion that they're standing closer together than they are, and also reinforces a sense of intimacy in their conversations--the camera (and thus the player) becomes an "outsider" while their bodies turn toward each other.

Again, Hoyoverse is under pressure to avoid showing physical contact between male characters that could be construed romantically. They can't show Mydei and Phainon tangoing like Black Swan and Acheron. When it comes to queer-coding male characters, they have to use the tools available to them, and their primary tool for visually signifying the possibility of romantic closeness is physical closeness.

The camera is telling you that Mydei and Phainon are close.

Anyway, just one more point I wanted to make before moving on to discussing how Phaidei completely crushed the mold for Hoyoverse queer-coding, but...

5. Oh God, We're Turning Into Your Parents

Listen, I'm a reasonable person. I can fully accept that I play games with LGBT+ goggles on at all times. Despite being fantastically aroace myself, I love yaoi. I love yuri. I even like plenty of straight ships. I'm a fangirl first, academic second, so believe me when I say that I understand how skeptics might view some of the points above. "You're just fangirling. Being equals and opposites doesn't automatically imply romance. The devs might have intended close friendship, not a relationship." This counter-argument is valid!

So I want to end with one more point which I think is actually the lynch pin to proving that Hoyoverse isn't "accidentally" making their male characters come across as queer. Hoyo's queer-coding for certain ships is very intentional and even sometimes very overt. In a few cases prior to Phaidei, they were already skirting the upper limits of plausible deniability, and I think the modern ship that previously pushed the boundary the most is Haikaveh.

You can say what you want about other Hoyo MLM ships and their lack of canon textual support (I love you ZhongChi, even if the devs actually hate you lol), but I believe people who unironically say "The devs are not baiting Alhaitham and Kaveh as a ship" are so media illiterate that it's actually embarrassing to share air with them. Whether you think the devs are just doing it to cash in on yaoi fangirls or because they actually want to depict gay characters, it is indisputable at this point that Alhaitham and Kaveh have in-game ship tease. They just do, and one of the most obvious and unmistakable instances of this is when Kaveh's hangout paralleled Kaveh's relationship with Alhaitham to the heterosexual marriage between Kaveh's mother and father.

To draw a direct connection between Kaveh's father and Alhaitham, who is repeatedly described as not being able to understand Kaveh's artistic sensibilities and idealistic world view but nevertheless chooses to stay by Kaveh's side through his many troubles, while simultaneously reinforcing the idea that Kaveh is his mother's spitting image, both physically and emotionally, can really not be interpreted in any other way.

Hoyoverse took a queer relationship and made a one-for-one analogy to a heterosexual relationship--Alhaitham and Kaveh are a direct reflection of Kaveh's very married parents.

This isn't something that can happen on accident. This is deliberate and unmistakable queer-coding.

Which makes it absolutely wild that it happened twice.

I've posted already about the obvious parallels between Mydei's parents and Phaidei, and I'm actually almost out of room for new images here, so I can't post the images again, but I hardly need to at this point: Mydei's parents met when Gorgo challenged Eurypon at the Kremnos Festival. They fought for ten rounds, determined that they were (what do you know) perfect equals, and Eurypon proposed on the spot. Eurypon is explicitly described as a swordmaster, while Gorgo used a spear.

Later, the game repeatedly (and in various separate instances), emphasizes that Mydei and Phainon's first meeting consisted of a duel lasting ten days and ten nights, where neither of them could secure the victory, proving them to also be each other's perfect equals. Phainon's role as Okhema's swordmaster is emphasized, while Mydei wields a spear just like his mother when killing his father and after taking on Nikador's divinity.

Then there's... everything that came after. Eurypon betrayed Gorgo, effectively stabbing her in the back, and took her life. The foreshadowing that Phainon will do this exact same thing to Mydei is unmissable.

Phainon has even expressed an explicit desire to take part in the same competition where Mydei's father crowned the winner his wife:

In the (very limited) Kremnoan dictionary, I'm pretty sure this is how you say "I'm down to fuck."

Just as in the case with Haikaveh, there is no way that this parallel could have occurred by accident. The devs did not go out of their way to give us entire flashbacks of Gorgo and Eurypon's meeting and downfall for no reason. You're supposed to see the one-for-one connection between Mydei's very heterosexual, married parents and Phainon and Mydei's relationship.

Simultaneously, the devs also parallel their MLM ships to heterosexual relations by incorporating shades of domesticity normally reserved for "traditional" male-female relationships into their MLM ships--including levels of domesticity that heterosexual ships in Genshin and Star Rail usually don't rise to. One of Genshin's most popular MLM ships shares a single-family home and has a chore chart. Thoma is Ayato's housekeeper. Tighnari and Cyno are just flat-out joint raising a child. Jiaoqiu cooks and Moze cleans. Yingxing and Dan Feng accidentally(?) made a baby.

And Phainon and Mydei aren't any exception. They live an apocalyptic world that is constantly calling them away to battle, but the devs went out of their way to tell us Mydei is an extremely good cook who prepares everyone's food and deliberately ruins Phainon's when he's annoying, which is definitely old married couple behavior lol. Mydei is framed repeatedly as being good with children, not just in the distant fatherly way but in the "plays house" and follows-along-after-unaccompanied-kids-like-a-mother-hen way. Yet when Mydei has to leave, taking the classic "I'm going off to war" ancient Greek exit, he doesn't depart without leaving Phainon his people--with the camera panning specifically to the little Kremnoans. Phainon got the kids in the divorce. D; The tragic domesticity is already off the charts, and then they hit you the second punch when Mydei's last question (just one or two lines later) confirms that it was Phainon who got the ring for him. Hoyo couldn't actually have given us a more heavy-handed "parting husband and wife" parallel if someone held them at gunpoint. That whole thing was some Odyssey level bullshit. I see you devs, I see you.

You might be tempted to say that is just heteronormativity, which it could be, but I actually think it serves a very specific place in Hoyo's queer-coding repertoire. In comparing gay relationships to heterosexual marriages, the devs effectively "legitimize" their queer characters, suggesting that the relationships between gay male characters are no less real or valid than those between men and women. In demonstrating that male characters can achieve stable and healthy domestic lives with each other, the devs reiterate that players are not supposed to notice a difference between gay and heterosexual relationships.

There isn't any clearer way for Hoyoverse to legally say "We want you to think of these two men as romantic partners" than to say "Wow, isn't it interesting that their relationship is identical to a married couple's." It's on purpose; at this point, you really can't say the queer-coding isn't deliberate without looking like you can't read, and if it was intentional when Haikaveh paralleled Kaveh's parents, then it was doubly so the second time Hoyoverse pulled this trick to parallel Phaidei to Mydei's parents.

PHEW! Okay, I finally made it through the foundational traits for Hoyoverse MLM ship-bait and where Phaidei fits in with those. Thanks for coming to my Ted Talk! 😂

But... the whole reason I started this post was actually because I wanted to talk about differences between Phaidei and other Hoyoverse MLM ships, and particularly how bold Hoyo actually was in 3.1, pushing the envelop to an extreme degree to ship-tease Phainon and Mydei.

So, since the post was way, way too long, I've spit the rest of my point off into a second post.

Check out Part 2 over here. ->

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Some Notes on Mydei's Characterization (Part 2)

<- Part 1 is back this way.

I hit the tumblr image limit way before I ran out of things to say about Mydei, so here is the second half of the notes I've been collecting on his characterization. As always, interpretations are my own.

6. Mydei Both Embodies and Challenges Nikador's Virtues

We know that Mydei is regarded, by characters in the game at least, as the perfect avatar for Strife. Repeatedly, the game parallels Mydei and Nikador, and throughout our journey in 3.0 with Gnaeus, we're supposed to see the similarities between his aloof but noble behavior and Mydei's belief that violence without honor is nothing but meaningless slaughter. Obviously the undying king with powers literally based on the spilled blood of legions would be a good match for the warrior god whose conquest plucked the sun out of the sky... (Although I do like the recent discussions I've seen of there being mismatches between the Chrysos Heirs and the titans, hmm.)

But though Mydei reveres Nikador as his people's god, at the same time, he actually reviles what Nikador has come to represent, quintessentially rejecting the the central tenants of his own people's faith. Even as he recognizes the inevitability of the prophecy, Mydei is unwilling to accept the coreflame because he sees his own identity as diametrically opposed to Kremnos's conception of Strife. Mydei doesn't want to become what Strife means for his people; he does not feel fit to be Strife's demigod because he understands that doing so will mean losing himself, a person who is fundamentally different from the Nikador of Amphoreus's current timeline.

So the game is simultaneously telling us that Mydei is a great parallel to Nikador and a terrible parallel to Nikador, and it achieves this interesting contradiction by deliberately examining Nikador's five core traits in comparison to Mydei, who both exemplifies those traits and defies them.

According to the Kremnoans, the five virtues of Nikador are:

Unfearing of blade at the throat, manifesting the visage of courage

Unyielding to conniving treachery, protecting the crown of honor

Unblinking of eyes burning bright, upholding the cornerstone of reason

Unbending from wounds to flesh, forging characters of tenacity

Undaunted of risking life to protect, embodying corpus of sacrifice

Taking only the key concepts--courage, honor, reason, tenacity, and sacrifice--it should be abundantly clear how closely Mydei hews to these virtues and how they've informed his character arc so far, but I think it's particularly interesting: Mydei's story also intentionally refutes the traditional Kremnoan interpretations of those virtues.

I'll talk more about sacrifice later, but the other virtues are very apparent:

"Unfearing of the Blade at the Throat"

I barely have to say anything, do I? I doubt there's anyone who would question Mydei's courage given what we see in from 3.0 to 3.1. Without flinching, Mydei was willing to plunge into single combat against Nikador, despite knowing that he would almost certainly die a countless number of times while trying to hold the god off. Even knowing that Phainon was literally losing his mind in Nikador's coreflame trial, Mydei was willing to jump into the trial himself to save Phainon, again without a single ounce of hesitation. Mydei has lived a life where he has constantly faced death head on, where he has needed to stand up against impossible odds over and over again.

Clearly, he fully embodies the classic Kremnoan notion of charging into battle without wavering, of never backing down from the challenge, and of never shying away, even when loss is imminent. On the surface, we can easily say that Mydei parallels Nikador in this manner, and that Mydei gracefully fulfills his people's expectations for a leader to be absolutely undaunted in combat.

But then the game takes another track and tells us that Mydei is not only what he seems on the surface. With direct confirmation, the game tells us that Mydei is not fearless.

In fact, he's flat out terrified--not of combat, but of history. He is frightened of his own authority, of the responsibility he bears toward others, of choice that has been left in his hands. He is afraid of making the wrong choice, and for both 3.0 and 3.1, we see him do the exact thing a Kremnoan king--an embodiment of Strife--should never do: he wavers. Multiple characters criticize him for this hesitance, even Phainon, who jokingly scoffs at the idea of Mydei breaking his people's traditions, only to backpedal when he realizes Mydei is serious.

The conclusion of Mydei's arc in 3.1 is not the trial with Nikador. It's not Mydei's becoming a demigod. It's not Mydei's battle with Flame Reaver. It's Mydei finally making up his mind and committing both himself and the Kremnoan people to the dead opposite path expected of a blood-stained conquering nation. Mydei's definition of courage directly opposes the traditional Kremnoan definition, and therefore also opposes their interpretation of Nikador's "unfearing" virtue.

Rather than charging into battle without flinching--Mydei's courage demands the Kremnoans surrender the fight instead. Instead of dying, now they have to live. This is what makes it so fascinating that Krateros actually reacts to Mydei's brand of courage with terror:

Kremnoans know how to throw their lives away without hesitation. But asking them to embrace peace? Change? To survive? They are unprepared and entirely out of their realm of experience.

Mydei's courage parallels Nikador's--but also utterly inverts it.

"Unbending from Wounds of Flesh"

Tenacity, too, should be very obvious. Of course Mydei fits the traditional Kremnoan interpretation to a T--he takes every hit and stands right back up again. Very little needs to be said about Mydei's willingness to keep going even if it kills him, then to come back swinging even after dying. In the eyes of the traditional Kremnoan people, who could possibly be a better example of tenacity than someone whose body can't even be stopped by death itself?

The implication of the original Kremnoan virtue, linking tenacity to being "unbending from wounds," is that physicality is what matters. Before all else, to be able to battle without ceasing is the aspiration, while other aspects of the soul, other elements necessary for meaningful lives, are left under-developed or entirely eschewed. You keep going into battle or you might as well not keep going at all.

But Mydei once again challenges this notion, as his character revolves around a central conflict whose answer is "peace"--he doesn't want the Kremnoans to have to show the type of tenacity they most ferociously believe in. Like Mydei's courageous decision to lead his people away from their own faith, Mydei's actual tenacity appears most clearly in his ability to face Amphoreus's cruel world with empathy.

Given everything he has experienced in his life, Mydei is the character in Amphoreus who has the most right to be jaded, to believe that people are inherently cruel, that nothing in their dying world can be improved, and that there's no meaning to life other than to suffer. He was murdered by his father who also murdered the mother who loved him. He suffered ten thousand deaths drifting miserably in the abyss of the Sea of Souls, entirely alone--yet he clung tenaciously to that life that promised nothing but more suffering, dragged himself free of that hell and kept going. He embraced friendship and found himself a family, only to lose every tiny shred of joy he had cobbled together for himself as they died in front of him in horrific ways, one after another. He became the crown prince of a fallen kingdom, leading refugees into a city that hated and mistreated them for years while he served as fodder for battle, all while knowing that his own ultimate fate would be to surrender his remaining humanity to become an avatar for calamity, ensuring his own future would nothing but endless pain and loneliness.

The man had absolutely nothing to live for (except for the fact he can't die, I guess), but instead of surrendering to despair, he's the one joining in on the Flame-Chase Journey, telling Aglaea that he admires her most because she managed to light the flame of hope in people--even in him.

Knowing that only more suffering lies ahead of him, Mydei still ferociously embraces the life he's been given and the heavy honor he bears in guiding others on the right path. Rather than just racing mindlessly into battle, again and again into the same cycle of conquest, Mydei's truest example of tenacity is his ability to "take the first step," moving forward mentally and emotionally toward the future he dreams of for his people.

"Unyielding to Conniving Trickery"

Just as with all of Nikador's other virtues, Mydei clearly embodies the traditional Kremnoan definition of honor: He's honest, straightforward, and reviles those who use trickery to achieve their goals. To that end, we can see his act of patricide as the ultimate example of Mydei upholding the very classic Kremnoan definition of honor, killing a conniving schemer, his father Eurypon, to avenge an honorable warrior, his mother Gorgo.

Yet even as he accomplishes what he views as a necessary act--a duty to his mother's memory--Mydei does not react to the deed as other Kremnoans expect. Krateros rejoices at Mydei's decision to kill his father, but Mydei's only response is silence. Later, as I mentioned above, he discusses the pursuit of vengeance with Phainon and warns Phainon that revenge can never bring joy or closure.

In the ruins of Castrum Kremnos, when Phainon and Mydei debate the intersection of honor in combat, Mydei at first challenges Phainon's soft-hearted view with the traditional Kremnoan definition--but then, when Phainon claims that Mydei doesn't believe in his own people's tenets--Mydei remains silent again, tacitly agreeing with the truth Phainon has revealed.

Mydei is a deeply honorable character. Certainly the Kremnoans would have no scruples saying that about him, if only his surface actions are considered. Yet at his core, Mydei's definition of honor ultimately rejects everything the Kremnoans stand for, seeing absolutely no meaning in their pointless battles or their excuses for bringing harm upon others. Recognizing that nothing is truly gained even during the most justifiable of killings, Mydei's own sense of honor makes all of Kremnos's sacred history look like nothing but a record of historic evils.

"Unblinking of Eyes Burning Bright"

"Reason" is the virtue missing from Nikador, the one that up and wanders away while the Black Tide moves in. We're introduced to Nikador's reason as an entire embodied concept through Gnaeus. Through Castorice's interactions with Gnaeus, we're led to believe that Nikador was once fair and just, capable of staying his blade in respect of worthy opponents and of discerning the schemes of lesser men. The virtue, in the classical Kremnoan interpretation, seems to lie in being judicious, in knowing when to strike to always secure victory.

Mydei, of course, is not an unreasonable person. (He's more reasonable than the cranky/tsundere stereotypes he gets in fandom, anyway lol.) As I mentioned in the first part of this post, when Phainon wants to go charge straight into fight Nikador, it's Mydei who demonstrates this virtue of reason, reminding Phainon that they simply don't have the resources to tackle the fight. In 3.1, it's Mydei who reasons out what is going on in the first coreflame trial and determines how to solve their issue, find Phainon, and safely escape. Tactically, Mydei clearly demonstrates the ability to keep up with his opponents' moves, strategically divide forces, and see through enemy bluffs. By all accounts, he's a perfect picture of traditional Kremnoan "reason" too.

Yet, once again, Mydei's particular sense of reason puts him at odds with Kremnoan beliefs--because he is smart enough to see the bigger picture. What does victory in one, two, three battles mean? What does winning one war mean, if the next war is already on the horizon? What purpose does dying in noble combat even serve in a world that is already ending? Mydei applies his reason not to the short-sighted conquest of prior Kremnoans but to the longer view of the future, recognizing the futility and inevitability of the rise and fall of nations. For this clear view of history, Krateros warns Mydei that the ultimate consequence of his own intelligence will only be more suffering for him:

Like Nikador's reason standing alone, Mydei's reason sets him entirely outside the Kremnoan faith, causing him to recognize the inherent failings of a cultural system of wasteful violence enforced for over a thousand years. Looking at his own people with a discerning eye, Mydei ends up accidentally separating himself entirely from the familiar confines of his people and their traditions--like Gnaeus, struggling but unable to return to the whole.

On the surface, Mydei represents an excellent embodiment of classical Kremnoan virtues. As Eurypon says in the Kremnos flashback, Mydei bears the seeds of all of Nikador's virtues, stepping unflinching into battle, refusing to surrender in the face of death, approaching every duel with honor, and knowing when and where to strike. But at every turn, he also rejects and exceeds the confines of his people's interpretations of those virtues, using courage to stop battles rather than start them, tenacity to take the first step on a journey toward a more peaceful future, honor to reject the cruelty of Kremnos's callous views on death, and reason to grasp the broader context of making meaning in a dying world.

Mydei should be understood, at his core, as a character of extreme contradictions--both the "most and least Kremnoan of them all." Examining the way his character parallels while also wildly deviates from Nikador's perfectly encapsulates the core conflict of Mydei's character arc, the place where who the world expects him to be--crown prince of Kremnos, demigod of Strife--clashes directly with who he wants to be--the revolutionary remembered for freeing his people from despair into a true "Era Nova" of hope.

7. The Person Who Matters Least to Mydei is Mydei

Okay, so wait--what about "sacrifice"? It almost goes without saying, but I left the last virtue to its own point because "sacrifice" is the single most important trait of Mydei's character.

This is true in two entirely different ways: Mydei's life and philosophy were shaped almost single-handedly by the sacrifices of others--first, by his mother fighting to the death in an attempt to avenge him, and then by the sacrifices of each of his five friends in turn, who died insisting that Mydei should live on in their place. Knowing of his mother's sacrifice and witnessing his friends' deaths were clearly the life-altering experiences driving Mydei's departure from the Kremnoan faith.

Even as he tried to fulfill his friends' wishes by taking up his place as the crown prince of Kremnos, it's from these losses that Mydei truly learned the meaningless of the central tenet of Kremnoan belief, "valorous death before glorious return." There was nothing valorous in the deaths Mydei was forced to watch--the people he loved died pointlessly, fighting essentially for a cause and nation that had already rejected them. By watching everyone he cared for sacrifice themselves on the altar of Kremnoan ideology, he--the sole survivor, the one always, always left behind--was forced to confront the real reality of a culture that chooses to romanticize death, that hinges self-worth on a willingness to kill and be killed, that exists entirely as a war machine dependent on its ability to bring pain and suffering to others.

Even as he loved Kremnos for being the nation to birth him, the nation to embrace him, and the nation to need him--I think Mydei must have hated Castrum Kremnos in equal measure. This, I think is core to understanding Mydei's relationship with his own self-identity as Kremnos's prince: He loved what Kremnos could have been, while despising what it had become.

In the sacrifices of his comrades, Mydei found the very opposite cause his friends expected of him--he found his will to tear down their entire nation's thousands-year-old system of wasteful bloodshed.

But, another contradiction: While hating the sacrifices others were willing to make for him, Mydei has also proven himself to be an exceedingly, unflinchingly giving person. There is no aspect of himself, his own happiness, or his own freedom that Mydeimos is not willing to sacrifice if it means protecting the people, the land, and the world. If by giving something of himself, he can improve the lives of those who deserve it, Mydei will always choose to take the suffering of others on himself.

We see this selflessly giving nature from his earliest memories. His first character story impresses that even from his time as a tiny child, he was willing to aid others with no thought of reward, at his own expense even, helping drowning fisherman make it to safety but never seeming to be able to make it out of the Sea of Souls himself. By 3.0, we're told that Mydei and the Kremnoan detachment had become Aglaea's blade, carrying the brunt of Okhema's battle against the Black Tide and the raving titankin. Despite the fact that Mydei has reservations about Aglaea's orders, he follows them essentially without question, even when he knows this will put him at risk of pain and death:

But 3.1, of course, is what truly hammers the extent of Mydei's self-sacrificial behavior home. In 3.0, we see Mydei flat out refuse the coreflame of Strife several times. Mission text for the game tells us that he has "an absurd extent of hesitation and objection to accepting the god's authority," but Mydei also insists repeatedly that his hesitation doesn't have to do with worrying about himself. Instead, he says that his only hesitation is his people. Whether this is true... more in a second, but for now:

Mydei does not want to accept his destiny to become the demigod of Strife because he fears it will bring harm to those he cares for, the Kremnoan people he has fought for and died (many times) to protect. He is afraid he will perpetuate the exact same cycle of needless violence he despises if he loses his self-identity to the soul of Strife. He is, he claims, perfectly willing to sacrifice his humanity and self-identity as "Mydei" to become "Amphoreus's Guardian"--but only if he can do so while still ensuring a real future for the Kremnoans. Sure, this seems like a noble goal, but in all of this, there is no talk of Mydei's life, Mydei's freedom, or Mydei's dreams. It is only ever "what is best for the Kremnoan people" and "what is best for Amphoreus."

In essence: What Mydei wants does not matter, because Mydei's only spoken concern is the needs of other people.

For me as a fan of this character, the first half of 3.1 was viscerally discomforting. As players, we have the oh-so-pleasant privilege of starting 3.1 watching Mydei be systematically manipulated into sacrificing his own autonomy. I absolutely love Aglaea and Tribbie, but I won't sugarcoat it: by word and action, both of Okhema's demigods knowingly stripped Mydei of his agency:

First, Aglaea insults and pressures Mydei, calling him foolhardy and essentially suggesting that if Amphoreus falls, it's going to be because of Mydei's indecision. She essentially drops the responsibility for all of Amphoreus on his shoulders:

Then, Mydei confronts Tribbie about the even harsher truth, that both Aglaea and Tribbie had knowingly gambled with Phainon's life strictly to push Mydei into that corner:

Yet even after all this, even knowing that Aglaea and Tribbie have just doomed him to an end in pain and misery, what does Mydei say? "I have no intention of condemning you for it." He knows the meaning of the Flame-Chase Journey and understands that his autonomy was never going to stand up to the prophecy. He just lost every hope he might have had of living the life he dreamed of--and what does he still say? "It's okay. I don't blame you." Goddamn Mydei, won't you stand up for yourself at least a little?

Then we get to watch Mydei grow desperate. His freedom and future are already bought and sold. He knows he's running out of time, and he still hasn't found a way to protect the people who are relying on him. He practically begs Krateros to help turn the Kremnoans away from their path of bloodshed, and what does he get from the closest thing he ever had to a father figure?

A extremely cutting guilt trip, and, maybe even worse, a thinly veiled threat to withhold regard:

This might as well be a father saying "You have disappointed me."

Mydei has no one to turn to in these early scenes. Again, not a shipping post, but his only genuine ally, Phainon, isn't here to be his back up, leading to scene after scene where Mydei is treated like fate's chew toy. Players get to watch every single character who is indebted Mydei for his service and who has every reason to respect his wishes instead turn on him and push him into doing things he doesn't want to do.

(Okay, I'm lying, this is a little bit of a shipping post: I can't help but laugh, because the plot of mid-3.1 is literally "Phainon comes back for one scene and almost single-handedly solves Mydei's central character conflict by sending him to talk to Chartonus." He really said "I gotchu, man." 😂)

In Mydei's final goodbye to Castorice, we even see this unhesitating self-sacrificial nature when Mydei thoughtlessly offers to let Castorice kill him just so he can help with her own goal of pursuing Thanatos. Castorice is quick to rebuke him because, unlike Mydei, who has come to view his uncountable number of lives as nothing but currency to be spent in service to others, Castorice desperately values life. She chides him for being so willing to sacrifice himself, but he basically deflects, claiming it's an aspect of all Kremnoans rather than reconciling with the fact that, by this point, he's basically given up on trying to have any regard for himself.

In the end, Mydei manages to find his way forward, making the final, devastating difficult call to dissolve the dynasty and end the history of Castrum Kremnos. This is framed as Mydei reclaiming his agency, making the choice that he knows is right over the choice everyone expects of him. This is what Mydei wants for his people.

But what is the final outcome here for Mydei? The Kremnoans staying safe in the holy city wasn't Krateros's wish, nor the detachment's wish--it wasn't even the young Kremnoan children's wishes to stay in Okhema. It was Mydei's wish to live peacefully in Okhema with those he cares about, finally free of the shadow of Kremnos's bloodstained history and the madness of the path of Strife.

The life that Mydei secured for the Kremnoans is the life he dreamed of living.

And now the only Kremnoan who doesn't get to live that dream is Mydei.

Mydei went to Castrum Kremnos knowing he would likely never return. He went knowing his own death was already signed and underlined in future records of history, either at the hands of enemies from the Black Tide or at the hands of the person he trusted his deepest secret to. He knew that he would spend the rest of his life alone, engaged in the very same endless war he wanted to stop, the strife he did everything to spare his people from.

He sacrificed his own humanity, his entire life--everything he fought to claim as his own--all to protect other people. (I.... love this character so much...)

Nikador's last virtue is sacrifice. If you want to understand Mydei's character, just remember: Mydei is the kind of person willing to sacrifice everything he has.

8. But the Fact that "Mydei" Exists Means Something

Okay, but with all of that said, the true tragedy of Mydei's story is that he wasn't completely selfless. If he genuinely had no thoughts for himself and lived only for the happiness of others, his actions in 3.1 wouldn't be framed as a sacrifice in the first place.

Mydei's decision was difficult, and his ultimate departure was saddening, because he did have some regard for his own life. Mydei had dreams that didn't involve becoming the demigod of Strife. There were things Mydei was looking for in the world that now he will never get the chance to find.

And nothing more clearly tells players this than the existence of the name "Mydei."

Unfortunately, the effect of Mydei's name change is a little bit lost from the original Chinese to English: In Chinese, while "Mydeimos" is the same as in English (Màidémósī/迈德谟斯), "Mydei" is actually "Wàndí" (万敌), functionally an entirely different name. This works in Chinese because the use of specific characters allows the meaning of the name to stay the same (the "My" in Mydeimos means "ten thousand" and so does "万") while the sound of the name changes noticeably. In English, just using an abbreviation doesn't have quite the same effect unfortunately, but obviously the English translators didn't have the same options.

Anyway, the point is that in the original text, Mydei didn't just ask the Chrysos Heirs to use a nickname; he literally gave them an entirely different name--almost an entirely different identity. This distinction is reflected in his very first voice line, where he introduces himself as both "Mydeimos, the crown prince of Castrum Kremnos, and Mydei, the warrior of Okhema," as if these are two different people.

Mydei was essentially inventing a different life for himself, a life where he didn't have to be a prince but instead could be just a regular warrior, where he wasn't "of Castrum Kremnos" but "of Okhema."

At the end of 3.1, Mydei's return to Castrum Kremnos is framed as "returning home." The mission description suggests this, and when Mydei returns to Castrum Kremnos, he's greeted by his mother's voice and answers her turn.

But this is actually bittersweet, because the game tells us repeatedly that Mydei has deeply conflicted feelings over whether to think of Castrum Kremnos as his home. In 3.0, Phainon insists that Mydei must be feeling extreme homesickness while exploring the ruins of Castrum Kremnos, but Mydei's conflicting backstories make it unclear whether he ever truly lived in Castrum Kremnos as a child.

Then, in 3.1, Mydei's scene with the children is obviously meant to be an evocative parallel. The children insist that Kremnos is their home, but Mydei pauses and asks them: "Can a place you've never seen be called your home?" This scene is important, because it is clearly intended to parallel Mydei's own situation. Most characters in the story--including all the Kremnoans--view Castrum Kremnos as Mydei's home, but he was thrown into the sea from the time he was an infant. Even if he returned to Kremnos after that, it could only have been under a false name, hiding his existence from his father the king. Is he himself holding on to the notion of Kremnos less for what it is and more for what he feels it's supposed to mean to him? Merely because of tradition and history? Was Castrum Kremnos ever really his home, or has Mydei's home always been the people he loves?

When Castorice asks him if he's returning home at the end of 3.1, Mydei struggles to answer the question, making it clear that he doesn't truly believe that Castrum Kremnos is his home anymore:

But if Kremnos isn't his home, then where is? (Oh, you wandering lion...)

I'd like to point out that Mydei's "About Self" line isn't "About Self: Castrum Kremnos." It's "About Self: Holy City." In this voice line, he expresses his surprise about the new life he managed to create in Okhema, how he never would have dreamed of ending up there as their ally one day. But in the same breath, he laments that "Okhema cannot be a home for everyone," because, as he discusses later in his "Annoyances" voice line: "Castrum Kremnos and Okhema have long been at odds. A spear can pierce the enemy king, but it cannot resolve the deep grudges of the people." Mydei is vexed by the barrier between the Kremnoans and the Okhemans because he doesn't want his two nations to be at odds. He wants Okhema to be a welcoming place for the Kremnoans--himself included.

The game tells us that Mydei was a person who was looking for a home, and that he wanted Okhema to be that home.

Mydei admits to Phainon that he is (they both are) naive, always wanting the best for everyone:

What Mydei believed was "the best for everyone" was a peaceful place. A place his people could prosper, a place where they could live on without needlessly wasting their lives on the battlefield, where, like the Mountain-Dwellers pushed from their homes in Chartonus's story, there would at least be a future for the Kremnoans that wasn't just "valorous death."

But Mydei wanted all that for himself too.

In "As I've Written," the author writes that Okhema was the final gift Mydei gave to his people--but in doing so, he had to sacrifice the chance to keep Okhema as a home for himself.

Mydeimos was willing to make the ultimate sacrifice for his people without hesitating. He was willing to throw himself into danger over and over again, even when it would kill him painfully numerous times. He was willing to face his deepest fear and take on the coreflame of Strife to protect Amphoreus, despite knowing that the cost would be his personal happiness and freedom. He did so almost entirely without regard for his own life, unwavering in his sense of duty to others.

But the existence of "Mydei" meant something: a small, secret wish for a different future, to become someone who could live freely in a world without meaningless, endless violence, unchained from the evernight at last, surrounded by the people he cared for and who cared for him in turn.

Many people are worried for the numerous death flags surrounding our favorite prince... but the truth is that "Mydei" is already dead. That hoped-for life died the moment Mydeimos accepted the coreflame of Strife and surrendered his humanity, the moment he returned to the empty darkness of a fallen kingdom, where only a throne of blood was waiting, bidding farewell to any dream he ever had for a softer future.

9. Deeply Affected by Okhema's Discrimination

All right, that was bad. So you know what I'm going to do now? Make it worse.

I truly believe that part of the reason Mydei did not fight harder against his fate is that, even as he made his decree telling all the other Kremnoans to stay in Okhema and adapt to their ways... He didn't know how to do that himself. Even as he wanted to make Okhema his new home, he didn't know how to make the holy city accept him. (He probably doesn't know how to make himself feel at home anywhere, really.)

"As I've Written" says that cruel rumors followed him everywhere he went in Okhema, even though he never raised a hand against anyone in the city:

His voice line "Annoyances" suggests that Mydei is frustrated that he could kill what was likely one of Okhema's greatest enemies, Eurypon, and yet still the city would not forgive the grudges of the past. In 3.0, one of Mydei's first lines to Phainon is to remind him that Okhemans and Kremnoans still don't get along, even as he also says "I'm not in a place where I'm free to change that."

In 3.1, we see that despite serving the city faithfully as frontline soldiers for years, dying for Okhema's cause, the Kremnoans are still so mistrusted that the Council orders higher ranking members like Krateros to be placed under surveillance. In 3.0, the Kremnoan NPC Aeleus basically ends up running off from Okhema (to his implied death) simply because the Okhemans would not accept his relationship with one of their own. At the very beginning of 3.0, one of Phainon's first lines is chiding Mydei for not protecting "Okhema's citizens," but the way the line is framed accidentally excludes Mydei from being counted among those citizens, something which Mydei calls Phainon out for.

In 3.1, what the Kremnoan children tell Mydei is pretty devastating: they're being ostracized so badly, they can't even think of the place where they were born as their home.

At the end of 3.1, Mydei is even shocked to see that people other than the Kremnoans have come to see him off, seeming genuinely surprised that any of the Okhemans would respect him enough to want to say goodbye.

Even more telling, Mydei's own allies, his fellow Chrysos Heirs, admit that they've completely neglected the situation of the Kremnoans, turning a blind eye to the discrimination and hardships Mydei's people have been facing for years.

But all of this really culminates in the first coreflame trial. Although I've seen lots of people talking about how Mydei's fear was losing his friends, including Phainon, I think a lot of people kind of blanked over the fact that Mydei didn't just fear losing his friends--he specifically feared that his people would become the victims of hate crimes. The entire setting of the first trial for Mydei was watching the Okhemans turn on the Kremnoans, hurling slander and literally beating Kremnoans to death in the streets.

(This last one was particularly harsh, as Mydei clearly holds Chartonus in high regard--seeing someone he cares for act frightened of him and tell him there's no place for him in Okhema clearly shook Mydei even more than seeing the shade of Perdikkas die again.)

Mydei confirms for Tribbie that in Nikador's trial, he saw his "greatest fear," something that "terrified him." But Mydei wasn't just frightened of losing his friends--if it was only losing his friends that he feared, then like Phainon was, he would have been transported to the past and relived their real deaths. Instead, we specifically see a new fear: Mydei is terrified of Okhema's xenophobia, terrified that his people (and himself) will eventually be entirely rejected, losing their last refuge in a dying world.

Part of Mydei's greatest fear is the belief that no one wants him, that there is no place in Amphoreus for the "beast spurned by all."

This, of course, makes Tribbie's comment about how she and Aglaea have sidelined the Kremnoans' concerns all the worse--while treating him as a friend and ally, the Chrysos Heirs seem to have largely failed to do anything to address the prejudice Mydei was facing. In fact, we even see this mirrored in the bath scene later; yes, it's light-hearted but also, in the broader context, it isn't the greatest of looks: Even though Phainon is obviously being dumb, everyone automatically believes Phainon when he pins the blame on Mydei, and they confront Mydei as if the whole thing were his fault.

Mydei is an incredibly resilient and enduring person. He has faced the entire world as his enemy and still come out on the side of good. He certainly would not allow the opinions of plebeians to sway him. Nothing others could say or do would force him to bow his head.

But... I don't think Mydei was as immune to Okhema's discrimination as he liked to seem. The fact that he created an entire new name for himself, that he swore his loyalty to Aglaea and kept every promise he made to Okhema and the Chrysos Heirs, and yet still couldn't find a way to make Okhema his home... The fact that dream he had for his people's future was essentially for them to be able to live the exact same lives the Okhemans already do, in peace and prosperity, and yet even while living among them for years, the Kremnoans hadn't been able to reach that level of comfort... The fact that his last wish to Phainon was for him to be the bridge to finally help the Kremnoans adapt to life in their new nation...

Phainon's comments about what happened to the Mountain-Dwellers after they left their homes almost seemed to suggest that he fully understood the dangers of the action Mydei had just taken--like the Mountain-Dwellers, committing the Kremnoans to a future in Okhema does mean exposing them to further prejudice and mistreatment. Mydei accepts this as fact, suggesting that he knows just how much his people might suffer from the choice forcing them adapt to a foreign culture's expectations. And yet Mydei excluded himself from that need, and now will likely never--in this life at least--have the opportunity to grow to fit the place he expects his people to one day call home.

The fact that so much of Mydei's story revolves around this conflict between the two halves of his life, his two nations, suggests that this issue did affect him significantly, likely for years. I think it is actually one of the key reasons Mydei struggled so severely with his decision over the Kremnoans' future--and over his own future. If Okhema had accepted Mydei with open arms, treated him with respect and affection, if the holy city had given him a real home for possibly the first time... I don't think the story would be where it is now. Mydei was so willing to give up his own life and freedom at least in part because he felt like he had no other options, and some of that feeling certainly comes from believing he had no place in Okhema. Mydei was convinced that the other Kremnoans would eventually adapt and be accepted by the Okhemans, but I don't believe he ever thought that acceptance would apply to him.

It wasn't just the prophecy that drove Mydei away to Castrum Kremnos.

I think Mydei's character should be best understood as someone who, even while refusing to ever give in to the hurtful comments and behavior of others, was at least very much aware of, and shaped by, years of discrimination for beliefs he didn't even hold.

10. Stranger Danger/"I Won't Say I'm in Love~"

All right, with those wonderfully depressing points out of the way, why don't I end with some comedic relief? There's one last thing I want to say about Mydei's characterization:

He's kind of shy.

😂😂😂Okay, okay, I'm kidding. Mydei isn't actually shy by the average definition of shy folks (nervous, struggling to assert themselves, cracking under the slightest scrutiny). Mydei isn't going to ever make himself smaller or run away when someone tries to approach him, of course not.

But Mydei is reserved. It seems that he does not usually befriend people easily, is slow to trust, and keeps himself aloof, particularly among those he doesn't know well. It's easy to see this in the flashback from early on in Phainon and Mydei's acquaintance, where his responses to the conversation are exceptionally stand-offish, devolving into just one-word answers to try to free himself from the awkward small talk with a stranger.

One of the places people are most likely to find Mydei in Okhema is withdrawn, keeping to himself all the way up on the farthest corner of the roof. He even flat out asks why the Trailblazer would ignore his obvious wish for alone time. Even in 3.1, when taking a photo with the Trailblazer, Mydei is pretty awkward about it, saying that he doesn't take photos often, which suggests that he doesn't put himself out there much, even on Okhema's World Wound Web. (Maybe he's just hiding behind his cute chimera tiktoks instead; I am a Fig Stew truther lol.)

But I think perhaps the funniest indicator of Mydei's reserved nature are the scenes in Castrum Kremnos in 3.0. Although the Trailblazer is obviously not the most talkative character in Star Rail, Mydei goes almost that entire sequence without speaking more than a single sentence directly to the Trailblazer. Literally, the only line of cutscene dialogue he says to the Trailblazer for an entire two hour sequence of the patch is "Think what you want." Every other line in the entire Castrum Kremnos sequence is instead spoken to Phainon; sometimes he even speaks about the Trailblazer but goes right over Trailblazer's head to talk to them through the medium of Phainon.

Even Mydei's voice lines start with bare bones, one-word answers; his greeting to the Trailblazer is just "Mhm," despite clearly having no issues speaking full sentences to people he knows better.

Mydei really said "I don't talk to strangers."

Which, honestly? Totally fair of him. When you're an exile from your homeland which is ruled by a king who tried to kill you and every single other surviving nation on the planet hates your guts, it's not like a lot of the strangers you meet are going to end up being friendly. Mydei has obvious reasons to be aloof and to withhold his thoughts from people until he's certain he can trust them. He even has reasons to not be that well adjusted; the first nine years of his life were spent with virtually no human contact, and then even after that, he was taken in by the Kremnoan exiles who were already predisposed to support him no matter what his ability to connect with others was like. It's perfectly understandable for Mydei to not be the most talented social speaker and to tend to keep to himself.

But it's also just so humorous in practice--an undying prince of a conquering nation, one of the lead warriors of Okhema, rife with the pride of Castrum Kremnos, refined in both body and manner... And he's just awkward with people he doesn't know well. As much as it might be influenced by a tragic past, it's also a charm point.

Hell, Mydei's a little bit awkward even with people he does know well, at least when it comes to trying to express himself. Of course, the bath scene is the best example of this. Mydei comes up with literally five different options for things to say to Phainon and then ultimately scraps them all because "None of those sound right." (What he goes with in the end honestly isn't any better lol.)

Mydei was clearly trying his best to find the correct words, and the fact that he hesitated over picking the "right" answer tells us that he's not always as confident in communicating with others as he might initially come across. He's not just trying to come up with the first thing possible--he's trying to find the right thing to say because he is considerate and invested in in being understood by those he actually cares about. Krateros accuses Mydei of using words alone to try to end the Kremnoan dynasty, but the truth is that if Mydei were better at expressing himself--more eloquent and more persuasive--he likely would have faced less opposition for his beliefs.

When characterizing Mydei, I think he reads very much as the kind of person who can say the exact right thing in the exact right moment when it comes to, say, earth-shattering duels with the gods--the kind of person who can speak with poise if there's a challenging political or martial situation afoot. But in closer settings? In those personal conversations where he can't assume a distant, military commander stance and fall back on the expected answers of a warrior prince? The places where what he says really matters, emotionally, to the person on the other side? A lot tougher battlefield.

I think Mydei really is someone who comes across as distinctly reserved--not always because he's aloof or untrusting, but because sometimes he just doesn't know what to say or how to say the things he's feeling and thinking. It's cute, okay?

And you know what else is cute?

It's true that Mydei isn't classically shy, but his marketing has shown us that there is one scenario that he absolutely can't handle: Mydei can't even hear the word "romance" without getting flustered. (The gap moe is so, so real; I am not immune to your propaganda, Hoyo...)

In the 3.1 special program, just the rumor that Nikador once had amorous feelings is enough to leave Mydei stuttering, and in his weibo animation, when the "princess" demands that Mydei act charming, he completely falls apart, so much that he can't even get the sentences out straight and blurs them into a nonsensical mess.

Mydei, fistfighting a god: For me, it was Tuesday.

Mydei, being asked on a date: This is how it ends.

I know it's popular to make jokes about Mydei having his harem, but honestly, if just hearing the word "pretty" makes him panic, I'm not sure how he would ever have managed it. 🤣

Of course, this gets even funnier when we remember that Mydei is also the male character who most consistently brings up talks about emotions and the importance of recognizing and embracing them, who chides Phainon for trying to hide his sadness during their goodbye, and who casually drops half of Amphoreus's most romantic lines. Mr. "If there's chance in the next life, you should come visit my library" can't handle "Do you wanna dance together?"

Make of all this what you will; I don't have a deeper meta analysis of this that wouldn't be better put in a ship post, but in terms of characterization, I think the way Mydei communicates, struggles to communicate, and the places where his communication completely breaks down are all great indicators of the overall person the dev team was trying to convey:

Someone who cares for other people, even more than he cares for himself, but who still, and perhaps always, longed to find a place to belong, loved ones to come home to, and those who will listen to both the words he says and the ones he can't quite get out.

Mydei isn't a brawn over brains brute whose temper pops off every single time he gets mildly annoyed, or someone who lives his whole life in the training arena and takes every chance he can to start petty arguments. He isn't especially grumpy, machismo, or repressing his feelings, even when he's not always capable of realizing just how justified those feelings are. He's not unnecessarily aggressive or particularly rash, and he's definitely not dumb muscle. He is self-sacrificial to a fault...

But he is also a character of true extremes, combining an incredible capacity for violence with a longing for peace, a desire to do his duty to others while still wanting to keep something for himself, a pragmatist who understood the futility of fighting fate while still, deep down, harboring the idealized dream of a kinder future. He is the one who always asks to talk, but also struggles to find the right words; the one who embodies every tenet of his people's faith, only to reject everything that faith stood for.

Mydeimos, the crown prince of Castrum Kremnos, and Mydei, just the warrior of Okhema.

The man that you are. ❤️

One of my favorite Star Rail characters, beyond a doubt.

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If you're feeling ok I just want you to know i immediately thought of hyyh yoongi when I heard the lyrics "Standing in the fire next to you" 🔥🔥🔥

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I'm negl to you even tho hyyh is like. Famous for hyyh yoonkook I seriously didn't think they would put this much queer subtext in begins youth like. either this is Sherlock levels of queerbaiting or these guys are straight up in love with each other

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Thid episode is the reason I should have a chew toy because WHAT do you mean he's seeing everyone have fun and going "no, this is wrong I need more death" THE WATCHER LORE WRITES ITSELF.

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Fun story, my brother told me last session that Mumbo is out and I got on his case about spoiling it to me. It was dead wrong but didnt know hes a prophet like that

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Omg why is the trivia have every morsel of desert duo relationship on blast like From the peace, the pet to the cheat like????

Watchers favorite? Favorite to fuck with, oh my god

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"Just like third life" Sirs, I spent my day writing analyses for a deadline that just passed half an hour ago SIRS YOU CANT BE DOING THIS TO ME

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On the other hand this technically implied the winners remember their memories AND feelings cross seasons so 👀👀👀

NO WHAT THE HELL WHO MADE THIS 😭😭😭😭

Asking a man who his man is cheating with in their double life for a small prize?????

Youre MEAN /j/lh

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NO WHAT THE HELL WHO MADE THIS 😭😭😭😭

Asking a man who his man is cheating with in their double life for a small prize?????

Youre MEAN /j/lh

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Good morning America

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A fun thing i noticed is that in secret life, everyone seems to properly acknowledge Grian's hand in creating this death game. Probably someone was sick of keeping secrets?

And also, does Grian using his powers to execute the wild cards, working on Scar (and Cleo)'s baseline ideas. Does that remind us a bit of 3rd life desertduo or whaaat

IF THE WINNERS DESIGNING THE LIFE SERIES AFTER THEM IS TRUE THERE ARE TWO WAYS TO LOOK AT THIS-

A. Scar made it wild life because he himself is wild. He wants fun, he wants chaos, he wants confusion. But in all of this he doesn’t want pain. The wild cards are a way of being silly and fun without bringing pain. It gives you life not death. He hates all of the seriousness of the games and he wants love and happiness.

OR

B. Scar made real life because he felt to separated from reality and so tired of the games that he wanted something real and something short. Get it over and done with. Cleo made wild life because they also wanted chaos. They wanted unpredictability, they wanted something new. Cleo tends to see the games in less of a serious light anyways. They were silly in the Crastle with bdubs, they chose their own soulmate in double life, they had a random dysfunctional family in limited life. Cleo has always chosen their own fate and what they want to do, and what they want to do is have fun. The wild cards are a reflection of this

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Goated 💖💖💖

Replace the "by" for a "for" and then we be talking

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i love the mental images of grian making the murder snails:

c!grian carefully painting their shells, putting a little rainbow on scott's and an i on impulse's, teaching scar's to smirk and figuring out how to get mumbo's to grow a moustache

cc!grian lovingly placing each pixel on the snails' textures, eyedropping from his friends' skins, deciding to go for the original shrek look for joel's, figuring out how to make them recognisable

both versions giggling like a maniac while imagining how his friends will react