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the-insanity-of-mojiru · 1 month ago

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Gokuto Jihen Shuibanashi -Akushoku- Light Novel Summary

As I promised, below I will give a summary of the "Gleaning Topic: Bizzare Eats" Gokuto Jihen 45 page Light Novel (available for 300 yen on BOOTH). Please support the official release by purchasing this light novel! It's displayed like a yotsume toji book. The plot is Hirahara centric! A synopsis is as follows:

Hirahara is assigned to investigate a culprit who stole the arm of another Escort from the Intelligence Bureau under the Court of Enma. He heads to an abandoned hotel in the mountains and starts his investigations, navigating it's many rooms and floors while avoiding humans and fighting on an empty stomach.

Spoilers below (of course) so proceed with caution!

The story starts with a deceased one crashing through the window of an abandoned hotel, into the empty parking lot where the moon shines bright. Beyond, in the building of the hotel, a pair of yellow eyes stare forward.

Cut back to half a day earlier.

Hirahara, in his usual spacey way, is getting assigned a job from Rokkaku - a member of the Intelligence Bureau had his arm stolen from him during an investigation and Hirahara has to get it back. Hirahara's lax attitude towards the whole situation an inability to read complicated kanji (he's me for real) causes Rokkaku to simply summarize everything for him, sending him off with an origami bird that acts as a guide through the mountains.

Upon arrival at the hotel, Hirahara notices that it's covered in dust, yet there's still a set of footprints that don't belong to him. He explores all the first floor to no avail, and continues to the second floor. Rather than finding any culprits, though, he realizes that some humans have pulled up in a car.

"Are you scared?" they ask each other giggling. Must be a test of courage. Hirahara really finds humans a nuisance - well, he doesn't hate them because their manga and games are interesting - they're just going to get in his way. He does his best to navigate away from those people, because with how fragile they are, if they run into each other, he might accidentally kill them.

Hirahara, sadly, hasn't eaten anything since dinner, which was already some time ago because the sun's long set when he arrived. He contemplates eating a bug, but lets it go by mistake. Next time, he'll just grab what he can to eat rather than abandon his mission for getting a snack. His hunger starts to mess with his intuition.

He follows sounds into a room with a giant hole in the ceiling, but doesn't see anyone there. He nearly misses an encounter with the humans by climbing into the upstairs room just before the humans enter the empty room, looking for ghosts. They leave just as quickly, though. Hirahara's really doing his best here!

Hirahara finds himself in a restaurant, and gets excited at the thought that he can get something to eat. Unfortunately, all he finds is wrappers and expired bentos, which puts him into tantrum mode as he stomps around. This attracts the attention of a high school aged girl named Aina. She's got a bag full of food, so Hirahara, ever the gentleman, just takes it from her and eats her food.

Aina's curious about Hirahara and asks him a lot of questions. What's his name? What's he doing here? What's his job? Hirahara answers with one or two words. He's Hirahara, he's here on a job, he's looking for a thief.

The two are interrupted when they hear a scream, followed by the sound of doors slamming shut and the car driving off. Hirahara notes this is because the humans left in terror. He wanted to ask Aina about it, but she ran off already. Again, being a gentleman and all, Hirahara gives chase down a long hallway into a storage room.

There, he's confronted by Aina again, but this time she's swinging a hatchet at him. Hirahara doesn't get it at all. "Hey I didn't do anything to those humans!" He says, thinking they were together and those guys just left Aina behind. But that's not why Aina's mad.

"Those two things aren't related at all!" Well, Hirahara has to really wrack his brain as to what's going on. Finally, it clicks. His hunger had gotten in the way of his thinking, but that's right. he's here on a job.

"You're the culprit."

That's when the fight begins. Aina and Hirahara really go at each other, Aina slamming Hirahara into the wall with a mighty swing of her hatchet. Blood drips down Hirahara's face, blinding him. He strikes back with his shovel, so hard and quickly that he's just hitting things. When he regains his sight, he can clearly see that Aina has lost her weapon. She bolts for the door, Hirahara hot on her tail. She just about makes it to the door when Hirahara takes another swing at her. She incapacitates him and takes his shovel. It's her turn to hit him now.

Just as she gains the upper hand, though, Hirahara strikes with his fist and punches her so hard, Aina flies out the window. She lands in the parking lot, unable to stand. Hirahara's about to deliver the finishing blow when - out of the corner of his eye, he sees something still moving around in the hotel. It's gone in an instant, and that distraction is just what Aina needs to close the gap and get Hirahara good with a kick to his face. It breaks his nose and shatters his teeth. He stands back up. The fight continues.

Tagami, meanwhile, has been assigned to assist Hirahara by Rokkaku. He really doesn't want to do it, but knowing he can't exactly say no, he heads to the hotel. When he arrives, he sees Hirahara and Aina fighting each other, their bodies basically falling apart, and still they're trying to strike each other.

"And what are you idiots doing?" Tagami has no time for this shit. Hirahara's convinced Aina's the culprit, he's sure of it. She ran away after all. But Aina continues to deny it. After all, she was just running away because Hirahara chased her. Finally, Tagami's had enough. He pulls out the paper that Hirahara didn't read carefully enough. Turns out, Aina's not the culprit after all. A picture of the guy is included in the description. Hirahara just jumped to conclusions, what a shame!

Just as Hirahara is rolling around, wallowing at his mistake, he sees something climbing the hotel wall. It's got a human like upper body with no skin and just flesh and a mouth, and it's lower body has bug like legs gripping the wall. As soon as the trio make eye contact, he spits at them with a gross smelling liquid and jumps at them - the actual culprit.

The monster goes for Aina - she's fresh meat and he's hungry. She goes for the punch but gets caught instead. The monster goes for the bite and rips her arm off with it's mouth, but suddenly Aina's dragged away to the hotel again.

It's Tagami, thankfully, as he did his best to save her from getting swallowed by throwing a chain at her to drag her back to safety. Unfortunately, Aina's arm can't exactly be recovered so easily. They can see it sticking out of the monster, along with other body parts that clearly don't belong to him.

Aina and Tagami have some quick banter with one another because Tagami explains the situation: Basically, a long time ago, there was a famine that drove people mad with starvation. This monster, previously human, ate everything - from insects to animals to humans. It changed his figure so much that other humans hunted him down, chopped him up, and sealed him away in the mountains. Overtime, he was forgotten about, so the Intelligence Bureau were in charge to watch over him. However, he was finally able to resurrect, attacked the Escort on duty, and escaped.

Tagami and Aina come up with a plan - they can see a special mark left by the previous Escort marking the monster's weak spot. Aina runs to grab her discarded hatchet while Tagami goes in to fight.

Hirahara, on the other hand, is having the time of his life. He loves that he can keep punching this thing to no end - especially because it just won't go down. He's a battle junkie through and through. The monster, however, is not having fun getting pulverized by Hirahara so he decides.

"I'll eat you."

Of course, the monster never gets a chance because Aina, now hatchet in hand, comes down on him and severs the arms on it's back. Tagami goes at him with the pickaxe, he strikes that spot on it's back marked by the other Escort when the monster swings the two of them off him. But instead of getting finished off, Tagami realizes that it's the monster who screams out in pain. The mark was actually magic that turned into ropes and recaptured the monster, letting Hirahara deliver the final blow. But uh...

Hirahara is literally starting to eat the monster. He bites into the neck, hating the taste of sweet and rotting flesh, but he can't help but go in for another bite. He's still hungry. Plus, the monster was the one who said "I'll eat you" first, so, it was fair game.

Aina, on the other hand, has never seen this feral man going to town before so, she drops this great line of "I think it's gonna give you diarrhea" as she stares on. As Hirahara enjoys his meal, Tagami notices that Aina's arm is growing back, which means the Escort who lost his arm is surely growing it back too.

When Hirahara finishes everything but the head, Tagami uses his great rope skills to wrap the head in cloth and bind it with rope, some kind of Escort magic seal to keep the monster from regenerating (at least not for 1000 years). Everyone has a moment to take a break, but Tagami's still a bit on edge.

If Aina isn't the culprit, then why did Hirahara call her a thief? Turns out it's because she took the food the humans left behind. I mean, Aina just felt like it was fair game because they came packed for a picnic. And besides, she doesn't think humans taste very good at all. Tagami, somewhat concerned, asks for clarification. Aina has, actually, tasted human before. She bit a stalker a long time ago, so it was just in self defense. If she had to pick between eating people and convenience store food, she'd rather eat the convenience store food.

Hirahara, for a moment, considers what it's like to taste humans, but Tagami and Aina both shut him down. That's too bad though, because Hirahara is always hungry.

And it's gonna be a while before breakfast.

#Gokuto Jihen #Underworld Capital Incident #獄都事変 #Insanity's Post #Insanity's Translations #Insanity of Mojiru #The interactions between Aina and Hirahara and Aina and Tagami are sooo good like treat yourself to the sass level on these three #Aina my new love my sweet girl please just be the sass queen of the mountains like go off #I hope y'all are prepared for the amount of fanart I'm suddenly going to be inspired to draw because of this LOL #I think I was really starved (no pun intended) of gokuhen content because I ate this shit up like no one's business...#...this is honestly the fastest I've turned around to read translate and summarize a light novel since Dancing with Dragons XD #I truly don't think there is anything funnier than my only translations here are Bucchigire or Gokuto Jihen related #You know the one about the color coded men fighting color coded crime #Please support the original work buy purchasing it! It's a really good price for what you get!#I considered not posting the summary because I was afraid it might affect sales but...#...I'm also the kind of person who thinks knowledge should be shared so if anything you could help me feel better by buying the original

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hideousvampire · 1 year ago

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PLEASEEEE GIVE US MORE FAIRY KARATE KID CONTENT

AAAAAAAAHHHHHHHH

tumblr user l9wrence quote

#the karate kid #tkk #johnny lawrence #daniel larusso #lawrusso #fairy karate kid content🔥🔥#dont u guys hate it when u accidentally say malpractice instead of help #totally relatable #get that hornet into SCHOOL!!!!!#johnny is considering selling him to the government to be tested on he is annoying #johnny is considering selling him in general #daniel is worth about 3 dollars

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canichangemyblogname · 7 months ago

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If any writer is out here seriously arguing that Characters in a TV show shouldn’t have growth because of the nature of the medium, fucking run. Run from their projects. They will be bland, tired, uninspiring, and boring.

TV characters don’t grow or change *in the same way* they would in a movie or novel. That’s the key phrasing here: in the same way. When a movie or novel ends, many of the central problems and conflicts specific to that book or movie have been resolved. A TV show is built on a series of ongoing conflicts, often with one overall larger situation pushing the plot forward or tying the narrative together. Think of ATLA. Every week, the characters landed on a new island and had someone new in need of their help, but the overall larger conflict, the war, always loomed on the horizon. The episodic plots created growth while the overall serial plot created great change, and each character still maintained their “sense of self.” People have mistakenly begun to argue characters maintaining this “sense of self” and an ongoing source of story means they do not grow or eventually change. That is incorrect.

Aang matured and learned to control his powers, but he is still kind, loyal, and sticks to his conviction that he will not kill to end the war. Katara became a master water bender who can hold her own and protect her own, but she remained passionate and strong. Sokka found a sense of purpose and self-identity, but he remained intelligent and witty. Do you see what I’m getting at here?

Walter White changes in the sense he becomes more morally corrupt as the series continues, but what doesn’t change is the fact he’s cooking meth. The overarching conflict-driving situation doesn’t change for the characters until the very end, even if episodic conflict-driving situation ends or the character is dynamic. ATLA ended when the war ended. The Sopranos ended with an abrupt cut to black meant to be interpreted as Tony’s death (confirmed by the creator). Mad Men ends with Don Draper— a character plagued by emotional suffering and who was characterized as unable to change for the better— meditating on a hilltop at a retreat before the show cuts to the real-life 1971 Coca-Cola “Hilltop” commercial.

A TV show isn’t one long story, but a series of shorter stories that tie together. Episodes have their own beginning, middle, and end. The show itself doesn’t necessarily have that, especially given the modern TV landscape where shows get canceled after one or two seasons all the time. There’s no planned end because the end could be in a couple seasons or this next season. The writers have to figure out an end for the show only when they’re faced with its end. Until that moment, though, each episode is its own story, and each episode’s end is supposed to leave the story with possibility for more stories to develop or come, but the overall plot-driving conflict does not resolve until the end.

The issue with 911? There are a couple characters with what seems like no overall plot-driving conflict fundamental to them. Buck’s story doesn’t revolve around evading the authorities and doesn’t end with him fittingly dying among the meth that corrupted him. Hen’s story doesn’t end when she fully realizes her powers and defeats the warlord threatening to burn the world to the ground. Of course, yes, because that’s not the genre they’re in, but that’s not the point I’m trying to make here. They seem to no longer have an overarching source of story. Not like Eddie. Not like Bobby.

Or, at least, production is not utilizing these character’s source of story.

Bobby’s past struggle with addiction is an ongoing source of story for him. Eddie’s past loss of the love of his life is an ongoing source of story for him. The reason Athena became a cop in the first place; her motivations, is an ongoing source of story for her. The abuse Maddie suffered in the past from Doug is an ongoing source of story for her. None of these traumas are things that will change about these characters. If Maddie stops picking up phones to help people at their most vulnerable; in their greatest time of need, and Athena hangs up her badge, and Bobby retires and comes to peace with the lives he’s lost and saved, and Eddie forgets Shannon, these character’s stories end. Boddy, Athena, Maddie, and Eddie’s stories are shaped by ghosts in their past. When those ghosts finally rest, these characters will see resolution.

But Buck and Hen do not have the same ongoing source of story. And I know the writers have realized this because Minear himself characterized Buck as being on some sort of character “hamster wheel.” There’s nothing driving his story forward.

And fans have noted the same of Hen, joking about “Hen and Karen lose their kids, part VI… 😒.” Karen, actually, has more of an ongoing source of story than Hen, with Karen’s ghost being that she does not share DNA with her any of her kids, making her claim to motherhood vulnerable. We see this cemented by the IVF storyline and how devastated she was that her body could not give her a kid recognized by the state as her’s and always hers. Hen’s ghost was Eva Mathis, who also became a source for Karen’s ghosts (��Everyone I ever loved belonged to you first”). But Eva hasn’t been seen since season 5’s “Ghost Stories” when she fucked off out of their lives and told both Hen and Karen that she’s leaving California and won’t be back. And 911 completely dropped the Nathaniel (Denny’s dad) plot line, so this ongoing source of story was essentially resolved. But the show recognizes the situation it created and continues to recreate this ongoing source of conflict with new antagonists trying to take Hen and Karen’s family from them, instead of using those past ghosts.

But what the writers seem to have neglected in their resolution of Hen’s past ghost (Eva) is that Hen’s ghost wasn’t ever legal powerlessness over her kids because she didn’t physically birth them and never could get pregnant like she’s long wanted, as it has been Karen’s. Hen’s ghost is the life she had before Karen (see: Hen begins, as the begins episodes do a good job of revealing what each of these characters ongoing source of story will be). Her ghosts are Eva and Daniel and pharmaceuticals and watching someone she loved succumb to addiction and repeatedly blow up their lives. Her ghost is also a different form of addiction: an addiction to chaos or danger or excitement, previously in the form of Eva. (And I think that’s part of what made Hen and Bobby’s relationship feel different from Bobby’s relationship with other members of the 118. Bobby struggled with addiction and Hen knew what it was like to lose people to it.) While Karen’s ghost is the fear of losing her kids (she became a stay at home mother and everything), Hen’s *could successfully have been* the reason she became a firefighter in the first place: a desire to save lives, especially after seeing people she knew almost lost or totally lost to emergency and illness. She goes from working for the industry that started our addiction epidemic to saving lives impacted by it, and the ghost that drove her to do that would have been the past love she lost to addiction. Her ongoing source of story would have mirrored Bobby’s in a way (potentially setting up nicely a poetic end where he passes the torch to her, also bringing her full circle from a probie intentionally left out to the woman with the run of the house), in that she is driven to save lives because of those she’s lost or almost lost. And it is easily a part of all her arcs, like when her mother gets sick or when Bobby relapses or when her kids or wife get injured.

Luckily, I don’t think they’ve screwed the pooch by writing Eva off. Eva could return. Hen’s past as a pharmaceutical rep could come back to haunt her. This narrative of “this is why I became a first responder” *has* permeated Hen’s entire story, it’s only recently that it seems like her story is repeating itself. I think resolving this issue would 1.) require the show to see Hen as more than “the show’s lesbian with a family,” and 2.) a simple jolt of creativity. Production can let someone new come up with an idea or hire other staff or whatever to bring in some fresh perspective. I really think this is solvable and they have the resources to take Hen’s story in a refreshing direction.

Which I want to compare to another character in the show, Buck.

Buck is also stuck in a cycle. Buck’s ongoing source of story has always been about creating “emotionally weighty” relationships due to an emotional neglect he suffered as a child. It’s why he slept around. It’s why he often feels a sense of abandonment and derived purpose from his work. It’s put him at odds with his sister, Maddie, at times. His ongoing source of conflict; his ghost, is his parents (and Daniel) and how this created an emotional wound Buck wants to fill. We see that he had this open wound early in season one, mostly around a desire for emotional intimacy and feeling a lack of a sense of place or significance. He tells Bobby that his job as a firefighter is all he got, he suggests to Maddie that she cast him off for Doug, he tells his sister he’ll make something of himself one day but doesn’t know what yet, he and Taylor talk about meaningful relationships (he’s surrounded by them), he confronts his parents past emotional neglect (and forgives them), he also takes on his subconscious about “mattering” more in a made-up world, and toward the end of season six, he concludes that he is enough; he has all he needs in the real world and then comes to peace with the fact he doesn’t have to perform for others (something which he’s been doing his whole life to get the attention and approval of his parents). And the issue with this is that, well, Buck finding a sense of purpose outside his utility and finding innate value in who he is (this idea he is enough as is) in season six kinda sorta wrapped up his ongoing source of story. They even tried partnering him up with a nice girl (which is unfortunately revealing of the fact they think Buck’s sense of significance and his struggles with loneliness are tied to his romantic struggles as opposed to emotional abandonment as a child by his caregivers).

The writers or the creator unfortunately seem to want to argue that Buck’s ongoing source of story is his lack of a romantic relationship, rather than finding purpose with his life and struggling to build or maintain a community of emotionally weighty relationships around him as life brings people together and draws them apart. We saw this illustrated well in his arc with Red, the retired firefighter. Buck is worried about dying alone, but not really because he doesn’t have a significant other at the time. He’s afraid of this because of the response his coworkers/friends gave when he asked if they ever keep in touch with former coworkers. Part of Red’s story may have been that he let the love of his life go, but the other part was that he never kept in contact with his old friends.

However, it seems the show’s creator wants to argue that Buck’s story ends when he finally finds “the one,” romantically. But it’s not. Buck’s arc ends when he finds a sense of purpose or innate value outside of his work (it would be really blah, boring, if that “purpose” he finds is a romantic partner, btw) or settles with the fact that he has (and always will have) an “emotionally weighty” support system because he fights to maintain those relationships despite distance, time, circumstance or a change of jobs. Buck’s ongoing source of story has always primarily revolved around his platonic relationships. The point of Red’s story was that Buck is not Red, Maddie even says that Buck will never be alone because he has her. And while it could be argued that part of Buck’s resolution will be finding people who fight to stay in his life, always return, and show him that he matters to them, I think it would be shortsighted to suggest this refers (or would exclusively refer) to his romantic life. Buck will settle into himself because of the platonic and familial love he has fostered and fought for.

This means, I think it’s possible to stop giving him a revolving door of romantic partners (either commit to one or none, imho) without resolving his story when his story is about creating emotional support systems and deep connections with others despite the way life pushes and pulls people apart. Arguing his story resolves when he finds “the one” would be like arguing Chim’s story ended when he and Maddie first got together. Life pushed and pulled them apart several times, and they kept choosing each other. Chim has fought to maintain the family he’s created after the family he lost and also never got. Maddie has fought to maintain the happiness and safety she thought she’d never get. The show could give Buck a steady partner or a reoccurring romantic partner and still write narratives about the difficulties of maintaining platonic and familial relationships as an adult, including any potential expansion of that familial relationship through a romantic partnership.

In my personal opinion, if any of Buck’s ongoing source of story is related to romance, it’s his belief that his life and existing relationships will only be complete when he finds “the one.” As Taylor said, he’s surrounded by meaningful relationships (yet he doesn’t seem to find this enough—likely due to this idea he has to find romance). It could be argued that when he realizes this, and in the process realizes that he doesn’t need a romantic partnership to “complete” the picture, then his ongoing source of story will find resolution. This approach would necessitate a constant cycle of different relationships until Buck ends the series single and surrounded by—like—his nieces and nephews and friends. However, I do not think that this would satisfactorily resolve Buck’s picture (mostly because of the rather boring patterns it creates for Buck’s character and the way I think it would often lead to Buck re-hashing the same things over and over). I also don’t think the writers are setting out (or ever will set out) to tackle amatonormativity in narratives about family, belonging, and “ultimate” happiness.

Unfortunately, I do think that Buck’s narrative will continue to be stuck in a cycle of unsatisfying and incomplete or short-cut relationships until the show end-ends anyway. I think this because I think the writers and creator genuinely see this cycle as what drives Buck’s story (as opposed to just one potential aspect to include in an ongoing source of story about finding purpose outside utility and people pleasing, and surrounding himself with people who love him and who he loves in return), with the resolution to his ongoing source of story being Buck ultimately finding “the one,” and settling down with them. However, because romance has never been the primary focus of his ongoing source of story, this exclusive focus on break-ups and then moving onto the next until “the one.” will always feel unsatisfactory.

What will “save” Buck’s story isn’t a new jolt of creativity, but the creator and writers actively challenging and changing their amatonormative views of relationships. And I think that’s far less likely to happen than someone going, “What if Hen has a call about an overdose and it brings back some uncomfortable memories and new challenges for her and Karen?”

#tl;dr: if they don’t bring Tommy back that would actually make Buck’s story incredibly bland #because a constant cycle of break ups and new romantic partners misses the point on what has been the source of Buck’s story #his romantic relationships can be transformative #but still not the *primary* thing that drives Buck’s story (< which is something like a motivation or history)#because a character can grow with time. but this growth in character is not the ongoing source of the character’s story #even if it is related to or caused by the character’s ongoing source of story #Like Rebecca Welton can warm up to Ted Lasso because Ted is sunshine incarnate. This looks like it could be considered growth #but her primary source of conflict that drives her story is her contentions relationship with her ex-husband #that resolves when she forgives him for his affair or moves on and stops letting her animosity for her ex husband motivate her #You see what I mean?#TV characters can grow while still maintaining their character (‘sense of self’) and the conflict that drives their story #911 ABC #Evan Buckley

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wasabikitcat · 1 year ago

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I had this realization a few days ago when reviewing what we know about Gaster while theorizing about the mysterious Valentine from the newsletter and idk if other people have pointed this out yet, but I haven't seen anyone else talk about it:

I don't think Gaster's disappearance has anything to do with Core.

The Core is only mentioned in relation to Gaster once, in this dialogue from one of the Gaster followers:

This dialogue is why most theories and fanon built around the idea that Gaster fell into the Core, which for reasons unknown to us erased him from existence. But I'm now pretty convinced that this is a red herring, because it doesn't actually say Gaster fell into the Core. It says he made the Core, and that he fell into his creation.

It does not say that this creation is the Core.

The dialogue is written in a way that leads you to assume the creation he fell into was the Core, but that doesn't really make much sense considering the rest of the dialogue.

The dialogue says "they say he created the Core," which implies this is second hand knowledge, but then says with certainty "One day, he fell into his creation." Why do they know for sure he fell into "his creation," but only knows he created the core from what others say?

If you talk to the follower again, they say "Will Alphys end up the same way?" Why would Alphys also fall into the Core? As far as we know, Alphys doesn't maintain the Core; if I remember correctly, a few monsters at Mettaton's hotel are stated to work in the Core, so wouldn't this follower be more concerned that those monsters will end up like Gaster and not Alphys?

And another question that I think fanon has just ignored due to the assumption it was something we don't yet know about, but I am now wondering about: Why would falling into the Core erase Gaster from time? When traveling through Hotland and viewing the Core in the distance, Alphys says this:

And while this dialogue may at first seem indicative that the Core is more mysterious than a normal geothermal power generator (and it is in some ways), remember: Alphys didn't build the Core. Alphys doesn't understand how the Core works, not because it has some unnatural property that could erase people from space time, but because she didn't build it. Not only does this mean that the Core is likely just a power generator that utilizes the lava in Hotland to produce geothermal energy and convert it to electricity, it also means that Alphys doesn't work on the Core, because she doesn't know how it works. So why would the Gaster follower worry about Alphys ending up like Gaster if she doesn't have any involvement with the Core?

Additionally, that Gaster follower is the only one to mention the Core in relation to Gaster. In fact, one of the other followers says something that could be interpreted as actively contradicting his erasure being caused by the Core:

This follower says "his experiments went wrong," and doesn't mention the Core. Why would Gaster be experimenting with the Core? And if he was, we don't know anything about it.

But you know what experiments we do know Gaster was working on, because it's literally one of the only pieces of dialogue we have from him?

And do you know what other creation was presumably made by Gaster, as Alphys is unfamiliar with it's operation? That is also a creation that was actively being used in experiments, which Alphys is continuing to perform herself? Experiments that are directly involved with something we already know can alter time and space? A creation that is located in one of the most mysterious areas in the game with several oddities in it that are straight up never explained, multiple fourth wall breaking moments, and a couple explicit references to things we believe are associated with Gaster? A creation that suspiciously resembles in appearance the form of a character who canonically can alter time and space, not to mention resembling the thing that's literally called a GASTER BLASTER???

#ignore the crusty spriters resource gaster blaster. google images is useless when it comes to finding actual gameplay screenshots.#anyways I may be completely out of the loop and everyone already knew this. but also the whole Core thing was basically accepted fanon #back in the day. and i only just realized it probably is a misinterpretation like less than a week ago #im not sure the determination extractor is the creation he fell into. but i think the creation he fell into is related to the extractor #also when looking up stuff for this i came upon the information that the tree man may be referenced in the true lab #when you enter the room filled with fog and try to inspect things it mentions a tree and a man.#not to mention the true lab being the debut of everyman of course.#and whatever the FUCK is up with the memory heads. who have a suspicious connection to phones btw.#actually Gaster has an incredibly suspicious connection to phones. like the spamton thing obviously but his presence seems to fuck up phone #the memory heads. the garbage noise in the dark world. hell GRANDPA SEMI is even directly related to phones.#considering one of the only two places he is mentioned is in a list of characters to have phone call events in the code of the demo.#also the art book mentions that the phone itself was originally a character. which kinda ties into the unused video game content theme.#this doesn't have much to do with this post im just rambling now.#anyways tl;dr i am now a 'gaster did not fall into the core' truther #undertale #deltarune #ut/dr #ut/dr theory

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