#(or at least one special protagonist)

[captainclickycat]

Somehow didn’t realise until now that Ben Galpin was in Victoriocity and I’d heard his voice considerably before Re: Dracula happened.

I like to think that means in a roundabout sort of way that there’s a universe in which Lucy and Jonathan are… siblings? Cousins? Does anyone know enough about the Bell family tree to enlighten me on the relationship between Aureeeeeeeelia and Julius?

[sunnibits]

god. something about samfro is so…

[greenerteacups]

Which is your favourite and least favourite harry potter book?

while i think Prisoner of Azkaban is the best on a technical level, my favorite is Goblet of Fire. because it's a fucking blockbuster. like, this is a book that is firing on all cylinders, trying to do a million billion things at once, and it executes the fuck out of basically everything. besides the fact that it dives deeper into character dynamics than any previous book (ron and harry! hermione and ron! hermione and krum! sirius and harry! ron and percy! etc!!), it's a massive expansion of the universe: it opens up whole new wizarding hemispheres, new countries, new cultures, TONS of new characters, the Quidditch World Cup, the Triwizard Tournament, the Ministry of Magic's bureaucratic politics, the Old Guard death eaters, and the beginning of the Order of the Phoenix. it gives us Fleur and Krum and Mad-Eye Moody and Cho and Cedric and Charlie Weasley, and the first taste of Snape's backstory, not to mention pensieves and mermaids and fucking dragons, like sorry, are you seeing this shit??

and then, finally, it gives us the beginning of the second wizarding war. it gives us the graveyard scene and Cedric Diggory's sacrifice, one of the best and most important moments in any book ever, because it's the whole story in a nutshell, and it's also the moment that the plot starts. Goblet is the crux of the entire series, and it nails almost everything. (the exception being the Moody plot twist, which... I did not love, but like: must a conclusion be "good"? is it not simply enough for a story to plow headfirst off the rails in a wildly entertaining direction, and then end? i think it is.)

so those are what I see as the Objective Goods of Goblet. my Subjective Goods are: i love a tournament arc, i love a GAME, i love a set of rules and rituals and ceremonies and opportunities to demonstrate character through contrasting behavior in response to pre-ordained challenges and rule sets. i love you Yule Ball, i love you prom arc, i love you dressing characters up in silly little outfits and making them take each other on dates, i love you teenage drama and misunderstandings and jealousy and teenybopper romantic subplots. i love you goblet of fire.

[thetorturedpoetsintern]

200 pages through the new King novel Holly, and I already want to hug Holly as tight as I can and tell her she can do it, and no matter what, I have her back.

[whichuniverseisthis]

I already asked my friends, but I'll put it here too. You know, for the science.

[mantisgodsdomain]

On the rare occasions when we talk about the spectre of veganism you can probably physically tell the amount of psychic damage that we take from seeing people throw out any part of a carcass.

[sergeantjessi]

today i've rediscovered the fact that spencer reid is 24 (in the first season of criminal minds) and i am NO okay

[hanzajesthanza]

i think the witcher makes me feel a profound sadness every night because it’s about all the things we love so much, or that we wish we had, but can never get back. the tragedy of the uncontrollable. the pain of loss.

ciri, despite her youth and innocence, loses her home and family and then she even her adoptive parents, and then she even loses her youth and her innocence, and is left with nothing but a grotesque scar symbolizing her trauma that doesn’t fit her childlike face and a hardened, green glare. and a sword, which is only a burden.

her parents, despite their incredible love for her, despite all of their agony and sacrifice to get her back, despite their own loss of their honor, their pride, their blood — they lose her too. they lose a child, the most tragic loss of all.

dandelion loses his best friend, clutching at his memories like the weeds growing by loch eskalott, trying to grasp the last twenty years to write his memoires.

milva hears her father’s words when she shoots, and his wheezing echoes in her mind.

regis lost himself, his entire life, all the people he ever loved and chased away.

cahir, despite his large family that loves him more than imperial orders, can never return to darn dyffrya, feel the sun on his face in vicovaro ever again.

angoulême wonders if her mother would have loved her had she not abandoned her, imagines what her hand patting her head in praise could have felt like.

and then geralt loses them. all of them, one by one.

and nimue, reading about it all, can never meet the figures of the legend she has obsessed over for years and years… she has her part to play in it, she can know their voices from dialogues and know their faces from etchings, but will never be able to tell them she loves them, tell them how much they mean to her.

even when they find what they’re searching for, even when they find what they’ve desired so — it’s only for a bittersweet moment. they shortly lose it again. everyone in this series is so intertwined together and caught in the same snare of destiny, and at the very same time so very alone and abandoned

[hecksupremechips]

Crying and sobbing cuz video game will never be as good as it could’ve been 🥺

[contactlessdrivethru]

there is something unique and deeply special about monkey d luffy as a protagonist. he’s overwhelmingly ADORED by the fandom. he’s consistently the most or at least top 3 most popular characters in the whole series. peoples takes about him are gushingly positive. and that’s… really uncommon.

a LOT of fandoms i’ve witnessed or been in have a tendency to favor characters other than the main character. especially in anime. the main characters are often written as a blank slate for readers/watchers to project onto, but that makes them not as interesting and so they don’t get the fan attention.

but luffy is so far from that. and he’s ALWAYS been this way. we love him so much. he’s the heart of the story and the heart of the fandom in every single way. and i think that speaks to how well-written he is as a character. he’s fun and charming and complex and interesting and he makes us laugh and cry and cheer and hope and love. he’s able to inspire so much joy in people, both in his world but also in this one. and i think that’s really special. i feel so grateful to have found this story that means so much to me, and i’m so grateful that luffy exists.

[critterbitter]

re: your thoughts on legendaries (which is very cool and based) what’s your take on the differences between legends:arceus giratina and platinum giratina, especially since you defined them as hating the world? specifically the bit where giratina (at least seemingly) actively defended the world from cyrus trying to destroy it, after trying to do the same thing with volo’s help centuries prior?

Weird ghost worm upon yee (AND MORE ART BELOW CUT!)

Anyways, here’s my mad ramblings about Giratina and Arceus’s backstory.

Tldr: Giratina’s a conglomerate of angry souls scorned by Arceus.

(Here’s the playlist. It’s all about worms.)

How it Started.

The original one has chosen favorites over the passage of time. Heroes, legends, protagonists…

Arceus intervenes for those it loves, and the consequences of a god touching the mortal world is devastating in its entirety. One act of divine intervention causes entire civilizations to collapse. One whispered suggestion drives an entire legacy insane.

So Arceus, paralyzed by its love for the mortal world, acts very little, learning from its mistakes. Apathy soaks through every motion. And thus is the way of the world.

But people love the Originator. Religions are born from Arceus’s rare deeds, and generation on generation taught its benevolence. Imagine spending your entire life chasing after that golden light. Imagine knowing its real and there, and it loves you.

Imagine begging it for help, and seeing it turn away when you need it most.

I think those people would feel very abandoned indeed, if they spent their lives worshipping, and receiving no response at all.

Giratina is born from the abandoned, the lost, and the angry. They’re a hundred thousand souls who’s adoration turned to spite. They’re an entity who demands for Arceus to look at them, so they can finally rest.

Arcues can not look at them in full, because if it does Giratina will fade.

(Scio, beloved. For I can not let you go.)

So the Original One banishes the Unwanted Beast into the distortion world, and Giratina seethes, and starves, and screams.

(Here are two truths about the Beast Between Dimensions—

1. Some part of them still loves Arceus. Arceus is their anchor, after all— the sole reason why they exist, why they are. But Arceus can not love it back in a way that matters, and that hurts.

2. Giratina is made of a thousand voices. Some of these voices remember that there’s a world above. They miss it.)

Why Giratina attacked Hisui in PLA:

PLA Giratina’s not a new god, but they’re very, very bitter and barely coherent on a good day. Volo serves as a conduct to help unite the broiling mass of ghosts against Arceus, and thus Giratina’s hatred overcomes any flickering affections they have for the land.

It doesn’t help that Arceus intervened for Hisui, sending Akari to directly stop Volo from summoning Giratina.

(As for Volo, well.

Imagine being a child who was thrown into the future due to Palkia and Dialga’s fits, who learned his people (his world) no longer exist beyond a shadow in the history books and a single, bitter lore keeper.

Volo doesn’t remember his original culture beyond vague imprints and singing praises to Sinnoh, but he knew he was loved, and he knew his family is dust four hundred years in the past. There’s a special sort of rage in him that echoes Giratinas.)

(Why did you abandon my people, Arceus? What kind of god are you, to leave those who love you so callously behind?)

(Maybe some part of Giratina recognizes Volo, beyond a feeling of kinship.

Maybe some part of Giratina grieves because it recognized the child Volo was.)

When Volo gets his pound of flesh, (when he realizes Arceus is not beholden to him, that the inherent alien morality Arceus holds is not a personal slight), Giratina will finally rest.

Anyways what I’m trying to say is: Arceus is never a person, but a nebulous embodiment of the connection shared between pokemon and humans. It tries to experience what it’s supposed to embody, but millennia of watching people be and cease has given it choice paralysis, apathy, and a hoarding issue. If something lasts forever next to it? Good.

Giratina was once a person. (Correction, a LOT of persons.) They don’t think very linearly either, but they have context on mortal matters and are thus the more benevolent and malicious of the two. One day, time will smooth them into something like Arceus. We can only hope the two keep each other in check.

THE DIFFERENCE OF LEGENDS ARCEUS GIRATINA VS PLATINUM PEARL GIRATINA

If the ancient version of giratina is an angry conglomerate of ghosts scorned by Arceus, the modern iteration of Giratina’s a creature that’s more settled in its skin and more assured in its duties. Giratina still has beef with Arceus, but they unionized into one being who’s love of the mortal world has triumphed over its ancestral grudge. One might even postulate they have shifted their anchor from Sinnoh the god, to Sinnoh the place.

((We call this character developement. Good for you, weird ghost worm!))

(((FULL DISCLOSURE, VOLO BEING FROM THE PAST IS INSPIRED FROM FOXFALL. You know. The fic that got me into this fandom. Please give it some love.)))

[swampjawn]

God I love animation. I love it for the way it can bring anything to life beyond the constraints of boring ol' reality, but also the ways that it's inextricably linked to, and draws on the conventions of live-action film-making.

So fuck it, let's look at how Hayao Miyazaki straight up copies some camera framing techniques from his predecessor and the other most influential Japanese filmmaker of all time, Akira Kurosawa! (Kurosawa really was the master of framing scenes around his characters, so he's a great source of inspiration)

(btw, this is a screenshot from this TV special where the two met for the first time just after the release of Kurosawa's final film. It's pretty interesting, and also very cute how nervous Miyazaki seems to be to meet one of his idols.)

Specifically, how the two each choose to break the 180 degree rule (well, not technically 'break' in the case of Kurosawa) to show their protagonists' changing destiny in "Throne of Blood" and "Princess Mononoke".

For anyone who doesn't know, the 180 degree rule is a basic film-making rule of thumb which states that in any scene where two characters interact, you should draw an imaginary line between them and the camera should always stay on one side of that line.

("In the Mood for Love" - Wong Kar-wai)

This way, one character is always looking to the right of the camera, the other is always looking to the left, and the audience doesn't get confused by the geography of the scene. Crossing this line can be disorienting, but when done intentionally, it can convey a paradigm shift of some kind in the scene.

In this scene from "Throne of Blood," (a feudal Japanese retelling of Macbeth) Washizu's wife Asaji discusses tactics with him and tries to convince him to aspire to the throne and to assassinate his lord Tsuzuki while he sleeps.

As two servants appear to notify them that Washizu's sleeping quarters are prepared, the camera dollies left and around the characters' backs. This camera movement is motivated by the motion of the servants' torches outside the room, but it also signifies a change in Washizu's outlook.

Washizu is completely silent for most of this scene, contemplating his wife's advice. But as the camera slides behind his back and across the line of action, the scene is now re-framed, illustrating his change in perspective.

He's been convinced and the trajectory of his life is about to change - and now, facing away from the camera, is the time for action.

Because the camera slides smoothly across the line, Kurosawa isn't technically breaking the 180 degree rule. Miyazaki on the other hand, takes it a little further.

The complimentary scene in Princess Mononoke comes near the start when the wise woman of the village reads Prince Ashitaka's fortune after he's cursed by the wild boar spirit. She tells him that it is his fate to leave the village and travel to the west, where he may be able to lift the curse on his arm. The trajectory of Ashitaka's life changes in this moment too. As he accepts his fate, the change is symbolized by him cutting off his hair, but also by the camera jumping the line.

Throughout this dialogue scene and even as he cuts his hair, the simulated camera sits just slightly to the side of Ashitaka's left shoulder.

But once it's done, for the final shot, the scene is reframed and we jump to the other side, where Ashitaka is now looking to the right of the camera instead of the left.

Making the camera dolly across a scene like Kurosawa's version in 2D animation is no simple task, so this transition with a simple cut is in a way subtler, in another way a bit more jarring, but it conveys the same meaning.

This is the moment when our protagonists make the choice to embark on a new destiny and re-frame their lives.

This has been an excerpt from a short video essay I made a while back, which not many people watched. I think this is at least in part due to my failure to package it well, and it seems you tumblheads like this animation/cinematography analysis stuff, so this is an experiment to see if, with the help of y'all, and a new title and thumbnail, it's at all possible to give this video a second wind in the eyes of the Youtube Gods!

So if you found this interesting, I'd appreciate if you checked it out! Thanks for reading!

[superectojazzmage]

Just back from Alien Romulus and hoooo boy oh boy. Review/analysis.

Easily the best Alien movie since the first two, which isn't saying much, yeah, but it is legit a really cool and well-made movie, competing with Late Night With The Devil, Longlegs, and Cuckoo for title of my favorite horror movie this year.

In a lot of ways it's about harvesting the few good ideas from the post-2 movies that were squandered and doing them right, plus getting the series back to it's healthier roots, kinda the movie equivalent of someone doing physical therapy to get back in the saddle after an injury. This means it's not quite brand new ground like some may hope for and I've heard some people feel it gets a little derivative at points because of it. I can kinda agree and certainly understand that criticism, but I feel it does what it's aiming for really well and sets things up for future works to go in even crazier directions. Furthermore, it takes a lot of time to try and weld together the disparate post-2 movies in a way that brings the series back to a little coherency.

The atmosphere is really intense and cool, swinging between lovecraftian dread and build-up and high-energy chaos. The aesthetics and special effects are gorgeous, taking full advantage of the progress that technology has made since 2 plus really digging in to the used cassette future vibe of the older films. The characters are likable and actually intelligent (or at least understandable) in behavior like in the first two movies, so you care about what's happening to them instead of just waiting for them to get munched. The action and kills were really cool and creative, the cinematography in general was off-kilter in an awesome way - there's a definite attempt to make the movie feel claustrophobic and intimate. Fede Alvarez did a fantastic job in general, I'd love to see him do more with the series.

It REALLY cranks up the series' psychosexual, freudian, and sexual assault subtext, arguably to a point where it's just plain text. So if you're sensitive to stuff like that or if this is your first go at Alien, be warned for that.

More specific notes go under the header for spoilers. Highly recommend you go in as blind as you can.

Andy and Rain were wonderful leads, their dynamic was fantastic and Calie Spaeny and David Jonsson both turned in great performances. I direly hope they join the first two films' casts as "major" characters for the series going forward.

The effects to make Daniel Betts look like Ian Holms were quite possibly the one and only time the special effects failed. It looks very wonky, which is sad because Betts does a really good job copying Holms' mannerisms for Ash while still making Rook feel like a distinct character.

In addition to the usual themes of sexual unease, genetics, and parenthood, this movie adds in some really interesting themes of familial legacy, the rise of new generations, foundations, etc.. Andy and Rain are like Romulus and Remus of myth, orphaned and left to fend for themselves but growing into founders of a new age - both in-story with their carrying the XX121 substance and evidence of Weyland-Yutani's misdeeds to Yvaga and out-of-story with them being the protagonists of a new era for Alien. Likewise, the Offspring is the first example of an entirely new species, neither human nor alien but taking from the lineages of both through Kay and Big Chap, a Romulus-like founder of it's breed that will later bear fruit in Resurrection with the Ripley clone and Newborn.

I'm really not kidding when I say above that the psychosexual undercurrents are taken to the extreme here. This movie basically sees the ways the original film subtly pin-pricked at those themes, says "fuck that", and deliberately rubs it in your face in a way designed to make sure you can't ignore it. It wants you to be grossed out and to squirm in your chair and it knows exactly how to make it happen.

Alvarez noted in the lead-up to release that he took a lot of influence from Isolation and you can definitely see that in how he depicts the Xenomorphs and the general aura of the film. He further described it as a kind of halfway point between the first and second movies and you can also see that; it has the Lovecraft-style tension and horror of the first, balanced with the energy and action of the second, and it does a really good job finding a middle ground between Ridley Scott and James Cameron's styles while also doing it's own dance.

I mentioned way back at the start how the movie basically harvests the good ideas from 3, Resurrection, Prometheus, and Covenant and gives them the room they deserve while dumping the bad. It does that in both terms of themes/style and continuity/lore. Concepts that those movies bungled like xeno-human hybridism, the black goo, genetic engineering as a focus, and so on are done here more creatively and competently. Themes that those films tried and failed to tackle are handled with significantly more grace. It has the atmosphere and characterization of 3 but none of it's baggage and needlessly depressive tone. It has the body horror and weirdness of Resurrection without taking it to the zany, embarrassing areas that movie went. The effects and creativity of Prometheus and Covenant without any of their awful writing and clumsy messages. Alvarez takes on kind of an Al Ewing-esque "repairman" writing style here.

The Xenomorphs are absolutely deranged in behavior compared to most portrayals, attacking like either cruel sadists or raging chimps and rarely bothering to take hosts. I'm not sure if such a reading was intended, but I got the vibe that the idea is Xenos raised without a queen or hive grow to be basically sociopathic like how real world predatory animals grown without parental figures become feral and dysfunctional. Which would also explain a lot about how the Xeno in the original movie, Big Chap, acts there.

The Offspring's design is fucking wicked and I love it.

One of my few major criticisms is that Big Chap died off-screen instead of getting more to do. What was the point of having him be alive at the start if he wasn't gonna be used beyond a backstory point to set up the main story?

All in all, a very impressive effort and a great return to form for the series that I recommend highly.

[sunderwight]

SV AU where the System does offer Shen Qingqiu one way out of pushing Luo Binghe into the Abyss:

Since SQQ is now the POV character of his own story, he can accept a special one time purchase of the protagonist halo, and go down and do the Abyss plotline himself instead.

The catch is that there's only one protagonist halo. No dual protagonists allowed. Which means that if Shen Qingqiu takes it, Luo Binghe loses his immunity to fatal plot developments, unless SQQ can replace it with another immunity halo.

The only other halo that grants immunity from fatal catastrophes in PIDW is the love interest halo.

Luckily, love interest halos are extremely plentiful in the setting. It seems even Shen Qingqiu himself has one in his inventory for some reason? Weird, but at least that means he doesn't have to rob some poor girl of her golden ticket and potential happily-ever-after in Binghe's arms.

There's probably something especially bizarre about making Luo Binghe his own love interest for a while, but Shen Qingqiu reasons that it's only temporary. He'll swap the halos back once he's out of the Abyss! And he'll get Xin Mo and bring it back, and personally help Luo Binghe figure out how to wield it. Preferably with far fewer costs and downsides than in canon. Maybe then Binghe won't need as big of a harem and will still have some time to spend with his old master, when he's not running around conquering the world.

Surely, there's not way all of this could backfire. (Okay, he knows there are like a million ways it could backfire.) But definitely, Shen Qingqiu will get back, be in his right mind, NOT be suffering any grave imbalances due to Xin Mo, NOT have unlocked any secret demonic heritage that helps him survive but also gets him blood up, and NOT need to or want to have life-saving rescue sex with anyone holding any love interest halos after five years of struggling his way through a nightmare training gauntlet.

Of all the ways he imagined fucking this up, having to somehow play the part of the darkened hero flinging himself towards and away from his own student like said student is some demure maiden at risk of losing his virtue to him was not on the list!

Shen Qingqiu: Binghe, stay away! This master can't control himself properly right now!

Luo Binghe: but Shizun's already been gone for so long! Won't he come a little closer instead?

Shen Qingqiu: Binghe wouldn't ask that if he knew what this master might do to him!

Luo Binghe: Shizun can do whatever he wants to me! I don't mind!

Shen Qingqiu: my poor Binghe, this world has not shown you enough darkness, you don't realize what's going on!

Luo Binghe: so does Shizun want to top, or...?

[pastabaguette]

sorry for all the posts today, but this one is very important: alternian video game edits.

i actually have reasonings for all of their blood types, and a few classpects, so i'll dive into them here:

monika: i'm thinking that early in the game, during acts 1 and 2, she maybe masqueraded as a jadeblood or higher. only during act 3 does she reveal herself as a fuchsia to the protagonist.

gordon and alyx: gordon is probably a tealblood, or somewhere around there. fairly high, but not too high, i think. alyx is an olive, and eli is an indigo. azian was probably a gold. (or lime?) i did have to keep gordon���s orange HEV suit, though. surely you understand. okay, troll half life lore: i think on alternia, all the main characters in the half life franchise are like, olive or above. the rebels in follow freeman and the guards are all lowbloods, so that the player doesn't feel too bad about sacrificing them, or something like that. i think this would be something that would happen in an alternian video game, at least.

agent 47: 47 is actually a mutant, due to being manufactured in a lab. he's a weird ice-blue color. he's still got that piercing stare. i felt a little sad changing his iconic red tie, but i do have some thoughts on that as well. obviously, red in human culture tends to symbolize passion, among other things, and in this case, violence and aggression, because it's the color of blood. however, because trolls all have different blood colors, i think they might have different meanings attached to colors than humans typically do. i think that typically, the colors that would most commonly represent aggression in alternian culture would be blue (cobalt and indigo) and purple. now, i know that the sea dwellers exist, but since the vast majority of trolls are lowbloods, they would have a lot more contact with the land-dwelling highbloods, rather than the fish. so, 47’s tie is blue. (i also just think it looks cool matching his eyes)

chell: I made chell a bronzeblood. she’s a test subject, but not one of the special ones (astronauts, olympians, etc). she’s just another lab rat. (also, a lot of her outfit is orange…)

now for classpects! i only have two i’m sure of as of now:

gordon freeman is an heir of hope. this one is fairly obvious to me. a common belief is that heirs have the ability to become their aspect, in a way. in half life 2, gordon quickly becomes the main symbol of the resistance on earth. for the rebels, he himself IS hope.

agent 47 is a prince of life. again, it’s a common interpretation that princes are themselves void of their aspect, and they destroy that aspect in others. this is really literal, obviously, but as a hitman, 47 kills people. literally destroying life. as for his own lack of life in himself, it’s pretty simple as well. 47 is almost always described as entirely void of emotion and empathy. others often remark on his soulless stare, a lack of life behind his eyes. so, as a prince, he fulfills both criteria there.

holy hell, that was a lot of words. i didn’t intend to talk this much. feel free to add your own thoughts; i’d like to hear what others think. these descriptions were a bit rushed, and i don’t really consider myself to be very good at communicating my thoughts, so a lot of things may have been lost in translation. i’d be happy to try and elaborate on my reasonings for any of them.

(oh, also, please no alyx spoilers. i haven’t played it yet!)

[vashtijoy]

have you seen the commentary from the p5r artbook going around? the shuake part of my dash is losing it a bit at the implication that their wishes were mutual!!! that seems to be what some people are getting from the commentary at least… amy insights?

Hi! I have been through the artbook. It's great, isn't it? :D

The image above is called "One Ending", and the creator caption (by illustrator Akane Kabayashi) reads:

When I think about how Akechi's wish was to play chess after school with the protagonist, I almost want to call him out with "You liked him after all, didn't you!"

Look at that. We're told about Akechi's wish, and what it included. We're as good as told outright that he likes Joker—and this isn't the only time, there's also this:

—There are a whole lot of things we can imagine, based on how the protagonist was depicted as someone special to Akechi. Those are more or less the exact emotions represented during Akechi's confidant. (Mumon Usuda, chief designer)

"someone special" here is 特別な存在 tokubetsuna sonzai—literally "a special presence". It means a special person, and more than that; it describes someone you find compelling, someone you can't look away from, someone who becomes one of your most important people, the centre of your world. It's another term that is often romantic, but isn't necessarily romantic.

(In the same way, I think Kabayashi's suki jan! is more tongue-in-cheek than it is a cast-iron confirmation that Akechi was canonly in love with Joker. The language there is teasing, it's ambiguous, it's baity; Kabayashi is joking. This is a rank 6—as they say, if you know, you know. But it is of course ultimately up to all of you.)

There's another mention of this image, down in the creator interview:

Out of all the Maruki ending illustrations, it was Akechi's that stuck with me the most. It made such an impression to see them opening up as friends, having a fun, peaceful time together like high school students should. (Mumon Usuda, chief designer)

What really strikes me in all of this is the emphasis the creators put on the fact that this is Akechi's illustration, Akechi's wish. Because I've thought for a while that we know Akechi has a wish. You can see him struggling with his refusals to Maruki in the first week of January. And you can hear his wish spoken—when Maruki repeats it back to him, during the boss fight, on 2/3:

Maruki {F1 81}君たちとなら、君も過ちのない道を歩めるかも知れないじゃないか！ {F1 81}-kun-tachi to nara, kimi mo ayamachi no nai michi o ayumeru kamoshirenai ja nai ka! If you're with {F1 81}―kun and his friends, you could begin to atone for what you've done! Think about it! With [Amamiya]-kun and his friends beside you, you could choose a path with no mistakes as well!

So this wish has several parts. First, there's that kimi mo, "you also"; it's tempting to read this as Maruki also wanting his new world to erase his past mistakes. Second, there's the first part, "if you're with [Amamiya]-kun and his friends". Where to even start here?

Being with Joker and the others is a prerequisite for the second half of Akechi's wish. It doesn't just coexist, it enables the rest of it. Just like his words in the engine room, "I wonder why we couldn't have met a few years earlier, [Ren]..."

Remember, Akechi's whole arc is about his rejection of trust and friendship, and his insistence on doing everything himself. This is precisely what Futaba calls him out on—"you trusted no one", or "you played life in single-player mode". This is what he unlearns at the climax of the engine room, when he realises he isn't prepared to let the others die—and follows through to save them.

Akechi is nothing without others, and he knows it. Without their support, which he believes he has no right to, he has no hope of living a better life, even were he to be given the chance—and he knows that, too. He has learned, and he has grown—and yet he knows the things he needs and wants so badly are forever inaccessible.

And his wish is about all the Phantom Thieves, not just Joker. There are many tiny references to this end—not least the original Japanese rank 10 line for his confidant, where he sacrifices himself for all of you. Joker is his compelling presence, his someone special, but he's formed small bonds with the others too, God help him.

and then there's the crime thing

The localisation frames Akechi's wish in terms of atonement, but that's not what's on offer. You cannot, after all, atone for things you never did. We see Akechi's wish put into practice, in the Maruki ending, where he appears with his friends beside him, wholly innocent and with unstained hands. And we see it in the first week of January, after he has finally met Maruki and spoken to him:

Akechi: Ah, that reminds me—there was one more thing I wanted to tell you. Akechi: About the reality Maruki's put us in... Akechi: It seems that Okumura and Wakaba are both considered alive by all accounts. [Ren: They're not dead anymore? / What do you mean?] Akechi: They aren't mere illusions, or cognitive beings—they truly are alive and existing in this world. Akechi: In fact, their deaths seem to have never taken place at all in this reality. [Ren: What happened to Shido?] Akechi: Shido was the only one arrested on the crime of attempting to overthrow the government... Akechi: It seems the Phantom Thieves were causing a stir in this society as well, but there's no record of your arrest now. Akechi: Basically, in this reality, you and I haven't committed any crimes.

While Akechi still remembers his crimes, they never took place. They have been undone, and only his lingering memory—and Joker's, at this point—speaks to them. He objects to this on countless levels, he summons all the strength he has to refuse it, but don't make the mistake of thinking that means he doesn't want it. This is Akechi's wish in action.

People are often very certain that Akechi's resolve in the third semester is like iron—that he rejects Maruki's offers right away, is never tempted, never wavers. But that can't be true. We know he's afraid to die. We know about the bad end where you don't complete the Palace, where Akechi says nothing and stares at the floor, seemingly blaming himself internally while all the others blame themselves aloud, for being unable to say no to Maruki's temptations. We know how he responds to this assertion of Maruki's—Maruki, who has perfectly summed up what we know all the other PTs wanted, and who (even if Word of God hadn't just confirmed Akechi's wish) we have, honestly, no reason to doubt.

Because Akechi never refutes this wish that Maruki describes. He never says he doesn't want it. He just rejects it—like all the others, who so desperately want what Maruki could give them. Futaba's mother, Haru's father. Akechi's life, and his innocence. And the people who might have been his friends, if he could dare, one day, to ask.

Akechi is tested just like the others, and the price he pays for his defiance is perhaps the highest of all.

and finally

[The Maruki ending illustrations are] of Maruki's world, where everyone's wishes are granted and they seem happy. The scene shows their actualised wishes, which were never granted in the real world. (Mumon Usuda, chief designer)

We shouldn't forget the price Akechi pays for his impossible wish. Sure, the vision of himself being altered like Sumire clearly haunts him, and I'm sure it made the choice easier—but I don't think it made it that easy. Instead of taking the dream Maruki offered him, Akechi chose to face up to what he'd done, and who he'd become; at the very end, in the third semester and in the engine room, he always makes the right choice.

And that choice was taken away from him. Agency over his life and death, his own acts, and who he would even be—Joker and Maruki take it all away from him and make him a puppet, just like Shido.

Maruki's ending isn't pretty.

revision history

Click here for the latest version.

v1.0 (2024/03/29)—first published.