#...and even some real people. However - we all want our characters to at least be a UNIQUE combination of inspired elements.

[hazbinhazmeinachokehold]

The hotel gang + overlord!reader part 2

Part one here

!Not beta read!

While it may just be the stress talking, the bed was surprisingly comfortable, for a hotel at least. Today was a lot. Even if this hotel seemed to be a net positive it was still a lot. So the comfortable bed made it seem like you already made it to heaven. As you sank into the bed you drifted off to sleep.

You awoke to a few loud and powerful knocks on your door. "Hello? If you're awake we are going to do some trust exercises!" Charlie called out. You unintentionally groaned as you got up.

"Give me a minute!" You replied.

"Okay." Charlie said as she left. When you got up you looked at yourself in the mirror. You weren't a mess by any means but you've definitely looked better. You freshen yourself up slightly before going downstairs.

The Hotel residents and staff were all in a circle. You sat down in one of the gaps in the circle. Charlie cleared her throat.

"Okay everybody let's go around in a circle and say our names first! I'm Charlie." She paused, "As you all know." Everyone else proceeded to say their name, which you already knew everyone's name. Excluding the short one-eyed girl, Niffty, and the girl with an x over one of her eyes, Vaggie. Then your turn came.

"Uh- Hi! My name is y/n" You cringed at the nervousness in your voice.

"Now I want everyone to tell a fact about themself. It doesn't have to be anything huge, just something to get to know each other." Charlie said, "I love musicals!" Yeah, that was pretty easy to guess.

Angel was next up. "I love sitting on big, HUGE-"

"Angel I fucking swear." Husk cut him off.

"Comfortable chairs! What were you thinking?" Angel had a smug smile plastered on his face. "Also cocks as well." He added. Husk and Vaggie groaned.

Niffty went next, but Charlie spoke before her, "Please try not to scare away our newest member." She pleaded. Niffty pouted but compiled anyway.

"I love writing fanfiction! Escapily with bad boys." Her tone turned slightly seductive at the end. You elected to ignore that.

There was a silence as everyone waited for Vaggie. Charlie stretched her palm out to tell her to talk. "Oh- yeah right sorry." She shook her head slightly, "I like to dance."

"Really!? How come I never knew that?" Charlie asked.

"It never came up." Vaggie smiled faintly

"I'm the bartender," Husk grumbled. Vaggie elbowed him. "What? I told a fact about myself."

Alastor let out an "ahem" noise. The focus shifted to him. "While this is a fact in general, I believe that radio is the utmost form of medium." As baseline as this was for a guy such as Alastor, you also kind of expected it. Alastor would not let anything deeper about himself slip. So why not go for the most well-known part of yourself. "Now, y/n, darling I do believe it is your turn."

Oh shit right. You've just met these people so don't go with anything personal. Also, make sure it doesn't make anyone uncomfortable. “I really don’t like being an overlord.” Your mouth moved before you could comprehend what you were saying. Well fuck. If this was a TV show you’d clearly be the comic relief, at least right now. Everyone but Alastor and Niffty had some form of uncomfortable plastered on their face. Alastor however had a curious yet sinister smile on his face. Niffty wasn’t really paying attention to you, she was chasing some random cockroach. 

You wanted to go back on that statement but something was saving you from embarrassing yourself further. Do demons have guardian angels? If so, yours was working overtime right now. But they also weren’t getting much work done.

Your real savior was whoever blew the fucking wall up. Everyone's head was quickly aimed at the now missing wall. While Husk just accepted it everyone else, including yourself, to find the source. Like you were in some sort of horror movie character getting ready to be stabbed. But you instead met with a huge mechanical blimp that had an impractical amount of guns.

“There you are!” The person in the blimp called out. It was very hard to hear but it was just loud enough. “Alastor, are you ready to be beat-”

“Who is this?’ 

“Who- Who am I!?” The voice was very clearly offended at Alastor's lack of knowledge. You just drowned the rest out. Alastor was cruel and frankly heartless. But he also did not like wasting time. So even while this poor sinner's fate was sealed, thankfully it wouldn’t be as drawn out as his past victims. You turned around to hopefully save any shred of innocence you were able to save. As you entered through the wall you could hear both Alastor and his victim speak.

“Thank you for another forgetful experience!” Alastor said. You didn’t necessarily

want to look but you did so anyway. Kind of like watching a car crash.

“Thank you…” the snake struggled to get out, “ For letting your guard down!” He ripped part of Alastors coat off. Well, that's not good, for anyone really. Alastor’s coat got torn and this sinner is about to die again. Or at the very least get seriously injured. You’re honestly surprised he lasted this long. He was notably weaker than The Radio Demon’s usual opponents. 

He, quite appropriately, said “Oh shit-” Before an explosion (you can only guess caused by Alastor) caused him to fly away. Welp, he’s gone forever now. The hotel seemed nice for the most part. It honestly still does. You just wish you weren’t staying in the same house as The Radio Demon. But now that you think about it, almost everyone here seems to have something severely wrong with them. And that includes you too. So at least you fit in.

[blind-sheep]

As someone who spend so much time on more lgbtq+ settings on the internet, I tend to forget how much the average joe is, by norm, very heteronormative, as is society.

Like, there was this short video on youtube showing the Falin's resurrection scene and all, and some peoples did some comments about it.

As someone who do ship falin × marcille, and compared to what we see around here, that's pretty mild stuff right?

But as I keep forgetting, some people get quite mad at the simplest suggestion that gay people may exist in their little show.

Tbf, the first comment may just not be into the ship and is finding reasonings to why it doesn't work on their eyes, but they're very defensive still.

The second comment however is at quite a point of hetero delusion. Falin was about to marry Toshiro? What? It was mentioned he proposed to her, not that she had accepted and was about to marry him! But, to some people, a man liking a woman is enough for them to be already together, no matter how she feels about it, bc it's "the norm" for the boy to get with the girl. Like, he likes her, and that's all that matters so they will totally get together at the end?

Sadly, that's one of the reasons I see Laios × Marcille as a boring ship sometimes. By all means, I see why some people ship it, there is some real reasoning behind it, but I just know the biggest reasoning for most people that ship them is just "he was a boy, she was a girl, do I need to say more?" Type of mindset.

This next one just makes me laugh, it HAS to be bait:

Like, Marcille NEVERS blush around Falin AND just blushes around Laios? Fella, I don't think we watched the same anime or read the same manga, even people that don't ship them can see that they are a little gay. Or can they? (Vsauce theme starts playing~)

About their age difference and how race works in Dungeon Meshi, that's quite the big topic, not sure I want to stray too much here (there's too much text here as it is).

And about that part that says "makes me think they're all very straight": if this comment is a joke or not, this bit says a lot. Most people see the whole world like that, everyone is straight till proven other wise, and you gotta prove a LOT in media for characters to be gay, or it doesn't count. To most people, being hetero is the norm, and seeing lgbtq+ ships is very hard for most bc of this.

No one is forcing anyone to ship anything here, but lots of people really do forget being gay is even possible sometimes, and get mad at us for shipping what reflect our realities (at least in our eyes). Especially in the anime community, where the simple threat that their "waifu" may not like dudes send some fellas into a fit of rage and homophobia.

And I know, the focus of Dungeon Meshi is not romance and never was, and we can't see the story only through these lenses, I agree with that. But people will ship anything in any show, and I just used it as an example to talk about this topic. It's something that comes often to my mind and I never had the chance to talk about it till now.

Here's a little Farcille gif as a treat for those that read all this rant of mine:

( so cuute~ )

[accirax]

Chessgram Theory: Who is Kotoko Breaking?

While the object Kotoko is breaking in Deep Cover’s thumbnail is still certainly up for debate, many people (including myself) are of the belief that she’s snapped a white bishop from the game of chess. Given where Kotoko’s mental state is right now and what’s implied by the lyrics of Deep Cover, I think it’s likely that this MV’s theme will depict all of the prisoners as different chess pieces. Therefore, it’s worth asking: who is that? And, in a larger sense, which prisoners could be represented by which chess pieces?

Kotoko pretty clearly sees her situation as her and Es against the rest of the prison. So, I think that the characters would be divided as Kotoko and Es on one team, and everyone from 01-09 on the other. Kotoko is wearing black and appears to be breaking a white piece, so it’s pretty safe to assume that she and Es would be represented by the black pieces. It’s an interesting choice, given that, even to a non-Western audience, black can be considered a color of evil, and white a color of purity and truth. However, if the Es/Kotoko team is “mystery and anger” and the 01-09 team is “cold demeanors and death,” it fits well enough.

And that’s ignoring the most important part: in chess, the white team always moves first. This would fit with Kotoko’s vigilante worldview that everything she does is just a retaliation against others’ wrongdoing. The other characters attack first by sinning, and Kotoko is only picking them off before they can do any real damage to Team Warden.

Anyways, as for the pieces themselves, different websites seem to have slightly different opinions on what each piece can represent, with some obvious throughlines. I’ll be pulling quotes from these three articles, color coded according to which one is being used, which you can read more of if you wish. I’m also not a chess expert, so if I’m missing anything or got something wrong, I encourage you to add any of your own thoughts!

We’ll start with the Black Team, because there are fewer characters and I think it’s pretty obvious who’s who.

Kotoko Yuzuriha

Kotoko herself will probably be the black Queen. As anyone who’s played chess should know, your Queen is the most powerful piece in your arsenal because it can move on straights or diagonals for any distance.

The queen is our impulse to fight and possibly our id. It can argue based on beliefs. It can let loose and fight like a rook. It has no reason to hold back as a knight does and will often attack to the other side of the board just because it wants to.

This hyper-violent description of the Queen reminds me a lot of Kotoko. She attacks the other prisoners because, according to her beliefs, they’re criminals who deserve to be punished. Not to mention, the “id” is actually the same thing as the “es” in psychology. After we voted her innocent in the first trial, Kotoko became our teammate. She thinks that she’s the same as Es, so seeing herself as the “id” would fit perfectly with that self-assessment. Speaking of Es…

Es (and Jackalope?)

Es is most likely going to be the black King.

The king is not as powerful as the queen, but he is considered the most important piece that needs the most protection.

Even if Kotoko has more power than Es inside the prison, Es is still the one ultimately calling the shots. They’re the important piece who actually casts the votes that Kotoko can use to exact justice. The way that Es falls asleep between trials (or, at least, they did the first time) also reminds me of how the king can only move one space per turn, and often remains in the same square until closer to the end of the game.

The meaning of the Queen in the game of chess is she is plainly the closest support to the King and is often the second biggest (tallest) piece on the board, signifying her power and importance.

Es and Kotoko being the King and Queen together also opens them up to being assessed as a pair. They start the game next to each other, far across the board from the white pieces. If Es is the tallest, most notable piece in the prison, Kotoko isn’t far behind, acting as the King’s loyal fang.

I don’t know if any of the other pieces on the black team would have any sort of particular association. Maybe Jackalope could be the pawn that starts in front of the King (I think that’s the E pawn), so that he could hop out of the way on black’s first move to allow Kotoko to escape on a diagonal?

If I’m right about this theming, I also believe it’s possible that the black team would start only with the King and Queen. This would 1) make Kotoko and Es appear as rootable underdogs by having fewer pieces, 2) show how Kotoko is doing all of the work to defend justice, and 3) give Kotoko a lot of space to move around in from the start.

Now that we’re done with the black team, it’s time for the 01-09 White Team! Given that this side has many more main characters, there are several more possibilities to discuss here. I’ve settled on an answer for each of the prisoners, but there’s certainly room to be flexible with any of them.

Haruka Sakurai

Starting with Haruka… sorry, buddy, but I think you’re a Pawn.

Look, there are only eight pieces (not pawns) for each team on the board. If there are nine prisoners on the white team, at least one of them has to be a Pawn. And, especially through Kotoko’s account of the first Trial, Haruka wasn’t doing a whole lot. He didn’t get voted guilty, so she didn’t attack him, and he didn’t try to save any of the attacked prisoners, either. All he really did was get a new fit and align himself with Mu, someone who barely avoided being voted guilty in the first place.

There is a debate about whether the pawns are the peasants who live outside of the castle walls or are the soldiers protecting the royal court behind them.

Specifically, though, I think that Haruka would be the pawn that stands in front of Mu. Depending on which piece Mu is, it doesn’t have to work like this, but if you say that Pawn Haruka’s placement is basically a “if you want to attack her, you’ll have to get through me first,” that’s quite reminiscent of the threat he presented in his second audio drama.

Haruka also makes sense as a Pawn because he has a lot of potential. For anyone who doesn’t know, in chess, if a Pawn manages to make it to the other side of the board, they can transform into any other piece. Haruka’s quiet demeanor might let him slip under the radar, but if Kotoko takes her eye off of him for too long, he could wind up becoming a threat to the King (Es).

Haruka (VD2): “If you don’t forgive Mu-san, I’m going to kill you.”

In the audio drama, Es counters this plan by pointing out that, as a prisoner, Haruka cannot attack them. However, the sentiment is still there. Even if a Pawn doesn’t really stand a chance of attacking the King when Queen Kotoko is on the loose, there’s always the possibility that he could get too close and throw a wrench into Kotoko’s plans.

Yuno Kashiki

As for Yuno… well, we all know that she’s a Queen in general, but in chess, I don’t think that argument really holds up. Yuno really just isn’t… relevant? enough? to the conflicts of the prison as a whole (at least where Kotoko is involved) to be represented by such an important piece. But, if Yuno isn’t the Queen, what would she be…?

Personally, I think she would be a Rook.

The rook is brute force. It is a disregard to beliefs.

Simply put, Yuno is a Rook because she’s a pretty straightforward person. That’s not to say that she doesn’t lie, of course– her whole t1 attitude seems to have been a bit of an act, and that one section in the middle of Tear Drop makes it pretty obvious that Yuno conceals her true feelings on order to better please her customers sometimes– but that, in the end, Yuno always does what she wants. If she wants to barge forward or cut across the entire board sideways, she’ll do it. She often keeps to herself, just like how enemy pieces wouldn’t want to get directly in front of the Rook for fear of being curb stomped.

Back to her t1 attitude, though…

The rook is the castle, the walls, the protectorate of the city, and in being so, is the only piece not representative of a living thing.

While most sources attribute the Rook’s walls to protecting the other important pieces, Yuno’s walls protect herself. Yuno’s Castle keeps her true self locked behind cold and stony walls, giving her freedom from making any attachments.

Futa Kajiyama

Futa is a Knight because… he’s, uh, literally a knight.

The knight pieces are the protective knights in the castle. The pieces are shaped like a horse because it is symbolic of what knights rode during battle.

It doesn’t always have to be that deep. (/j)

Actually, though, there are other reasons to call Futa the Knight– possibly some of the same reasons why the Milgram creative team decided to make one of his MVs themed after fantasy RPGs in the first place.

The knight represents the pure inner-warrior. If a knight starts out passive, it will always end up aggressive and vice versa. It can't move very far, but it never moves in a straight line, always preferring to be tactical and thoughtful.

Futa definitely seems to cycle between aggressive and passive. He passively lived his life as a regular guy until he unleashed his aggression and became a cyberbully. That aggression fueled him until he learned of his victim’s death, at which point he shut down and seemed to become more passive and introspective again. Arriving in Milgram triggered his aggressive tendencies, but getting voted guilty and losing an eye for it triggered his passive terror. At the time of his second audio drama, it seems like he’s returned to aggressively questioning Es again, and it remains to be seen whether he keeps that attitude into t3 or if something happens that once again makes him lose his footing (or die).

Mu Kusunoki

Much like Yuno, Mu also has an argument for being called the Queen– more so than Yuno, considering her strong Queen Bee coding in It’s Not My Fault and the titles of both of her audio dramas– but also falls short in the “being opposed to Kotoko” department. Although Haruka certainly looks to her for leadership, I can’t imagine Kotoko actually considering Mu a serious enough threat to put Mu on the same level as herself.

So again, like Yuno, I think Mu might be the other Rook. Mu also displayed a very “whatever I say goes” attitude in INMF, so she can share the same rhetoric behind Yuno being represented by that piece. The logic behind the castle aspect is slightly different, though.

Every country or medieval estate would have its royalty who were protected within the walled city or castle.

Mu is a rich, half-European girl whose dad sells real estate. Of course she would be represented by the Castle! Mu’s tactics involve consolidating her power in order to lead from a place above it all, exactly like how a castle looks over the rest of the village. Additionally, I can’t find the source of whoever pointed it out first, but I’ve seen it mentioned that the dress Mu wears in her birthday art is a reference to the one that Belle wears in Disney’s interpretation of Beauty and the Beast. It’s a fairytale with a princess (and perhaps someday, a queen), yes, but it’s specifically one where the heroine is trapped within a castle. Making Mu into a Rook would be a great way to keep up her royal theming, while leaving the Queen for a character a bit more powerful and relevant to Kotoko.

(Going back to Haruka for a moment, this would make him specifically the A or H pawn.)

Shidou Kirisaki

I really thought that Shidou might have more competition for the role of King, but the more I thought about it, the more I realized that nobody fit the role quite as well as he did.

Shidou is the perfect balance of a piece who’s very problematic for Kotoko’s win condition, while also not being much of an active threat himself. There are very low odds that Shidou would ever actually try to harm Kotoko directly or get in her way to divert an attack. However, as long as he’s alive, Kotoko can’t win, because Shidou can keep attempting to heal all of the pieces Kotoko tries to eliminate. That’s not something that the King piece can actually do in a chess game, but hopefully you get my point.

Additionally, Triage let us know that Shidou is a family man. While the white Queen will obviously not be representative of Shidou’s deceased wife, and not every other prisoner would enjoy living under his reign (cough cough Amane), the optics of him being the “head of the family” are obviously there. It’s a pretty bad look if the white King starts the game by pleading with the black King to give him the death penalty, but… Well, at least Shidou changed his mind.

Mahiru Shiina

Not to answer the theory’s main question so early into the post, but… I think Mahiru is a white Bishop. Specifically, the one that Kotoko could be snapping in half in the thumbnail.

As far as I can remember, barring Undercover, Milgram’s MVs have only shown us things that have happened in the past. There are some things that could kind of hint at the future (like Shidou’s “So hey, prolong my life / I’m indispensable” in Triage) or depict prisoner’s fears of the future (like Futa potentially being afraid that Es could declare him guilty again at the end of Backdraft). But, I think that every instance of something like that happening could be explained as something that the character did or thought about in the past as well. That might be wrong, as I don’t want to take the time to write out how everything that appears like it could be in the future is actually in the past, but it sounds right to my memory.

My point being, while the snapped bishop could be indicative of Kotoko’s plans to crush someone in the future, if the chess pieces do represent characters, it makes far more sense if her smashing the white bishop is something that already happened in the past. Thus, it would probably be one of the three characters that Kotoko attacked in the past: Futa, Mahiru, or Mikoto.

Of the three options, I think Mahiru fits the role of bishop best.

The bishop is your belief structure. This is why a bishop that starts on white, will always be on white and vice versa for the black bishop.

While not a particularly religious person, Mahiru is someone who lives and dies based on her beliefs about the value of love. No matter what happens to her, she always keeps her same perspective, believing that love is the entirety of who she is and the only thing that’s worth living for. It’s how firmly she clung to those beliefs that sent her to Milgram, and her lack of awareness regarding her actions that got her voted guilty. AKA, Mahiru’s Bishop-like beliefs are exactly what sent her to be crushed in Kotoko’s palm.

To the extent that the blood in the thumbnail is the Bishop’s and not Kotoko’s, Mahiru was also the most grievously injured of the prisoners in between trials. I saw people joking that the thing Kotoko was crushing was “Mahiru’s bones,” and, like… maybe you’re not entirely wrong? 

I hope that you continue reading the post to hear my thoughts on the last three prisoners. But, if you are tapping out here… uhhhh, 0610 enjoyers, go crazy with this one.

Kazui Mukuhara

When I started theorizing for this post, I really thought that I was going to make Kazui the Queen to Shidou’s King. The two of them are pretty close, so the idea of Kazui being Shidou’s guardian makes total sense. And, most importantly, Kazui was the one to actually intercept and divert Kotoko’s attack on Futa. He’s been established as the most muscular prisoner in Milgram, on par with someone like Kotoko, which is perfect for him being the Queen!

Wellllll… I changed my mind and decided to make Kazui a Knight anyway.

There are a lot of good arguments for Kazui being a knight too, okay? After Cat, it’s pretty clear that Kazui was once a police officer. Thus, being a member of the castle guard would be a good match for his choice of career. They’re also probably the most traditionally “manly” piece, representative of an armed man on a horse, and Kazui tries very hard to be manly.

Knights can also hop over other pieces, much like how Kazui jumped into the fight between Kotoko and Futa. In fact…

Never underestimate [the Knight] for its limited range. It’s known as the "Queen Killer" for a reason!

Knights are often a good piece to use to attack Queens because of their unique L-shaped movement pattern. Unlike every other piece, they can attack the Queen from a position that can’t be immediately reversed upon them. Thus, Kazui’s ability to beat Kotoko could be an indicator of this “Queen Killer” quality, instead of the innate power of being a Queen himself. (This logic applies to Futa as well: he can attack Kotoko from the unique angle of appealing to Es’ morals and own sense of justice. Kotoko can’t do the same because, unlike Futa, she has yet to outwardly acknowledge that her murder could have been anything less than righteous.)

Also… the Knight is the only piece that doesn’t move in a straight line. Get it? The Knight doesn’t move straight? And that represents Kazui? Because Kazui is–

Amane Momose

Amane is the other Bishop because… religion.

The bishop stands close to the king and queen because it represents the church which many royal courts held near and dear to their hearts.

The Bishop represents the church, an important and very powerful entity throughout history and even today if you think about it.

Again, not everything has to be a reach. (/j)

So… yeah, Amane’s beliefs– specifically religious beliefs, this time– are also a huge part of her life. Even if she’s changed what the cult’s doctrine means to her, she still confesses that she carried out her murders for the sake of what her religion considers right and wrong.

This is also considered the third most powerful piece on the chessboard because back in the day religion could influence many people, even without the help of the royal family.

Not so much for Mahiru, but this sentiment also fits Amane pretty well! Between the threats of potential conversions and potential assassinations, Amane was definitely one of the prisoners to watch heading into t2. From what I’ve heard, the main reason why her vote was so down to the wire was mostly because people were afraid of the power that Amane held.

Interestingly, this would put another prisoner who was voted guilty in contention for the piece that Kotoko is crushing. However, I still think it’s more likely that that piece would be Mahiru, because Kotoko didn’t physically attack Amane. If it were Amane, it would more likely be that her beliefs were crushed as opposed to her bones, but… I don’t really think that really happened, either. Amane would almost certainly be a bishop, though, so there’s certainly a possibility that that broken piece could be her.

Mikoto/John Kayano

With only one prisoner left to go, you may have already come to the conclusion that Mikoto is the white Queen. And… yeah, I can’t really deny that at this point. Like I said, I wanted to make Kazui the Queen, but I couldn’t otherwise figure out what Mikoto would be.

Because, there’s one main thing that makes me think that Mikoto has to be the Queen… John’s lack of restraints.

She is allowed to move in any direction and in as many squares as she wants.

Due to the whole situation with John not technically being a prisoner, when John is the alter in charge, John cannot be restrained, even when voted guilty. That makes him very powerful; no matter what he does, we can’t use a guilty vote to try to stop him, much like many people hoped to do with Haruka when voting him guilty in t2. The Queen can visit any square, no matter whether it’s black or white, upright or reversed, Mikoto or John. Choosing any other piece that was constrained to a much more limited set of movement rules just felt off for him.

Next, while Kazui was able to defeat Kotoko and save Futa, the fight between John and Kotoko was a draw. That means that they are also evenly matched– perfect for both being the same kind of piece. Mikoto isn’t as close to Shidou as Kazui is (anymore, I think?), but they were at least smoking club buddies, so calling Mikoto the Queen to Shidou’s King isn’t the most ridiculous proposition.

Finally, making Mikoto the Queen, a very feminine piece, is super interesting in the context of people discussing how Mikoto is often associated with stereotypically feminine roles and the girl prisoners (oboetemasuka | candckirby | purgemarchlockdown). I don’t have a whole lot else to say on this matter considering these weren’t points of Mikoto’s characterization I originally noticed myself, but I encourage you to read these posts to get a taste of what I’m talking about. I’m sure there were other posts discussing it too, but… it’s so hard to find things on Tumblr ;-;

Conclusion

Finally, we’ve been through every prisoner! Here’s a summary of what I decided on (left or right side doesn’t matter):

The funny thing about this theory is that it could be fully disproven wrong in, like, a week, if either 1) that wasn’t a chess piece at all, or 2) the chess pieces obviously represent something else. For instance, the chess board could fully relate to, you know, Kotoko’s actual murder and not what she got up to in between trials. We are supposed to get more actual evidence regarding that too, aren’t we…?

Still, if it turns out that the chess board does represent Milgram, I will get the full satisfaction of having called it ahead of time, even if my assignments aren’t 100% correct. No matter what, I had fun thinking about it, which is (in my opinion) the highlight of theorizing! If you have anything else to add, I encourage you to communicate your thoughts in comments, tags, or reblogs. If you don’t, then I simply thank you for reading this far!

Deep Cover… soon.

[roz-ani]

One issue I don't quite get and want to briefly comment on is the idea that Alastor has to be either an old-school villain who's just evil for the sake of being evil, or more of an antagonist with actual depth, emotions, and traumatic backstory to explain his actions, letting the audience relate to him. I think we're going to extremes here. We don't have to go, "Oh, I understand why he would do that". The main goal is for us to say, "Oh, so that's his deal".

While we don't know exactly what Alstor's deal is, what the exact terms of his contract are etc., he is, without a doubt, the most complex character in the show. He's in a unique position since he technically helps Charlie achieve her goal, but it's obvious he's in it for selfish reasons, with some grander scheme going on behind the scenes. May he eventually be the one the main cast will have to fight at some point? Sure. Would it be even more fun because he is a part of the said cast? Absolutely.

Let's get one thing straight: Alastor is evil. He's in Hell for a good reason. He's a cannibal and a serial killer. And I know we can absolutely forgive characters for doing the absolute worst, but he is not a good person. And yes, you can like (and simp for) evil characters. (If you think being a fan of intriguing fictional creations makes you a terrible person, you need to get off twitter and tiktok to actually interact with real people.) At the same time, the finale of season 1 simply made it clear that Al does have depth, and that he's going to be a three-dimensional character. Not that his actions are going to be suddenly justified.

But why can't we explore evil characters while enjoying them and letting them be evil? We can. Alastor started his carnage in Hell before making his deal, so it's not the main reason behind his less-than-questionable actions. For now, he's looking for freedom so he can (re)gain power and be in control again. At the same time, he is growing attached to the other characters. I highly doubt he'll be redeemed; we'll just learn more about him, his backstory, and his goals.

Can you even call Al an antagonist? If you ask me, he's more of an anti-hero. Heck, do we know who he is? Not really, and that's the point. He's one of the main characters, but he makes himself separate in both the story and the writing. He's a wild card.

We don't know what's coming for the Radio Demon in season 2. The first one established that there's more to him and that he started growing fond of the other characters, while the finale made Al realise it almost got him killed. He was humiliated and it reminded him even more that he's still under someone else's control. At least, that's how I see it. Alastor may become more sinister as the story progresses, and as he's getting more and more desperate to free himself of the contract. AT THE SAME TIME, he did come back to the Hotel with a smile and consent for a group hug, so it's not like he's going to blow it up in the first episode. He's not against the Hotel itself. He's doing his own thing, knowing that the titular establishment is an inherent part of his story. All paths lead to the Hazbin Hotel. My guess is that he will simply become more active.

Alastor is already a three-dimensional character; there is no doubt about that. But it's not like he's getting reckoned here. I don't really understand where this notion of our Radio Demon being an old-school villain came from in the first place. He's always been a mystery. Okay, maybe in the pilot it was not so clear-cut, and I'll admit, it would be fun to just see the Radio Demon as a powerful entity overlooking the hotel for his own pleasure. Turning him into a villain later on? Meh, depends on what would happen in the story if that were the case. Watching Jack Horner in "Puss in Boots", reminded me how much I missed villains that were not an initial antagonist's evil-incarnate-superior. However, it was quite quickly established that there is more to Alastor. He would have to appear pretty rarely to not go through any character arc in a show with such an ambitious storyline as Hazbin Hotel (and what a delightful character would we lose if that was the direction the writing team would have taken?). I would mention the pacing actually harming that development, but it's clear this is the show's biggest problem, and we just have to take things for granted.

If anything, Alastor is being restrained from being purely evil. To me, he's a combination of both of the character types I mentioned at the beginning, leaning more toward the well-developed anti-hero. Just let evil characters be evil and three-dimensional. 

[cassiusfen]

This isn't my art, (it's made by @ TheHearthFox over on Twitter) but I wanted to make a long post about why this work in particular speaks to me so goddamn much. I think such a massive part of the queer experience -- and also the furry experience -- is about the abstract. This can be seen in so many different aspects of furry "culture," from the concept of fursonas to kink and and other fetish content. You and I will never know what it's like to be a werewolf and transform under the full moon into the form of a big hulking furry beast. However, us furries create art and other works about the idea of it anyway. We never will be able to be our fursonas -- our often idealized and "perfect" versions of ourselves -- and part of that really hurts. It hurts so bad honestly, to the point where I can't quite put it into words. In terms of queer culture, I will never know what it is like to be a cis woman, and that also messes with me a lot. Yet, I'm still trans, my identity can change, I can perceive myself as whatever I damn well please. Identity allows you to shape yourself and the world around you in your own image, even if not everyone can see its beauty.

We have ways to get at least somewhat close to how we feel in our abstraction. VRChat allows you to make an avatar of what ever you want, whether it's your fursona or just an ideal version of you. Hell, it doesn't even have to be you, it could be anyone or anything really. We have a whole industry based around creating big ass costumes that allow people to at least look something like their desired character. But it's not enough. It's never enough. I ain't religious, but sometimes I feel like I've bitten the apple, been kicked out of the garden, and now I'm left to fend for myself with an identity that my physicality will never match. When I made my fursona using an avatar base in vrchat and configured it to match my real world body scales and looked down, I honestly started crying. I take the headset off, and I'm still me. Everyone takes the headset or fursuit off and they're still the body they were given, not what they would choose. Our reality is objective, and there's no way to really change that. We can act like animal people online all day, but the moment that screen shuts off, the moment we walk away, that warm, fuzzy feeling (hehe) fades.

To think abstract is to think beyond what you can normally sense. You will never get to brush the knots out of your fur in the morning, or play with your antennae while anxious (I see you bug people). We can still have those ideas, however. I know I'm on the third goddamn paragraph and I'm just now talking about the artwork I linked but this is an important concept to me. Usually, when I think of the abstract, it feels unreal, "fuzzy" so to speak. However, in HearthFox's piece, the objective reality appears out of focus and pixelated. It feels like even if we are unable to fully embrace the abstract, we can still embrace what we can of it, and bring some sort of color to a world that doesn't feel like it is made for us. The colors being outside of the lines could suggest that our abstract perception is maybe just "painted on" to the world around us, but is that a bad thing? Is it bad to take things in from the world around you, but still look at it all in your own unique way? I think not. This also isn't only about therian identity, or furry identity, or even queer identity -- it's also about neurodivergence. You are never in the wrong for thinking about the world in a way that is viewed as "non-standard" by the rest of the world. If you see yourself as a wolf, bee, fox, bear, raccoon, a fucking plane, it's not a bad thing. We can still identify however we want, and this modern way of looking at identity is the best way for us to embrace the abstract.

Go wild, go fucking stupid. Love yourself, if you're a fox, be a fox, there are ways you can feel that way, even if it's not all of the time. We can fight, we can love, we can still find ways to elation, even if sometimes existence itself feels wrong to you. This work is but one side of abstract thinking. Look at the color the fox has compared to the objective. Look how the fur drapes, how it runs down the body, or how the snout expresses emotion. Sometimes it feels melancholic, but you cannot tell me that trying your absolute damnedest to live your identity doesn't at least bring some color to your otherwise dreary and unfocused world.

Stay safe, love yourself no matter what.

[astaroth1357]

We Need To Talk About Nightbringer (the Person, Not the Game)

I'm still scratching my head over what Nightbringer's goal is here... How is MC involved? Why send them back in time? And, of course, who are they??

SPOILERS Up to Lesson 12 Below Cut

The Fuck is the Goal Here??

Sending the MC back just to form pacts makes no goddamn sense. If the MC acquiring pacts was the real aim, then that mission was already accomplished in the present-day. There's something more here.

Why send MC back to RIGHT NOW? What about making pacts AT THIS TIME is desirable to Nightbringer? Is the end game even having the pacts at all...?

I posit that Nightbringer wants war, specifically, another war between angels and demons. The imagery of scales brings to mind the fragile balance of peace that Diavolo was mentioning between the realms before. RAD isn't built yet, his goal to improve relations is still in its infancy, and the times are so tumultuous that MC risks an all out fight starting just being there. So if Nightbringer wants to make things come to blows, then this is the PERFECT time to send them to.

However...

What is this "path to happiness" all about? What does Nightbringer think will make the MC most happy...? And what about THEIR happiness is linked to his? Is he assuming that in a war of the three realms, MC would side with the demons and thus if demons win then MC will be glad? That doesn't really track with the MC as presented in game... They're generally shown as a peacemaker or bridge builder. I don't think a war would make them happy at all!

Ultimately, I don't think we can answer this question in any way that makes sense until we have a better idea of WHO Nightbringer is so....

Who is Nightbringer??

It's Barbs

This goes for any version of Barbs: past, present, future, or even an alternate self I guess. This only makes sense because we're dealing with a demon who does time travel and there's only one demon we know who fits this bill but... why?

I can't imagine any reason why Barbatos would betray Diavolo, at least the one we know. This guy is so loyal to his lord that he's the ONLY character who won't completely kowtow to MC's whims even in the OG game. His true loyalty was always to Diavolo. Not the realm, not demons, DIAVOLO. And if Diavolo seeks peace, then why on earth would Barbs want to cause a war?? Is he more bitter about things than we thought...?

If it's a different version of Barbs, then I guess this goes out the window, but even then what's an alternate Barbs care about this world specifically? What would he hope to gain? MC? Why?? The means are all here, but I just can't figure out the motive, so...

It's Not Barbs, but Connected to Barbs

You know. I've been thinking a lot about this and I've been considering how, thematically, it could be appropriate for Diavolo not to be the only one with a progenitor/parental figure out of commission. We can assume that Daddy Devil must of had an attendant like Barbatos to aid him like Dia has Barbs so...

What if Nightbringer is the old King's previous attendant? And what's more, what if they aren't Barbs but related to Barbs? Like a sibling or parent? It's important to note that Barbs' time capabilities are not INTERNAL to him. It's his room of doorways to other timelines. Presumably, anybody with sufficient knowledge could inherit that room and just take over the role of the Devildom's time lord.

I know it goes against all of our previous notions to think that Barbatos was, at some point, just an everyday demon and not some primordial, OG force of nature but none of that was canon anyway. Something to think about.

It's Michael

I know people keep offering up this one, but I'm really not buying it... Yeah, Michael has always been this looming, shady figure over the OM universe and he's canonically and non-canonically done some eyebrow raising shit, but what's the motive here? Plus, Nightbringer's thematic ties to, well, night really feel more demon than angel... The Celestial Realm is always sunny, the Devildom is always dark. I think it's just a stretch...

Michael wanting another war could be interesting, especially since we've seen far more of angels being actively antagonistic to demons than the other way around, but I don't think that makes him Nightbringer. At most, he could end up being a shadow ally in his plot to bring everything to a head once again.

It's Solomon

In truth, even I don't think Nightbringer is the Solomon we're talking to. But I still think it's suspicious that all of this plays out so perfectly for our present-day Solo-pal... Personally, I take anything this guy tells us directly with a grain of salt since we know he'll lie openly, so here are the facts we're working with:

We are interacting with our present day Solomon (or at least one with knowledge of who we are and our timeline's events).

Solomon is the only one in this current space who knows of our full history in the OG timeline.

This Solomon put himself not only in the position of being the ONLY ONE who knows us that we can interact with, but happily isolated us from the brothers and made himself our main point of contact.

And last (and perhaps most importantly) HE'S STILL TRYING TO MAKE PACTS. He approaches Lucifer about it and successfully makes a pact with Asmo centuries before he's supposed to! If my guy is really from the present, that's like, Changing the Course of History 101! What the hell???

Let me present to you a theory. He is not present-day Solomon, sent back to help MC. He is past-Solomon, caught up to MC's identity through Barbs' time powers and just playing the part of our modern-day buddy. If he's from the past, he doesn't have to worry about changing the present timeline like we do because that ain't even him we've been speaking to. It feels like he has this bet going with Nightbringer... they have some kind of wager and MC is key to it. They're the one who'll tip the scales and Solomon is trying to get us to stay on his side.

It's Not Solomon, but Connected to Solomon

There's something off about Solomon that everybody, LITERALLY everybody, makes comments on: how he doesn't seem human anymore.

The OM timeline introduced the idea that a person can become something else, no matter what they started out as. The brothers were angels, but they fell, so they became demons. Simeon violated angel rules, so he was made into a human. The idea of corruption related to Solomon has always stuck in the back of my mind... The guy has over 70 pacts, he's lived for several centuries at least, and there's just something NOT RIGHT about him...

When Solomon and Nightbringer are speaking to each other, this line stuck out to me.

I find this comment so damn weird. If Nightbringer is a demon and has always been a demon, why would Solomon feel the need to lampshade this? He's pointing it out as if it's meant to get under Nightbringer's skin... Why state the obvious?

What if Nightbringer wasn’t always a demon?

Nightbringer refers to and brings up his demonness as much as Solomon brings up his humanness. That, to me, reeks of insecurity. They may not just be fighting on the lines between demons and humanity, but fighting each other/themselves to prove who's side they're actually on.

What if Nightbringer is a fully-corrupted Solomon? Either a Solomon in the future who's fucking around with the past or a Solomon in this timeline/dimension that's trying to use MC to cause destruction for his world??

..... Okay, I do know this is a bit of a reach. As much as I would love to blame the sorcerer, Nightbringer still seems like a being who's just... been around a while. Far too long to start fucking up shit now. It's possible that if he is from the future and just hopping through time, there's nothing stopping him from going back however far he wants to, but then you could get into the "You are your own grandfather" paradox and the next thing you know we're in another installment of Kingdom Hearts where time is our worst enemy.

HOWEVER, the idea of corruption DOES bring me to my wildest theory yet.

What if Nightbringer wants MC to become a demon...?

Think about it.

It could explain why Solomon is trying so hard to make MC remember and side with their humanity.

It could explain why Nightbringer sent them there under the guise of demon to start with.

It could be why he wants them to make their pacts again. He's trying to seduce them into fully embracing the demonic world through their connection with the brothers.

Humans die, right? Why not be a demon and not have to worry about it?

Throw away the Ring of Light.

Stay by your demons' sides.

Embrace the darkness.

Join the damned.

And when that big'ol battle that he wants happens, he'll have the most powerful sorcerer/sorceress, fully demonized, fighting for his side against God himself.

..... Or that's my spec script anyway. Probably too out there, but man would it be fun...

[wolfscarr]

Crimson Knolastname: Greedy Loving Heart. Character Analysis.

So been thinking about this for a hot minute and I’m probably guessing that Moxxie’s dad isn’t going to get anything beyond just being shitty....because he’s shitty.

Now given my love for Mafia aesthetic and Helluva Boss(as much as there is left anyway), I figure I would see about adding something to Crimson as a character as it relates to both his relationships involving his wife and son, as well as giving the location of the Greed Ring some kind of purpose, so let’s get into this.

 So let’s start with the Greed Ring here. I think many overlook the fact of how certain Hellborn are shaped by where they grew up, or at least don’t take into account of certain things., I mean yeah some of it is obvious, such as with Millie being all tough and strong and that’s basically in our face with the fact of her being part of I.M.P, with Crimson....I feel like it’s not as obvious and people just jump to conclusions that he’s just an asshole because....he’s an asshole.

Now obviously yeah he’s an asshole, but folks think for a minute here. The Greed Ring is all about....well obvious Greed, so now Crimson grows up with this lifestyle of making money, getting things, all of this just further fueling his greed which corrupts him further and further.  Then he joins(or was raised in) this Mafia within the Ring, which he eventually takes over. So now his Greed is only further multiplied as not only is he rich from his own ventures, he now controls everything, he now has immense power within the Greed Ring and he has reach throughout Hell.

^ Credit to Chii(LittleMissChii on Twitter, Helluva Boss Animation Lead).

So at some point, Crimson and his wife meet(still waiting for an official name) and they hit it off, Crimson woos her with that smooth talking and charm of his, he introduces her to the lifestyle that he lives and soon enough they are married. With the addition of having a wife, now his Greedy heart is just further consumed, now he loves his wife....but at the same time it’s also more he’s greedy about it, like he doesn’t want her attention to be on another person. He wants to keep her attention as much as possible, he doesn’t want her to focus on anyone else but him.

Everything up to this point for Crimson is going pretty well, we of course don’t really have any info of his past granted, but it soon all goes downhill anyway. So then we finally get to both Crimson and his wife, having their son Moxxie.

Now at first Crimson seems fine with Moxxie, because now he has an heir to all the stuff he has built up. He can mold Moxxie into basically a miniature version of himself, to carry on what he had built and maintained. Now surface level, this isn’t a bad thing, it’s not like wanting Family to take over a business is anything new, even in real life this happens. The problem with Crimson however, his heart is basically saturated in Greed by this point, he wants to just keep everything close to him....EVERYTHING, he doesn’t want anyone to leave or make their own choices.

Which leads to Crimson’s wife, trying to steer their son away from the lifestyle that her husband is trying to impose(or at least let him make the choice later on, if he really wants). But even moreso than just that....Moxxie is taking away Crimson’s wife from him, her attention isn’t nearly as focused on him like it was before they had their son. So now this hits Crimson hard, not only is his son being taken away from him, but his wife is as well...a bit obviously unintentional by Moxxie as he’s just a kid. Thus the fighting starts between the parents and eventually well, he ends up killing his wife in order to keep his heir and thus the security of what he has built. No one is going to take away his wife’s attention away, if he can’t have her attention, then no one else can.

So now years later, we see that Crimson has raised Moxxie and inducts him into the Mafia Lifestyle. For a time Moxxie is just going along with it, we still see at this point Crimson isn’t looking to harm Moxxie, in fact he seems rather proud of him. But then of course....Moxxie ends up leaving his Family and obviously we all know what happens after, with Crimson being obviously pissed at his son for ditching everything.

Crimson is rightfully upset, because he put basically everything he had into Moxxie, to mold him as best as he could into his heir. But Moxxie is clearly not like his Father and Crimson isn’t doing this for Moxxie’s benefit, he’s doing all of this for his own selfish Greed. When his son completely ruins that.....well obviously we see later what happens in the episode.

==========

The long and short of it, is this folks. Crimson’s heart was corrupted heavily by Greed, I believe that Crimson did in fact love his Family. But he didn’t love them in a manner that wasn’t having something to do with Greed, first and foremost Greed took over any sort of love that he had for them. Which makes sense given where Crimson clearly grew up in, Greed affected him and had him spiral down a destructive path.

I’m not saying this excuses his actions or anything, I mainly went through this character analysis to give something to his character as far as depth goes. Because I have a feeling he’s not going to get any of that sort within the show itself, plus again I’m a bit of a sucker for Mafia aesthetic and I feel like his whole ‘character’ was just wasted and he came across as really dumb.

...Also give us an official name for Mrs. Knolastname already!

[lippmannssplatteredblood]

Was it ever confirmed Lippmann was based on Walter Lippmann?

No.

But wait, there's enough evidence! (Ty anon im using this ask as an excuse to ramble and getting these off my chest)

As we all already know, most of the characters in BSD, especially ability users, are based on real life authors. Stormbringer explicitly stated that bsd!Lippmann was "an extremely powerful skill user" so he must be based on someone. And guess what? There happens to be a writer with the exact name as his.

Walter Lippmann was an American journalist, politician, and writer. He was deemed as "the most gifted and influential American political journalist of the twentieth century". His works mostly took the theme of public relations and stuff. Sounds familiar?

I'd like to add this part from the etymology section of his(bsd) wiki btw, just in case you didn't know.

Does it end there? No, not quite.

Let's take a look at his most popular work; Public Opinion.

"...The pictures inside the heads of these human beings, the pictures of themselves, of others, of their needs, purposes, and relationship, are their public opinions. Those pictures which are acted upon by groups of people, or by individuals acting in the name of groups, are Public Opinion with capital letters."

"The pictures in our heads", page 29

People, generally, have some sort of "persona" of themselves that they would try to plant on other people's minds. Kinda like the Japanese "three faces" proverb, you may say. And how do they achieve it? By only presenting that persona; by masking; by acting.

"Royal personages are, of course, constructed personalities. Whether they themselves believe in their public character, or whether they merely permit the chamberlain to stage-manage it, there are at least two distinct selves, the public and regal self, the private and human."

"The pictures in our heads", page 7

Simply said, him being an actor might be a reference to (or a representation of) that human nature which P.O. talks of. An actor acts—they dive into the role of another character that's not them. (Which, when you think about it, is just what us humans do on a daily basis, except they do it professionally and for a living, which when you think about it again—)

Mr. Lippmann also published books titled "A Preface to Politics" and "A Preface to Morals" which is....interesting.

Okay, "preface" and "face" technically are different. Though they still share somewhat a similar meaning.

But hear me out. Let's go back to the persona thing. Generally, what people would want to be perceived as is as the perfect, ideal versions of themselves. To make that happen, they would have to put on a good first impression. And what's usually the first thing that people notice about a person? Correct—their appearance; their face.

Lippmann(bsd) was multiple times described as "perfect" (like okay asagiri, he's pretty, we get it), especially regarding his looks (and capabilities). See what I'm saying?

Lippmann was the stage face, the public image of the Port Mafia. He was the preface to the Port Mafia. He created the pictures in people's head of the Port Mafia.

As a verb, however, "face" has another meaning:

He negotiated with front companies, met and talked with political figures, and even dealt with the press if push came to shove.

I feel like this might be merely a coincidence or a pun, though. But the fact that his field of work in the Port Mafia was specifically negotiating with the "real world" is definitely not something Asagiri just pulled out of thin air—or so I believe to be the case, at least, having read this paragraph.

"This is the underlying reason for the existence of the press agent. The enormous discretion as to what facts and what impressions shall be reported is steadily convincing every organized group of people that whether it wishes to secure publicity or to avoid it, the exercise of discretion cannot be left to the reporter. It is safe to hire a press agent who stands between the group and the newspapers. Having hired him, the temptation to exploit his strategic position is very great."

"The nature of news", page 344

Oh, by the way, remember this scene?

It's just a silly, filler interaction that seemed not to reference anything, but just you wait.

"Men cannot long act in a way that they know is a contradiction of the environment as they conceive it. If they are bent on acting in a certain way they have to reconceive the environment, they have to censor out, to rationalize. But if in their presence, there is an insistent fact which is so obstrusive that they cannot explain it away, one of three courses is open. They can perversely ignore it, though they would cripple themselves in the process, will overact their part and come to grief. They can take it into account but refuse to act. They pay in internal discomfort and frustration. Or, and I believe this is to be the most frequent case, they adjust their whole behavior to the large environment."

"Intelligence work", page 383

Then again, these are but my interpretations and/or speculations which I'd like you to take with a grain of salt, as I could very well still be wrong (because Asagiri loves to trick us, apparently).

I could go on and on and on and on and on but I'm afraid I'd just be blabbering nonsense at some point. Thank you for reading my (hopefully coherent) ramblings.

[boilbluedenim]

Over the liminal mindscape

I love and hate how this show's ending is completely left up to interpretation, mainly because of Wirt and Greg's potential deaths and how that makes me feel about the show as a whole. It attaches a sort of bittersweet feeling to it which I'm not too sure about. more on that soon though.

Anyway, when paying even just an inkling of attention to this show, you can almost immediately connect the dots and come to the conclusion that none of the adventures (for the most part) actually happened. This conclusion is heavily drawn from the frames we see at the very beginning, of Wirt, Greg, and Jason Funderburker (the frog) drowning. (ep 1)

and from the frames where Wirt wakes up in the water after having said goodbye to Beatrice, saving his brother and the frog by carrying them both out of the water. (ep 10)

Taking into account that Wirt, Greg, and Funderburker all fell into the water moments before almost getting hit by a train, which we discover in episode 9; Into The Unknown, I think it's pretty safe to assume that this is, in fact, the case and that OTGW takes place in either a mental space or a physical limbo, occurring while they are all in the process of drowning.

Another thing I'd like to mention is that OTGW is heavily based off of Dante's Inferno, which, in the simplest of summaries, is a poem about a journey that begins in a forest, leads through hell, and eventually into heaven, hence the theorized death I mentioned earlier. It's actually pretty easy to spot where these references and homages lie, for example, the formula of the story is somewhat similar, and the characters take on similar roles. (for example, Virgil: Beatrice/Woodsman(?)or even Greg in some cases, Beatrice: Sara, Dante: Wirt.) (please read Inferno or a summary of it to fully understand this if you haven't already because it's actually really interesting).

Rewatching OTGW with this in mind led me to realize a lot of things that I originally passed off as unique writing choices with no actual meaning behind them. Then again that could be the case but what's the fun in assuming that?

Upon entering the unknown, we're launched into a universe with a seemingly ever-changing time period. Characters talk funny and fancy, dress and act as if they're from the 1600s-1700s, and none of our protagonists seem particularly fazed by this (except for Beatrice, occasionally) with Greg using a phrase such as "brother o'mine" and Wirt's dramatic poetic rambles. Everything feels very inspired while also being all over the place, almost as if it's been composed from memories, lying in the pits of somebody's mind...

Wirt is a Huge Nerd.

If I am to believe that this show takes place in one of our protagonists' minds, which I do in fact believe, then I would say that that protagonist has to be Wirt. Wirt has a tendency to go on poetic spiels, even dropping two of them in the very first episode. Accompanied by his teenage boy dread (being a nerd at 14 is tough) and his overextending knowledge about curious things, which he showcases in his exclaim at Beatrice's ability to talk and his comment about one of the rooms in Endicott's mansion (below), It becomes a glaring possibility that OTGW is primarily from Wirt's point of view, with the Unknown existing solely in his head.

I've actually seen this point argued before, with some people mentioning the black turtles on the poster in Wirt's room or just his entire room in general. However, if true, that doesn't really answer the question of whether the unknown exists as a physical space or a mental one, having no supernatural effects on the real world.

2. The Implications of the Bell

Okay, so, listen.

I hate to be the kind of person who goes "Well it's probably just a fun and silly bit that doesn't actually mean anything." but I'm gonna be that person anyway, or at least I'm not going to assume character death because I don't want to and free will is a thing blablablabla. I will however be serious for a second and try to provide a tangible reason for why I think this scene doesn't have any real-world implications.

For one, this scene immediately jumpcuts to a voiceover, followed by scenes that serve as conclusions for the stories of the characters we've met along the way, all of them being positive. I think this serves the purpose of letting us know the story did in fact have a good ending, with Wirt learning how to treat his brother with respect. I also think that ties into the theory above.

Not only does the unknown serve as a mental limbo but it also serves as a lesson for Wirt in particular. This journey is riddled with self-critique, characterized as Beatrice, all the while Wirt is drowning and realizing he's not only failed himself but his brother as well.

3. The Beast

Surprisingly I haven't mentioned the beast yet even though he's very important to the story. The beast represents a couple of things, one being death and two being the overarching, real-world problem. Those may sound like the same thing, and honestly, they are depending on what you think the problem is. To me, it's Wirt's relationship with, and treatment of Greg in the real world that bleeds into the universe of the unknown.

The exchange that Wirt has with the beast at the end of episode 10 fully encapsulates his character growth. The characters his mind has created have actually taught him something, that being; wallowing in sorrow and accepting your fate is just going to lead you further down this winding path, or in this case, to the bottom of this lake. You will never get home.

Unlike I've seen others suggest, this is not a story of a boy failing and dying while so wrapped up in his own fantasy, eventually residing in a false heaven. Instead, everything is put back where it needs to be.

From the forest, through the unknown, and finally, back home.

[saintsenara]

Ooh more about the subtext around James/Sirius? I’ve always read the text this way too!

thank you for the ask anon!

this question could have been prompted by any number of posts i’ve made, because i am a great proponent of the idea that unrequited prongsfoot is canon. 

why?

i’m so glad you asked…

let’s begin with a small caveat which - regrettably - involves some engagement with discourse.

the things created within fan-fiction aren’t real - an individual fic can’t cause actual, material harm to a reader, even if it contains tropes that would be harmful or distressing if they happened in that reader’s real life; an author’s use of certain tropes or interest in certain characters is not indicative of their actual morals and values in real life; thought crimes are not real crimes - but fan-fiction is produced by human beings who are themselves products of the societies and communities in which we all live, and these societies and communities all have flaws and failings.

which is to say, those of us who prefer to read male friendships like james and sirius’ as romantic do need to be aware that, no matter how enlightened on gender and its foibles we think ourselves to be, we are nonetheless influenced as modern humans by a modern tendency to discourage platonic physical and emotional closeness between men, especially straight men, on the grounds that two men having this sort of relationship is inherently queer and, in being queer, implicitly sexual - another powerful societal influence on our thought, even if we know we don’t agree with it. we should also be aware that reading a friendship as defining and life-altering as james and sirius’ as romantic gives weight to a modern tendency to prioritise romantic love - and one of its expected outcomes, the love of parents for their biological children -  over platonic love, and to regard people for whom romantic love is not a priority as not properly having achieved the milestones of adulthood, nor as properly fulfilled, adored, or satisfied.

everything which follows here, then, can be taken to refer just as validly to a purely platonic relationship between james and sirius if the reader prefers. and, indeed, my view is that this is how the canon narrative wants the reader to understand james saw the relationship. 

but i also think that the canonical text wants us to infer that, for sirius, his relationship with james was one of unrequited romantic love.

it must be said, however, that the narrative doesn’t show this explicitly. of course, it emphasises sirius and james’ compatibility, their similar personalities, their shared affection for each other, and a certain element of codependency (the thought of these two boys unable to be apart even for a detention without talking through their mirrors! my heart breaks!), but it also sets up these shared elements as - in some senses - fraternal: sirius is quasi-adopted by the potters; harry thinks of him and james as like fred and george, at least until he sees snape’s memories in order of the phoenix. when sirius speaks to harry about james, the profundity of his love for him is obvious, and on the two occasions when we see them physically together (snape’s worst memory and the prince’s tale) it’s clear that each is the primary driving force behind the other’s decisions. but we have nothing which indicates unambiguously that sirius’ feelings for james were romantic.

until we dive into a bit of narratology. because the text does do something to suggest that its intention is for sirius’ relationship with james to be read as non-platonic, and that something is its use of narrative mirrors. the harry potter series loves assigning its characters to narrative pairs - harry and voldemort are the obvious one; ron and draco malfoy are the one which deserves more attention - and it assigns to sirius a narrative mirror whose own story is one of unrequited romantic love.

severus snape.

sirius and snape are incredibly similar, personality-wise. they also serve identical narrative roles, in that they function as the guides who lead harry through an emotional arc which begins in earnest in prisoner of azkaban and concludes in deathly hallows, in which he sheds his childish, black-and-white view of his parents and comes to regard them as real, flawed, and complex people. harry does this with james in order of the phoenix - after the realisation that he was a bully stops the hero-worshipping which has defined his earlier attitude towards his father - with sirius as his guide (sirius is then killed off the second this narrative sub-arc is complete). he then does it with lily - who spends the earlier books as secondary in importance to james in her son’s mind - in half-blood prince and deathly hallows, in which snape (via the proxies of slughorn, the discipline of potions, his textbook, his patronus, and his memories) serves as his guide, until the fact that lily is the key to the whole mystery is revealed just before harry sacrifices himself to save the world.

in the course of this, it comes to be revealed that each of them considers their life to be defined by their relationship with and love for one half of the pair of james and lily (although the series hides this in snape’s case - making it look as though he is also motivated purely by his antagonistic relationship with james - right up until the last moment). their mirrored relationships with harry - while the idea that sirius is incapable of distinguishing him from his father is an invention of the films - is also driven fundamentally by their relationship with one of the two halves of his parents.

sirius and snape’s mirrored motivation-by-love is shown most clearly in their identical approach to guilt and grief, the two things which overarchingly drive their individual character arcs across the seven-book canon (or three, if you’re sirius - rip king).

both sirius and snape indirectly trigger the death of the person they love - and, let’s be frank, if we’re going to excoriate snape for reporting the prophecy to voldemort, exactly the same level of ire needs to be reserved for sirius and his plan to switch secret keepers (what we could do instead, of course, is recognise the life-altering tragedy of making this kind of mistake, which we all have to hope we never experience ourselves, and treat the lads with compassion) - but it’s clear in canon that neither accepts the idea that their involvement was, in fact, indirect. sirius openly tells harry that he considers himself to have ‘as good as’ cast the killing curse on james and lily; snape rejects dumbledore’s (back-handed) comfort that james and lily’s deaths were caused by ‘putting their trust in the wrong person’ by wishing to die himself.

wracked by guilt and hollowed out by grief, both of them then decide to punish themselves in an effort - one which, i think, they both consider futile, since they clearly regard their sins as too great to be redeemed - to atone for causing james and lily’s deaths. both of them do this by subjecting themselves to the pain and humiliation of imprisonment.

in sirius’ case, obviously, this is literal. we know from canon that he refuses to profess his innocence at any point during his show trial - and why would he, when he considers himself to be guilty? - and that he remains in azkaban for twelve years, despite possessing the means to escape before then. he leaves the prison only to attempt the one action which he thinks will redeem him in james’ eyes: murdering peter pettigrew.

in snape’s case, the prison is a metaphor (foucault just sat up). snape entombs himself both at hogwarts - not a place he seems to have been particularly happy - and in spinner’s end, allows dumbledore to repeatedly humiliate him, and risks his life as a spy as a means of self-flagellation. like sirius, he fails to profess his innocence - through ordering dumbledore to tell nobody of his true allegiance - because he considers himself to be guilty. he leaves the self-constructed cell in which he is skulking only when dead - when harry, who has taken on the burden of fulfilling snape’s atonement himself by preparing to kill voldemort, starts screaming his true motivations in the dark lord’s face - although there is some implication in canon that dumbledore’s intention was for snape to end the series by attempting himself the one action which he thinks will redeem him in lily’s eyes: murdering voldemort.

[after all, why does dumbledore say to harry at king’s cross that his intention was for snape to control the elder wand if he wasn’t hoping he’d use it to give the dark lord his death blow?]

snape and sirius mirror each other exactly in their response to the death of the person they love. we can justifiably assume, then, that we are intended by the text to read that love as identical in type. 

jkr has been very clear that snape’s relationship with lily is one of unrequited romantic love. we obviously don’t have to accept this in our own readings or in the way we write the characters in our own work - i love a queer snape sacrificing everything for his platonic best friend as much as the next girl - but we do have to acknowledge it as the doylist text’s stated intention. it stands to reason, then, that the text’s intention is for us to regard the mirror-image of snape’s love for lily - sirius’ love for james - as romantic as well.

or, unrequited prongsfoot is canon.

[plazmafields]

Some thoughts about Kerry:

Spoilers ahead, needless to say.

1)

I saw a video comparing the two versions if Chippin' In (Kerry's vs. Johnny's) where someone in the comments suggested the reason Kerry leaned more mainstream rock is because he only wanted to make music for money. I completely disagree with this and here's why:

User Friendly was the last song Kerry put out before deciding he wasn't going to perform live/tour anymore and went into a deep depression. Looking up the lyrics, you can see he was becoming very distressed with the lack of control he had over his career, and the things he says in the song sound like a cry for help that wasn't received by listeners the way he had hoped. We never hear his version of the song, and I believe that is intentional. Vapid, loud, chaotic, almost over-stimulating laser-pop is such a huge juxtaposition to the lyrics, and yet it's the only version we get to hear. Clearly User Friendly meant a lot to him or I don't think he would have reacted the way he did; combined with the cover being done by a pop group groomed by the music industry to sell as many albums as possible, it all went against Kerry's original intent with the song. Then there's the story of how he wrote Bleed the Beat: he was working his ass off for people he couldn't stand and that song was his outlet during that time. He'd play until his fingers bled just to get his frustrations out. Music is his medium for release, just like it was for Johnny.

In Johnny's version of Chippin' In, the phrase "chipping in" has two meanings: getting your first implants, and, the same as our universe, helping out. Johnny's song uses both meanings interchangeably during the choruses, the verse before it dictating which definition is being used. Johnny's arm is (from what I can tell looking at the design) military issue. The song is both about the corpo military forcing him to get an implant, and also about believing he was doing the right thing when he joined by "helping out" the armed forces. Since, in this universe, militaries are owned and/or sponsored by corporations, Johnny views corporate jobs and military service to be the same level of morally wrong (The Ballad of Buck Ravers attests to this).

In terms of how the two songs compare, obviously Kerry's version of Chippin' In is meant to have more wide appeal. Not only are the lyrics more tame, mostly just talking about the implants themselves and only having one verse that even mentions anything "political", but I believe Kerry understood that the best way to get his music to the most listeners was to go for a more mainstream sound and universally relatable lyrics, so he toned it down. Everyone hates corpos, sure, but not everyone wants to bomb Araska HQ. This is probably a stretch, but we can see from the flashbacks that Kerry didn't have any implants during his time in Samurai, so maybe Johnny was like super opposed to implants after having one forced upon him, and Kerry's version of the song is kind of saying "hey if you want implants get implants, they make you look cool don't feel bad about it."

2)

I do support the idea that Kerry should have been bisexual like in the source material. I absolutely get that bi erasure is a big problem, ESPECIALLY with male characters. However, I respect that in the game you can only romance him with a masc V; I'm not going to mod him to he bi, I'm not gonna ship him with women. I see it the same way I see Cullen from DAI: he is canonically bisexual, just not attracted to my male Inquisitor (in Kerry's case, fem V). Maybe Kerry had such a traumatic divorce from his ex-wife that women just kinda scare him right now. We can see high heels and bras and blush littering his house, so we can assume that at the very least women are still getting naked for some reason or another at his parties. Maybe he prefers men romantically, or maybe he's just not ready to date women again, and we as players should respect that just like we would a real person.

3)

Kerry was 100% going to kill himself when you show up to his house. There are shards advertising robotic security systems in numerous places around his house (meaning he fired his human body guards), shards with negative reviews of his last album, there is only one camera and it is by the front gate (none inside the house), he gave his cleaner and cook "the day off" that very day, you see in emails that his ex-wife is giving him the option of all or nothing with custody (you take the kids or you don't get to see them), and he isn't enjoying making music anymore, his one passion in life. He had a gun with him in the bathroom, and I believe by the way his speech slurs and he makes the impulsive decision to get Samurai back together, that he is drunk for that entire scene and has a drinking problem. It is my opinion that the reason he doesn't reveal any of that to V is because he knows Johnny will hear it and judge him, call him weak, or make insensitive jokes like he does to V when he gives you the quest. The only time we see Kerry be somewhat vulnerable is 1. Over text when talking about the crazed fan, since he probably thinks Johnny can't see those (I believe he can) and 2. In the epilogue when Johnny has been removed from V's head (Kerry says he doesn't want to lose V, and during the credits he tells V he just wants their lives to be less hectic so they can spend more time together).

4)

It took me a couple playthroughs to warm up to Kerry, Panam is probably still my favorite romance, but I think Kerry might be the best romance option for a Skreetkid V. He perfectly embodies the plights of Night City at every income bracket: no matter where you are on the food chain, if you're not at the top, you're getting fucked over. He clearly likes living in comfort while still embracing his rebellious side from his youth. But now, he has the cushion of money and status to save him if things go tits up (when you get a wanted level in Westbrook district, close to North Oak, the officer on the police scanner says "I swear, if its Eurodyne again" suggesting that he is very reckless but hardly ever faces real consequences). Maybe he stays in his gilded cage because he fears facing real hardship on his own, without friends, without a support group, without Johnny. He has a strong sense of pride, though, and would never admit to needing Johnny, even if they were best friends. The way Kerry wants to show Johnny a riff he's been working on after the concert, only to be disappointed when V takes over again, I think it really shows that as much as they disagreed, their friendship held the band together.

5)

I don't remember if Johnny hints at it or I saw someone suggest this on here, but the idea that Kerry only "dates" V because Johnny is in his head is ridiculous to me. The first time he called you to deal with the Us Cracks tour gear, he wanted Johnny. Every time after that, he wanted V. He definitely realizes which of the two is helping him; he can tell them apart. The Johnny that Kerry remembers wouldn't have done a selfless thing in his life, lest risking his pride and reputation as Night City's biggest fuckboy. Whether you really schmooze him up or tell him he's going overboard, Kerry appreciates that you helped him. And I think after the concert, when he hands V his gun, Kerry's body language suggests that he wasn't planning to give the gun to Johnny, he thought about it because V was back in control. V helped get the band back together, V helped decide if Denny or Henry should play the gig, V was the one who brought Johnny to Kerry's house. Johnny won't take over to do it himself despite probably being able to. I only wish you didn't meet him so late in the main story, so that his story could have more time and space to breathe.

[noyasaur]

hii!! i have a few shifting questions im a bit new lol

can you prove shifting is real? im trying to shift but i cant get over the fact that it might not be real and that im wasting my life yk?

do i have to script personalities or appearances to existing characters or will they jut be like they are in the show/game?

how can i be more motivated to shift?

sorry if this doesnt make sense! im a bit bad at english even though its my first language lol

anyways have a great day!!

₊✩‧₊˚౨ৎ˚₊✩‧₊

hihi anon ! ⸜(｡˃ ᵕ ˂ )⸝♡ i hope you're doing well and welcome! i hope your journey is going well so far! and don't worry, your questions made perfect sense! and i also apologise for taking so long to answer your questions, i spent a lot of time trying to formulate the right answers for your questions so i hope i'm able to help 😭 and sorry for the super long answer!

anyway, let's answer your questions~

🪐 CAN YOU PROVE SHIFTING IS REAL?

honestly, this is a tricky one. i want to be very honest with you and i, in no way want to demotivate you at all! right now, the only way of 'proving' shifting (at least, to my knowledge) is through experiencing shifting ourselves, or trusting other shifter's word as proof of reality shifting. regarding scientific research and proof behind reality shifting, to my knowledge, there are no studies that directly investigate reality shifting. i also feel like reality shifting would already be incredibly difficult to prove already on top of the existence of infinite realities/potentials, thus leading to an extension of an infinite amount of different variables.

reality shifting is a very personal experience and one's journey and experience will differ from person to person. unfortunately, in the current state of our reality, reality shifting has not been scientifically proven.. yet.

reality shifting is on of those experiences where you just have to form your own beliefs on it, and trust yourself and others. i like to think of it this way. take our own consciousness for example- we are all conscious right now, correct? we all know we have consciousness. it's a known fact. however, very little is known about our own consciousness, it's origins and it's power. but we all know that we have a consciousness, and we can't prove it to anyone yet but ourselves.

people thought lucid dreaming wasn't real many years ago and now people recognise it as a legitimate practice. same with astral projection, and out of body experiences.

and i know shifting is real because i have experienced parallel reality shifts (some intentional and some unintentional) and mini-shifts myself.

however, not all hope is lost! are there studies and theories on infinite universes, parallel realities and the multiverse? yep! are there studies on consciousness, quantum mechanics and biophotons? yes! there are plenty of studies, theories, and concepts that can be linked together and used to scientifically determine how reality shifting is even possible in the first place. yes, it's one of those things that isn't believed or accepted by the general public, but it exists. we may not know exactly how and we can only theorise, but there are connections that can be made.

now, i completely understand your worries on how reality shifting might not be real. that's totally valid! especially speaking since we've been conditioned out whole lives to think otherwise. that we only have one shot at life and we have to work hard to get our desires, but know we now that's the opposite? we can live an infinite amount of lives and have an infinite amount of parallel realities? we are the creators of our own reality and we have the power to shape what we experience?

however, this is where you come in. i highly recommend that to reassure your worries, find these answers out for yourself. determine what exactly reality shifting is for you and find how it is possible, instead of worrying about what if it's not possible. i'm not a fan of overconsumption of shifting information, however i think it's good to do a deep dive on shifting every now and then to help you open your mind to question what reality shifting is and how it's possible. then, when you've formed your own beliefs on shifting, it's easier to validate your belief and trust in shifting since you've discovered yourself how it's possible and what it is to you! that way, you won't need to worry about any external shaking your beliefs or making you worry about whether shifting is real or not because YOU have personally worked out how it's possible for you.

explore and read about other people's experiences, beliefs and theories on shifting. read scientific papers on concepts relating to shifting such as The Many Worlds Theory, multiverses, and parallel realities. read about the Law of Assumption and consciousness. read shifting success stories! just anything that relates to shifting. and don't worry, at the end of this post, i'll link some helpful resources at the end that have helped me explore deeper into how reality shifting is possible!

and if you're worried about wasting your life away on reality shifting, something that could help is to normalise reality shifting. what i mean by that is see reality shifting as something that is an everyday casual thing (which it is). think of it as a hobby, and not something you don't need to be heavily obsessed over. become content with the fact that, "oh, there's this super cool thing i can do! i can shift realities, i'll try it. oh, i didn't shift, that's okay i'll try again next time. oh, i shifted? cool!"

remember that reality shifting and your desired realities all exist in the now regardless, and they aren't going anywhere. reality shifting is not something super unattainable. i understand where you're worries are coming from and they are 100% valid.

🪐 DO I HAVE TO SCRIPT CHARACTER'S PERSONALITIES OR APPEARANCES, OR WILL THEY JUST BE LIKE HOW THEY ARE IN THE GAME/SHOW?

now, you don't have to script character's entire personalities and appearances (if you don't want to!). you can, but it's also not necessary. it's entirely up to you :)

with scripting, you don't have to script everything down to the tee. you aren't specifically creating any reality out of thin air, more like visually and physically specifying your intentions of what reality you want to shift to/experience. in fact, some people don't even have scripts!

scripting essentially has no power. scripting is just a physical, visual outline of the desired reality where you intend to shift to. to sort out your thoughts and intentions. your subconscious mind already holds everything in that script and whatever else you intend to experience. your subconscious knows what you want and it'll fill in all the gaps for you, so don't stress!

there is no requirement or criteria for how much, or how little you need to script. you can script as little as you like, or as much as you like! thus, if you don't script anything about a character's personality or appearance, but you intend for them to act like how they would in their respective game/show, then they will act how you expect them to. you can even add that in your script if you want as well: "this character will have the same personality/appearance as they do in ___." it's all up to your assumptions and intentions.

however, if you feel like you want to script their appearance or personality, then go for it! do whatever makes you feel best and most comfortable.

🪐 HOW CAN I BE MORE MOTIVATED TO SHIFT?

oh gosh, there are so many different ways to help keep you motivated to shift! i'll try not to ramble :)

honestly, just thinking about the concept of reality shifting and the possibilities can be motivating enough. like how there are infinite realities and infinite possibilities? you can literally experience anything and be anyone you want to be.

you can consume any kind of content relating to your desired reality, watch videos, create pinterest boards (e.g. your outfits in your dr, dr locations, etc.), write letters to people in your desired reality, or think/make a list of things you're excited to experience in your desired reality.

or even just think about your desired reality and get yourself excited! what are you excited to experience? who are you excited to meet? what are you scared about? where do you want to visit? things like that.

however, while i am a big advocate for being able to seek motivation from yourself, it's also good to watch videos and read about other people's shifting experiences to motivate yourself! find other people who have the same/similar desired realities as you, or read shifting stories.

however, it's good to learn how to motivate yourself and not rely on other's so much for validation on shifting, it's existence and motivation. however, it doesn't hurt to consume shifting stories and tips from shifters too, just don't rely too much on it as your main source of validation/motivation.

additionally, it's completely okay to feel demotivated with shifting. it's okay to be drained. and it's also okay to take breaks when you need it. stay at your own pace and don't rush yourself into anything. you don't need to be trying to shift every single day of the year if you don't feel like it. reality shifting isn't going anywhere and your desired realities are always going to exist. so please don't stress and don't feel like you need to rush! you can always shift to your desired reality whenever you want, and however you want!

alright, i hope i answered your questions well and i hope this helped! and i apologise if i rambled a little bit, i just had so much to say (especially for the first question dhjkds).

have an amazing day and good luck on your shifting journey! you got this! ʚɞ ⁺˖

- saturn ♡

🪐 HELPFUL RESOURCES! (these are just some that have helped me!)

REALITYSHIFTING101 - i found this user through amino and their posts have been so, so informative in the in-depth science behind reality shifting and how it's possible. honestly one of the only shifters i've seen who's done such an in-depth analysis on reality shifting and the objective science behind it.

blog: https://realityshifting.medium.com/ amino: https://aminoapps.com/c/desired/page/user/realityshifting101/5w64_MWUYf81pj0qoYwJY00P5JdG5ZxmQHY ULTIMATE RESOURCE: Total Shifting Science (amino): https://aminoapps.com/c/desired/page/blog/ultimate-resource-total-shifting-science/xLkq_62t2u6DWEXn3x55w5rgL5z5vZkKmm

LOVE - an amino user who's been shifting for quite some time and visited many different realities. provided some very interesting information and perspectives on the reality shifting, the multiverse, other realities, and some interesting terminology and concepts.

amino profile: https://aminoapps.com/c/desired/page/user/nill-l/vPMG_2qu2f6eoEGbvBBwwP7kK2Y1qepw32sX

OTHER RESOURCES - here is are some other uncategorised links of good shifting resources!

reddit post (shifting + other shifting related resources): https://www.reddit.com/r/shiftingrealities/comments/ow7n7y/recommended_reliable_resources/ yennieshifts shifting carrd: https://yennieshifts.carrd.co/https://yennieshifts.carrd.co/

[sarasade]

Part of me almost hopes that Viren's story arc will end in a disproportionately cruel way, you know.

I'm just so tired of seeing a character doing one good thing before they die or trying to change before they die and instead of the audience taking that as purposeful ambiguity the discussion will center around if the character was "Redeemed".

But imagine if he was punished so harshly that even the Viren haters would feel bad for him. Now that would be interesting! I've seen some dark speculation around season 5 so I'm looking forward to seeing how the show will contextualise his arc.

I don't understand why "Redemption" is such a popular talking point when centering villains (ok I actually do. I'm looking at you, Zuko).

"Sin and Atonement" and "Redemption" are deeply Christian themes. I don't think those should be a universal frame of reference to all stories.

Yes, yes, this is more of a fandom problem, not a show problem. But if people want to see a bad character harshly punished for their crimes maybe they should get that for once. I don't really mind because I think Viren, while unlikeable, is a sympathetic character already. Of course I feel for a character even if they are "irredeemable". That's what stories are for.

I don't mean it's a completely useless way to look at art but it's just- I don't know- I'm bored? Especially YouTube commentators talk about redemption constantly instead of engaging with the themes that actually are there.

Sometimes villains can't even really make up for everything they have done, just like some people in real life. Viren has committed so many crimes- like how do you even fix that? However it'd still be interesting if he tried to change. That's what I'm here for. Like Viren and Claudia are not just an antagonistic counterforce to our heros but they have a lot of going on as unique characters.

Viren has his saviour complex and values domination over cooperation. Claudia is interesting because she's both the victim and the perpetrator. It's interesting how self-sufficient she is while being deeply emotionally codependent on Viren. She has a ton of agency as a physically (magically?) strong person but not a ton of agency as an independent, emotionally strong individual. Viren and Claudia love each other but it's isolating kind of love where they don't really have anyone else but each other (Terry is really trying to get in there. Like sorry Terry you don't know how fucked up these two are lmao).

No wonder it was so easy to Aaravos take Viren's place as an authority figure in Claudia's life after Viren died. Or at least that's what I took away from Lost Child short and TDP season 4 in general.

I still think about the first information we got outside Viren and Claudia's POV about Aaravos's mirror: Runaan's warning about "A Fate Worse Than Death".

This framing device sounds really important. I've been wondering how it'll play out eventually. Is it something about Viren losing his old life he worked so hard to build, or will he lose Claudia in some metaphorical or literal way? Is it something even more personal?

Personally, I'd love to see Viren live and change as a person. There are plenty of high-fantasy male characters like him who go through that kind of transformation: Guts from Berserk, Geralt of Rivia, Jaime from GoT, Ged the Wizard... You know, characters who realise that the things they value are unsustainable or even harmful to themselves and to people around them and even to the world as a whole. Or they realise that superficial things like status and power are unfulfilling and only serve status quo. There are some parallels to toxic masculinity/ hegemonic masculinity, too.

However, I think it'd be interesting if Viren's story will be a deeply tragic one. Anyway I'm here for this.

[miss0atae]

Random thoughts about Pit Babe the series ep 13:

This is the last episode and what a ride it was. I'm sad we have to say bye to the first Thai BL Omegaverse and every characters from this series. Friday won't be the same.

▪️ Of course, Babe and Charlie are back together. Babe didn't really resented Charlie for making him experienced grief and faking his death. As always, Charlie has always been very lucky with Babe. It must be the power of love. I know I should be disappointed they didn't give them the time to talk about it but it was the last episode and to be honest I'm glad we didn't spend too much time on it. Babe experienced too much sadness and grieves in this series. At least, he didn't have to do it more for Charlie. They are very much in love and happy together and I'm glad for them.

▪️ Babe had his reunion with his father after so many years. He got the chance to express how he felt about this separation. It wasn't my favorite part of the series but it was needed for Babe. I felt like his father appeared too late on the story. It came at the worst possible moment, for me. I wish he was more involved. I can't even understand why he didn't come to Babe when he escaped Tony's place and became a racer. At least, they mended their relationship.

▪️ As for Alan and Jeff, I was really waiting for them to be together in previous episodes and I'm glad in this episode they didn't have to face any hardships. Alan saved his boyfriend and they are happy together. They may be less demonstrative than Charlie and Babe, but what matters is that they are in a loving relationship.

▪️ Winner was still a sore loser. It's funny how his name don't match his personality or actions. He got what he deserves. He was a terrible person. I never had any interest for him. It's not like he never got a chance to be better. Kim tried several time in the series to make him understand that his actions will face consequences and he never listened.

▪️ Tony died! Now, he will never hurt anyone again and all those children are free from his abuse and greed. Kenta is the one who killed him and I think it was the perfect choice. He has been the one who stayed the longest with him and he was brainwashed into believing crumbs of affection (mostly giving him a shelter and not letting him dying alone) was love. He did many bad things in the name of love because he thought he would one day be loved the way he deserved or because he thought he could only do that. This character moved me a lot. I'm glad his free now. It's sad that we didn't get anything after he killed Tony. We don't know what happened to him. Is he taking care of the children? How does he live with the guilt? Is he in contact with Pete?

▪️ Finally, it's time to talk about Way. He wasn't my favorite character but I felt pity for him. In the last two episodes, he tried to redeem himself. He apologizes for his wrongdoing and lies. He actively helped Way and Babe to take down Tony, as well. He also sacrificed his life... and I'm not happy about that. I'm not used to see people dying in BLs. It's mostly the bad guys who are dying because when it's not the case it hurts too much (Yes I'm talking about you History 3: Make Our Days Count. I will never forgive you for the pain!). Way wasn't exactly a good guy but I wanted him to have a real chance to make amends. I wasn't expecting him to die for real. Until the last moment, I thought his death wasn't real and he would appeared. Pete and Way never had a chance to have a relationship. I thought they were supposed to be together. Why?!

The series ended with a positive note because Charlie x Babe, Alan x Jeff and Kim finally being able to compete in a real racing team. However, I'm still feeling a little letdown by what happened to Way, but also about Kenta and Pete in some way. I still consider Pit Babes a really enjoyable series and I had so much fun watching it. It will be a pleasure to watch it again sometimes.

I also hope we'll get to see every actors again in another series, with maybe another pairing because they are all very good and have amazing chemistry. Special mention to Pavel and Nut who know how to be pretty criers. I'm not against any special episode (I know some people don't like them, but I like to stay more in a well-known world with characters I love).

[touchstoneaf]

Like... I know I've said it already. But I just can't get over it. It's really hit me, I think? That we get to have characters who are queer and they don't die. We get to have characters that are old and queer and don't have AIDS; because we've lost so many but now the next generation of queer elders doesn't have that same struggle. We've had some victories. We get to see them reflected on screen. We get to have characters who are baby gays who don't angst about coming out. For whom figuring out themselves does not include a life sentence or even a death sentence. We have people who are just living in Joy on these shows. They get to enjoy Being Themselves, whatever their gender, and whoever and however they love. No one hates them for it. Anybody who does is very clearly the bad guy or not important. I just...

I know that a lot of younger people are like, "Yeah obviously". The same generation who are so beautifully welcoming about any gender expression whatever. For whom being some flavor of gay is as normalized as being mixed race. But for those of us who are older, we are just like... this is the future we thought we would never see. This is the future the righties were scared of when they said that being queer was going to become (Horror!) too mainstream if they let us be legalized. If they let our lives be legalized. Which obviously is a tenuous thing and we have to keep paying attention to it, but still; in the moment? This is miraculous. This is that thing that we always talked about like, "someday maybe we'll see media where gay people don't die. Maybe someday we'll see media where trans people don't automatically die or have miserable fucking lives. Maybe someday we'll feel represented in media". But it was like a pipe dream. We never thought it actually would happen. And we HAVE that now. Just stop and think about that before we go back to work. Take a moment to just bask in the fact that it Exists.

Everything is a Next Step before we go to work to get the next thing fixed, but at least we are standing higher and higher on the staircase now. Our platform has lifted up to where it's visible... and people are not throwing anything at us as much anymore; and the people who do our dinosaurs who will die out eventually. This is proof of it. I'm just I'm so happy and I don't even know what to do with it. I just don't understand how we got here even though I was a part of it... but the representation is so incredibly awesome. I'm happy for every group that's getting to experience this feeling, whether it's because they're Black or Muslim or a Latinx or Native or any time it happens. I want this good feeling to be here for all of our brothers and sisters and neuters and others, and I want it to be forever. And... it scares me because we Have it RN. It's like, finally we have something that they can take away. And I know in real life they're taking away things all the time. So it's like, don't be too happy with the fiction when we still have to fight for the reality. I know there are people still dying out there. It's a weird dichotomy, and it's kind of a brain schism... but I just really think that it's great that we get to celebrate this even for a few minutes before we go back to work.

[imsailorpluto]

So I've finally finished Bloodhounds (+ ahjussi collection)

...and I have no idea where to start and what to say and how to feel.

No, wait, please hear me out.

It was b l o o d y and at parts a very difficult watch, as it has lots of explicit fighting scenes, which look extremely realistic and cruel. So cruel that I had to close my eyes and not watch, I even skipped many & i'm not sorry. However, there are also parts so heartwarming that it makes you forget about all the crimes and gore for a moment. So, it's up to you to decide if it's worth the struggle. Since the violence could be a bit too much for many, let's just say I do and don't recommend this one at the same time. Personally, one of things I greatly enjoyed is the subtle comic tone of Gun-woo's and Woo-jin's interactions with each other and their characters which represent people doing sports professionally so well, the purity of their hearts and lack of malice in everything they do, since they truly do live for the sports. Then there are two absolutely powerful and skillful young women, Hyeong-ju and Da-min, playing such important roles in the entire series, each of them individually contributing so much to the entire plan of bringing the bad guys down and saving what could still be saved. And also, one of the most enjoyable parts were definitely the bonds that came out of these newly formed friendships. Younger acting crew did an amazing job. In comparison to the older and experienced ahjussi crew (I'll get to them in a bit), they've got some serious talent. It must have been a huge undertake for both Woo Do-hwan and Lee Sang-yi to live up to the expectations of the entire team behind this drama. And they did it. They absolutelly slayed.

If you still haven't watched this drama, trust me when I say these two cinnamon rolls will instantly win your heart right at the beginning of the first episode. They're like the most perfect two besties you'd want to be besties with too. And yeah, you'll suffer thru all the horrors just to see them win the biggest battle of their lives. Gosh, every time I tried typing something coherent about them it just ended up being lots of crying shaking throwing up. They're the best, ok? And this is best I can do. ╥﹏╥

And while our marine boys scratched so many itches around this platform, I have to mention the absolute gentlemen that starred in this series and swept me off my feet *deepest sigh ever*

So many great actors took part in Bloodhounds, it's hard to believe my own eyes at times. Whoever was in charge of the casting did a killer job. I couldn't even take the bad guys seriously because they're freakishly handsome. Well, at least not until Kim Myung-gil brutally ended my favourite ahjussi trio damn you ep 6

What started as an obsession over two young marine guys and their bromance ended up as a hole in my heart over downfall of three middle aged criminals men and a will to trade all the money and gold bars for their lives. And more importantly, a huge appreciation for Korean actors over the age of 40.

No, let's be real. They're handsome and talented and great at their job and deserve all the love and support. With that in mind... here's a tiny screenshot dump because it would be a shame not to post it:

And I want to be normal about them and move on in peace but *internal screams* I've already mentioned Lee Hae-young in one of my earlier posts, addressing my obsession with the character he portrays, the sushi restaurant owner Hwang Yang-jung. And I know many people are obsessed with him too. But no one is speaking up. Which is silly. And tbh I really thought there would be more gifs of him and other men but...there's close to none? Can we talk about how fine this man is? How fine this whole ahjussi crew is? Can we... can we just acknowledge they sliced us all in tiniest pieces possible and burned us all till we turned into charcoal? Can we make a mess of kdrama side of tumblr by excessively posting about them? Pretty please?

It's true, I came for the boys, but stayed for these men. I'm not even joking when I say kdrama has me in a chokehold again, but this time for a whole new reason. Dropping everything just to watch series and movies these guys took part in sounds like the best idea at the moment. I even forgot about the new releases I started watching, which makes me laugh at myself, but... it is what it is. At some point, a girl just has to obsess over her favourite ahjussi, and that's okay.