#I did enough to make it more or less cohesive
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ive been genuinely distressed about how bad my adhd has been this past month
#why did it take me 3 hours to make breakfast today. thats so embarrassing#i haev class in less than an hour and its killing me im so frustrated. thats 2 hours where i cant do anything#i am on the verge of just breaking down about it tbh because it never feels like i have enough time or energy#and it bothers me how much stimulation my brain needs constantly to the point where i cannot step away from socials cause my brain 'itches'#and when i do step away from socials my attention is so scattered that i forget what im doing#or it feels like there's zero cohesion to the step by step actions i need to take to finish a task#i hate adhd more than anything!! more than my trauma!! more than my physical issues!!#i normally leave these types of vents on my locked twitter but im feeling the tumblr tag complaints format lately lol#im just. so mad about how a lot of thinigs ive wanted to do in my life have been so so delayed because of my scattering interests -#-or that I really only have 4 hours in my day not occupied by me getting heavily distracted by something#fucking. oc projects from since i was 16 not coming into fruition ever. that is so . frustrating.
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I Had To Come Back
Agatha Harkness x Reader
Word count: 2.1k
Notes: 1st person, Agnes, a bit of angst, happy ending, part 2 to I Can't Do This Anymore
Summary: After you left Agatha in the middle of her fight with Wanda, you thought you'd be able to move on with your life. However, it was a foolish thought considering how deeply you felt for Agatha. So eventually you find yourself back in Westview looking for her.
An: Been a long time since I've written in 1st person, but wanted to keep it cohesive with part 1. I had to follow up after getting a comment from @dandelions4us only 3 years later but hope you enjoy part 2.
Part 1 | Masterlist
I didn’t think moving on would be simple, but I hoped it would be possible. However, without Agatha by my side life had become incredibly dull. It wasn’t a lack of excitement, but a lack of someone to share it with. After all those centuries together, I didn’t want to share it with anyone except her.
When I left her that day, I knew it had to be done. I did everything for her, but I would never be enough. I never wanted to leave, but a person can only come in second place for so long. Second fiddle to a hunger that would never be satiated.
I thought eventually I’d miss her less. That I would be able to move on from what we had, but that was entirely foolish. A woman as enigmatic as Agatha would always leave a mark on my soul.
I fought the feeling for years, unwilling to give in without trying, but fuck, I missed her. I saw her in everything I did. I could hear her calling to me, reaching for me. It was like she put a spell on me, which she very well could’ve.
I knew the truth, the feeling was all mine, no magic necessary. I still loved her, I needed to find her. I don’t know if she’d take me back, if she could forgive me for leaving, but I just needed to see her.
It was surprise to find her still in Westview. The town looked the same from the outside, but I could sense a difference from the people within. I could feel their eyes on me as I walked through the town.
I hated the way I felt their eyes linger on me. An outsider, or maybe they recognized me, either way it made me uncomfortable.
Going up to the house I used to live in was more challenging than I thought it would be. As I walked towards the house, I felt my heart rate picking up.
Maybe if I kept walking the block she'd eventually make an appearance. I didn't have to knock, I wouldn't have to face her. I just needed to know that she was ok, that would satisfy whatever I was feeling. At least that's what I started telling myself.
“Are you here for her?”
I whipped around at the sound of a voice. It was Herb. It was strange seeing him outside of the illusion Wanda casted, it was safe to assume his name wasn’t even Herb.
“I’m just visiting it won’t be long. Not trying to cause any trouble,” I leveled with him.
“Good luck, she’s been a bit off of her rocker since the whole Wanda thing,” he mentions.
That set off some alarms in my mind, “How so?”
“Sharon said Agnes is really into rom-coms this week. It changes pretty often, but I think rom-coms will be better than last week’s war movie theme.”
I tilt my head to the side, “What do you mean?”
“Let’s just say she created an… immersive experience for herself.”
I still don’t quite get what he means, but the only way to find out is if I check for myself. With a few small words of self-encouragement and a few deep breaths, I head over to the house.
I wait on the porch after ringing the doorbell. It doesn’t take long before the door opens. Agatha opens the door, eyes wide as they land on me.
“It’s you,” she whispers to herself.
“It is,” I say shuffling in my spot.
“Why are you here? You think after all this time I’d let you just waltz back into my life? You left me,” she doesn’t make eye contact with me.
My stare hits the ground, “Please, can we just talk. I know I left, but can you really blame me. I didn’t know if you’d ever care about me like I cared about you.”
She ushers me into the house. Her hands on my wrist cold like they usually were. I let her pull me into the kitchen.
“I can’t believe you’re back here after all these years. What brings you to town?”
My eyebrows crease, “I’m only here for you Ags.”
She shakes her head and laughs about, “You’re silly, be honest why come home now?”
I’m even more confused, “Home?”
She pushes your shoulder lightly, “Yes, goofball, home. Westview, the town we grew up in together.”
Worry begins to fill my body, as pieces begin to form together in my mind, “Ag- Agnes?”
“Yes, hun?”
I can’t help, but reach out and grab her face in my hands.
“Y/n what are you-”
I sush her as I look into her eyes. I search for Agatha behind her eyes, and begin to panic when I can’t see her. I can’t help as tears begin to fall.
“What did she do?”
I can tell Agnes is confused, but she uses one of her hands to hold mine in place.
“What’s wrong doll?”
Instantly I lose my last bit of composure, “I’m sorry I’m sorry, I’m sorry. Forgive me, my love… if I would’ve- I shouldn’t have left, I’m sorry.”
Agnes wraps her arms around me. It’s familiar, but different. She holds me up, and swipes at my tears.
“I have you,” she rubs soothing circles on my back but it only makes me cry harder.
My mind is racing. How was I going to fix this? Magic done by the Scarlet Witch herself. If anything I’d need Agatha to guide me more now than ever. Yet the woman was out of my reach. I hoped she was somewhere buried underneath Agnes, but I had no way of knowing.
I pull away to look at her, “I love you.”
A part of her melts away, “You’re a mess, you don’t mean that.”
“I do Ag-Agnes, I mean it more than you can fathom. I love you more than anything and leaving you… it was my greatest mistake. I’ll never forgive myself for it. I won’t ask you to forgive me, but allow me to make it up to you.”
Agnes rests her forehead against mine. My breath hitches as she looks into my eyes. Her breathing slows and she searches my features. It feels like an eternity passes, but eventually she puts her lips against mine.
I freeze and she almost breaks the kiss, but my arms encircle her. I keep her close allowing myself to indulge in this moment, I don’t deserve.
“I’m just happy you came back,” she speaks.
It almost sounds like Agatha, but you know better. It breaks your heart, but you’re devout. You’re going to fix this, you’re going to bring her back.
Agnes didn't have any push back when I asked to stay with her. She let me in and I got a glimpse into what the neighbors were saying about her… intense interests. I found a way to mitigate them, keeping her somewhere in the nosy neighbor medium.
I didn’t sleep much, spending most of my time in Agatha’s hidden space in the house. There were traces of her everywhere, I could practically feel her. The Darkhold was nowhere to be found, but I did come across Agatha’s old notebooks. They were filled with knowledge themselves.
I was hoping to find anything about breaking the spell she was under. She had books filled with her messy handwriting, nearly impossible for anyone else to decipher. It was different for me, I had been with her when she filled them, I could recall sitting watching her write, sometimes for hours at a time. She was always so dedicated to the craft.
It took a little over 7 months, before I found something useful; an incantation. It seemed too easy, like there should’ve been a catch to it. Yet it was my only source of chance.
“Agnes, I want to try something with you. It’s a little unconventional, but I need you to trust me,” I say, hoping she would agree.
She places a kiss on my cheek, “We’re past all the dramatics hun, you know I trust you.”
I nod, “Ok, you’re going to sit here, and I’m going to say some Latin. That's it.”
“Sound easy enough, sweetheart."
I begin to say the incantation while looking into Agnes’s eyes. I can see her shifting in her seat slightly uncomfortable. I can’t tell if the walls of the house are shaking or if it just feels that way.
“Stop,” she mumbled under her breath, but I don’t.
I keep going, and eventually she stands. She starts peeling off her clothes and I almost advert my eyes, until I see her changing. The different versions of her begin to peel back like layers.
When it’s over she’s naked in the living room. I feel like the wind has been knocked out of me. I take a knee, unable to fully stand. It feels like all my power has been removed from my body.
“Agatha,” I call out to her, breathlessly. Though it takes all my effort, I lift my head.
“So, you came crawling back.”
It was her, the real her. I could tell by the harsh tone of her voice.
“Welcome back sweetheart,” I can’t help the laugh that escapes me.
“How long has it been?”
I attempt to stand, but end up falling over, “Fuck.”
Agatha walks over, picking me up and easily placing me on the couch, “Now answer my question.”
“I came about 7 months ago. It’s been nearly 3 years since I left,” I look at her.
It’s surreal, seeing Agatha and not Agnes.
“3 years, I’ve been trapped for 3 years,” she says to herself in disbelief.
“Why'd you come back?”
She meets my eyes and refuse to look away, “For you, Agatha. When I found you, or should I say when I found Agnes, I freaked out. The Darkhold is gone, I did my best. I’m sorry, I shouldn’t have-”
“Don’t apologize. You did the right thing, I mean what good would it me if we were both trapped.”
“What if I didn’t come back?”
Agatha sighs, “Then I would’ve gotten what I deserved.”
I grab her hand, “No one deserves anything like that.”
She snatches her hand out of mine, “Oh please, I bet you enjoyed the time with Agnes.”
I shake my head at her jealousy. It’s a testing move, but I hook my finger under her chin, forcing her to look at me, “Agnes was sweet, but she is not the woman I love.”
“The woman you left,” Agatha’s vulnerability shines through.
“The woman I keep coming back to, no matter how much it might hurt me,” I remind her tentatively.
“You deserve more,” she sighs closing her eyes.
I lean in, “I just want you.”
I’m the one who presses my lips to her’s. She doesn’t deny me, caving into her desires. I’m putting everything that I have to give into this kiss. The passion is driving me and Agatha is meeting me every step of the way.
It’s not until my hand grazes against her bare stomach that we both pause, realizing she’s still naked.
“I want you too, more than all of this,” Agatha stares deeply into my eyes.
“You don’t have to choose, it was foolish of me to ask.”
Now it’s Agatha grabbing your hands, “It wasn't, it was reasonable. I had my priorities out of order, you are the most important thing in my life and I'm not willing to lose you again. I love you.”
I kiss the back of her hand, “I love you too.”
The moment we shared was sweet, but it soon was filled with defeat as I noticed my body still felt weak. I could tell something was wrong, I tried to use my magic, but nothing happened.
Agatha uses her powers to dress and they work just fine, yet I could see a remorseful look take over her features.
“Y/n, I think…”
I don’t care to hear the rest, “It’s alright, they always suited you better than me anyway.”
Agatha shakes her, “We can find a way, I can give them back-”
“Don’t be so dramatic, Aggie. I’m fine, it’ll take a little getting used to, but it’s not going to kill me,” I stand with much effort.
I could tell by the look in her eye, that she didn’t believe me, “I stole your powers.”
I roll my eyes, “I gave them to you, and I’d do it again, as long as you’re here with me, I couldn’t care less.”
“Are you sure?”
I nod, “Yes, I’m sure. Now let’s get out of this town, it’s beyond dreadful.”
She takes my hand in hers a mischievous smile on her face, “Anywhere with you, my dear.”
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Hello!!!! It's been a while since rot in paradise came out but was there a canon reason everybody went in the ocean at the end? I know it was more metaphorical but I was still confused
Typically I don't like giving an outright "this is what the game was about" with projects I work on because I feel it can take away from the player experience and leaves less room for speculation and theorizing. Right after the game came out and for the month during the game jam I wanted people to be able to have their own take away of the game and didn't want to interject or place the idea that there was a "right" way to view it, especially since its a game with a looser plot and I didn't want it to cloud players individual interpretations of it.
A lot of people mentioned feeling like the story hit hard and felt personal to them which tells me that the themes and emotions we were going for were felt by some players but even more players were left confused or frustrated by the ambiguity. I understand that stories with more subjectivity that lean more into surreal visuals and open endings will land for less people but it still falls on the creator to tactfully deliver that message and I agree with a lot of the criticism that Rot in Paradise kinda fell flat of that.
From what Ive seen a lot of people felt like RIP had potential but it didn't follow through or feel cohesive enough. The main story was meant to touch on the themes and feeling of losing loved ones to dangerous ideologies and addiction. There wasn't a set in stone plot reason that everyone on the island falls victim to it, there wasn't a secret wrong thing that all of them did that June didn't- which was intentional to portray it as some people being susceptible to things you wouldn't think as reasonable but also potentially muddled the themes.
It was also meant to work as grounds for making the player feel confused and disoriented and wonder what they could have done differently to save them. There isn't anything that it seems the others interact with that June doesn't, she's able to partake in the same activities everyone else does without it altering her the way it alters them. It's a matter of forces outside her control effecting them more than it effects her and whether she wants to succumb to something she's capable of escaping to stay with her friends or leave them behind as they get worse and worse is up to her.
There were a lot of elements I think that worked against the favor of having that theme work. Even with a lot of the people who did notice and remark upon the message, it felt like the general vibe was "oh heyyy this part kinda sorta reminded me of this theme but idk if that was intentional" rather than a direct "this is what the theme of the game is". Overall while opinions on RIP were more mixed than previous entires I'm excited to tackle stories with more subtextual elements more in depth in the future outside of game jams. Rot in Paradise is probably one of less narratively successful games I've worked on in my opinion but still got me really excited about exploring that space and improving on stories like it in future projects and I'm still really proud of working on it
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DRDT CH2 PT2: Full Analysis
While CH2 Part 2 was releasing, I chose to make liveblog-reaction posts to the episodes to record my immediate thoughts for posterity, but that meant that actual, coherent analysis was pushed to the side in favor of me freaking out over… everything going on. But goddamn; even accounting for recency bias, this might just be my favorite trial of any DR style killing game I’ve ever seen (though admittedly I'm working with a small sample size). So I felt it merited a bit more… cohesive analysis. That’s what this post is!
WARNING: This post is around 28k words long. Do not click "read more" unless you're ready for lag, and make sure to take breaks while reading if needed.
Spoilers for DRDT CH2. CW: Murder, suicide, hanging, execution, gun violence, self-harm, blood, stabbing (fork).
(Btw you can find my immediate reactions in my post masterlist. Not linking each individually here because I hit Tumblr's 100 link limit. I know, I know)
How do I even structure this? I guess I’ll start with the actual case itself, then go character by character because WOW.
Also, I hope you forgive that I can't put images for every referenced piece of dialogue (Tumblr 30 image limit when I catch you...), so I'll save them for when they're necessary and instead add links to the referenced quote in the episode.
The Case
Although I’ve made many posts talking about this damn thing, I don’t think I’ve ever expressed just how cool the actual mystery is. The evidence is all there from the beginning bar the note and alibis, introduced in a way that doesn’t make the method obvious, but that still allowed the audience to figure out the main aspects without much issue. Everything follows logically, and while there’s a few things that ended up being less important than some expected (that glove will haunt the fandom forever I fear), everything got explained in what I consider to be a pretty satisfactory way. It wasn’t obscenely complex or crazy, but I consider the method to be just right for a chapter 2 case.
Oh and the Nico case was cool too, even if half the shit in that crime scene will haunt me forever. Why were there two weights off to the side-? not important.
If there’s one critique I can give the actual discussion of the case (and this is legitimately the only real critique I have of this entire set of episodes), I’d argue that the way the method is presented is… weird. Like, I get why, DRDT is clearly more focused on character conflict than the murder mystery aspect, but there were still a lot of moments where it felt like Teruko’s thought process wasn’t explored properly, to the point where it sometimes felt like Teruko just… magically got the answers whispered to her by the ghost of Kirigiri.
As an example, take the ball of clothes over the rafters. Ace mentions the issue of getting the rope up there, and Teruko immediately jumps to the right conclusion of the seemingly completely unrelated ball of clothes.
To illustrate why this feels weird, let me tell you what my thought process was when I came up with the theory (because again, the evidence was laid out well enough that I did manage to call this, even if I got a fair bit of other stuff wrong). Obviously it's not the only admissible thought process, but it's a good example to see how I feel the presentation of evidence should have been handled.
We know Arei was hung from high up (Veronika’s account) -> We can confirm something happened on the rafters because the lights are broken -> Brainstorming how that could have happened (screening room connection? Secret ladder?) -> Perhaps something was thrown up there with the rope attached -> Ball of clothes.
In the series, however, we get:
Arei was probably hung from high (Veronika’s account) -> Discussion continues, literally the entirety of Nico's situation gets explained -> Ace brings up the issue for the first time like three years later-> Teruko immediately points to the ball of clothes -> The lights are only mentioned after.
You get what I'm saying? The progression doesn't feel as natural, because we immediately jump to the conclusion without discussing the evidence that leads to it. This also happens with things like the pulley method, where Teruko explains everything before bringing up the tape on the spinny thing, which is the only thing implicating said spinny thing in the method. And I feel like the reason quite a few people felt there should be more to the case is because the evidence wasn't presented properly.
That said, this is an extremely minor point. Again, DRDT is more focused on character drama than murder mystery, so I don’t particularly mind if I can nitpick a few things in the writing surrounding the mystery solving.
And oh boy, was there character drama this trial! Thank the gods I’m only covering Part 2, I think I’d die if I tried to talk about the entire trial as a whole.
Character Analysis
I’ll go in order, starting with the characters I feel had the least prominence, and making my way to the ones who really stole the spotlight this part.
Mai Akasaki
No content lol. Though this is probably a good time to mention that, in this post, I'll mostly ignore theorizing related stuff and focus more on straight up character analysis, even if the two sometimes intersect. Game Theory-like speculation will mostly be saved for dedicated posts :p
Xander Matthews
He got mentioned, but he’ll come up in David’s section so. Skipping him.
Min Jeung
Well, there were a few references. Such as:


Min: I'll fix your mistake! - Teruko: But I'll fix my mistake.
Something something, David-Xander vs Teruko-Min parallels, etc. And also:
I like the visual symbolism that the images are effectively flipped (Teruko on the left-Teruko on the right and hugger on the right-hugger on the left, Teruko facing the camera-Teruko facing away), because the situations are inverted. In Min’s, the culprit hugs Teruko after she dooms them to their fate, and in Eden’s, a non-culprit hugs Teruko as she starts defending them. I did notice on first watch, but didn’t say anything because at the time it was still possible Eden was the culprit. Alas, the symbolism is consistent!
There's only one last thing to mention about Min. One tiny, itsy bitsy detail that probably has no lore relevance whatsoever.
MonoTV [2-16]: Now loading the default XF-Ture Tech personality drivers.
Min [BE1]: But one day, we were visited by the founder of that big company, XF-Ture Tech. He told my parents that he would sponsor me and pay for all of our expenses.
Oh yeah, MonoTV was created by the same company that sponsored Min as the Ultimate Student! Hey, what the fuck?
We'll get into it more later in the (I cannot believe I'm about to say this) MonoTV section (or rather the post linked to in said section), but MonoTV seems to have been created specifically for the killing game. This means there's a very real chance XF-Ture Tech is behind all this. That paints the sponsorship of Min as a strikingly shady thing (well, more than it already was), to the point there's a very real chance Min is straight up connected to the origins of the killing game, if not outright the mastermind. We'll have to see how this plays out later, since right now, we're still lacking a lot of critical context.
But hey! We might get more Min content in the future! I, for one, am very, very excited.
Charles Cuevas
Not too much character insight on this one, but he got a couple of cool moments. As always, funny, bounces well off Whit, very helpful in the trial, weirdly knowledgeable about jockeying (or maybe he just, like, thought about it, it’s not like most of what he says aren’t conclusions anyone could arrive at by simply knowing what horse racing is), and-
Charles [2-15]: I'm the only person reasonable enough to make that sort of judgement call. Everyone else who does so is being biased to the point of idiocy.
-it’s nice to see his pridefulness didn’t just go away after CH1! He’s neat :)
J Rosales/Moreno
Half of her dialogue this part is just her talking about how murder is bad. It’s fine, it’s just odd.
I guess if you want someone to point out murder’s bad, J’s one of the only real options, isn’t she? You need a confrontational character (so no Eden or Rose or Whit), who wouldn’t be a hypocrite (this eliminates Nico, Ace and Levi, arguably Hu since she defends Nico), who is mentally stable enough for their opinion to be held in high regard (this eliminates Arturo, David and Veronika, alongside half the cast), who is willing to derail the trial to talk morality (eliminating Charles and arguably Teruko), and who isn’t dead or missing (like Xander, Arei, Mai or Min).
Wait that’s the whole cast. Holy shit she actually is the only one that makes sense to be murder bashing how is this even possible.
…Regardless, you could still argue that you don’t need someone constantly pointing out murder’s bad, meaning there could very much be a deeper reason J is being so vocal about it. Apart from possibly being setup for her to be primary support moving forward, I personally think all this points to her just having a very strong set of beliefs regarding most things, which we could already kinda infer anyways.
Or maybe Mariabella killed a guy. Yeah, sure. Why not?
Veronika Grebenshchikoba
There were certainly a couple interesting Vero moments here, which is always fun. It was finally confirmed her secret was, as most theorized, the “took on your talent to distract yourself from the need to hurt yourself for fun” one. I mean, I feel like everyone called that one from the moment the curtain fell away from the screen with the motive secrets, but you get the idea.
We also learnt she had a pact with Hu regarding their secrets, which I would love to learn the details of, and definitely makes me interested in where these Recap Foils are going, as well as-
Veronika [2-13]: After all, my own so-called secret isn't even the worst thing I've done. Isn't that so utterly disappointing of this motive?
… whatever the hell that means. Why’s she gotta be so ominous? (I love this about her).
The last notable scenes to point out are all the scenes where she's... Veronika, and I wouldn't have it any other way. Her psychoanalysis of Levi will probably wait for when I talk about him, and her help during the time Teruko was figuring out the murder method is appreciated, but specifically about her:
Veronika [2-15]: Swallow your pride and say that you're too weak, too stupid, and too incompetent to perform this murder. Accept the fact that no one thinks highly of you. Or defend your dignity at the risk of admitting that you're perfectly capable of committing this murder and continue to be our number one suspect.
I just think the voice acting in this line in particular is very auditorily pleasant so I wanted to point it out :D
But Episode 15 actually has a much more insidious Vero moment, which I felt was way more noteworthy. After Ace admits to the crime, he goes on his whole speech, which includes directly calling out Veronika's words as part of the reasoning why he killed, there comes a point when Ace calls himself a "piece of shit", and no one denies it. When that happens, Veronika smiles.
Veronika: Oh my. How tragic.
She is such an awful person, just such a piece of garbage. I adore her.
Anyways, my appreciation of actually horrible women aside, we need to discuss the biggest question she leaves us. And that is "hey, why is her reaction to Ace's execution and Levi's almost death so different from her reaction to Min's death?"
Veronika [about Min, 1-12]: Min died in such a cruel manner...
Veronika [about Levi, 2-16]: If Levi dies because of this... Kehehe... I'm sure I'll miss him, but... This is quite a way to go. I can't say I wasn't entertained.
Veronika [about Ace, 2-16]: Aha... Ahaha... How incredible...
So, after considering it for a little bit, I think we're lacking a little bit too much critical information on Veronika to confidently state why the hell her reaction is so different, but I can come up with a few different possible answers. I'll list them in ascending order of likeliness in my opinion, and we'll see just how wrong I am once we get more insight on her!
+Veronika cares more about Levi than Ace, and more about Min than Levi. This is because she just said Ace's execution was "incredible," while she mentions she'll miss Levi, and obviously looks genuinely distressed over Min. I see no actual reason to believe this, though, because I... don't think Vero and Min ever even interacted beyond the trial? So unless we're pulling some very strange Veromin agenda out of nowhere (or Veronika is Mai Akasaki), this doesn't work imo.
+Veronika was acting in T1, but doesn't care by the start of T2. Possible, and it's true that Vero was more self-conscious about freaking people out in CH1, but I'm not sure if there's enough evidence to truly say she was only pretending to be distressed by Min's death.
+Veronika's reactions are based on the executions (and execution attempt) themselves, not anything else. This is consistent with her specifically reacting to the way Min died ("Min died in such a cruel manner") rather than the death itself. She specifically says she'd be entertained by Levi's death, and is clearly entertained by Ace's. So, I guess she just finds Min's execution particularly cruel/boring? Does she... have wolf related trauma? Test related trauma? I don't know, but I think this fits decently well, so.
+Veronika's slowly getting worse. A logical conclusion from the fact that she reacted one way in T1, and another literally four days later. Certainly possible given her analysis of people shattering in the killing game, so for now this is the interpretation I'm going with.
Whit Young
.... Sigh. You're not even that important to this part, how are you still gonna require so many words of analysis?
Alright, let's start with the pretty infamous scene where he talks about drop hanging. I do want to make one thing clear; just because Whit talks for a pretty long time about drop hanging, it doesn’t mean he actually says anything particularly groundbreaking. Like, everything he says is very logically sound, which means they’re conclusions anyone could have drawn.
Like me. Because even though I don’t think I wrote them down explicitly, I did more or less arrive at the same conclusions as he did, and I don’t have any experience with drop hanging. I’m clarifying this because I’m on enough lists as it is just by firefoxing shit like “can turpentine knock you out” and “how long do people pass out after being strangled” I do not need any more allegations on my person!
That said, I am also not a fictional character who exists within a story which follows narrative conventions (as far as you know, anyways). Whit is. And it’d be silly to instantly dismiss that the dev specifically chose Whit, a character who is otherwise not the most helpful in trials, to be the one to deliver this explanation, and without any interruptions no less. Even Teruko and Charles usually have one character or another finishing their explanations, like Levi when Teruko explained the slingshot or… Levi when Charles talked about jockeying. Huh, Levi kinda goated?
Thus, because the dev specifically chose Whit to give this explanation with no interruptions, we can infer that he may have a special connection to drop hanging. Given what we know, I find it likeliest that his mother committed suicide by hanging. At present, I don’t find much evidence that he would have attempted himself, though…
You know how Whit dyes his hair to look like his mom’s? And how Color Theory in LGI gives him (among other stuff) “degraded copy”, likely in reference to this? If his mother killed herself via hanging, do you think he would try to replicate that, too?
Food for thought. Again, not much reason to believe it yet.
Other than that, there are... the allegations. The part started strong with MonoTV stating it let slide a rule violation because it was funny (especially weird given what we learn in 2-16, but Whit's not the only rulebreaker in the cast so we're chilling). And then, 2-16 happened.
Whit [seven seconds before Teruko's execution, 2-16]: Charles, stop talking and cover your eyes! [...] Whit [post Levi shooting]: Ah, crap. The smell of blood is really strong. Even though I told [Charles] not to look, he still...
And, of course.
Whit: ...
Of course.
Alright, so let me start by the elephant in the room. The hand behind the back. The moment the cast learns the elevator doors won't open, we see Whit with his left hand behind his back. Many have assumed this means, understandably in my opinion, that he may be holding a remote control of some kind to close the elevator. In other words, Whit's the mastermind. But, while I consider him one of if not the best mastermind guess in the market, I don't think this is good evidence of it.
You see, there's no reason to believe such a remote would be required. By all accounts, it should be MonoTV's AI who is keeping the elevator closed with no need for outside interference, regardless of who the MM is. There is simply no reason to believe that any MM would have an "elevator manual stop" or even an universal remote (apart from J!MM for obvious reasons), because it should be MonoTV who is running this stuff.
As an aside, I will point out that, per the CH1 QnA, every character is right-handed apart from Teruko (lefty) and Arei (ambidextrous). You could use this to argue Whit shouldn't be doing anything with his left (the hand behind his back), but that's not good reasoning, as the sprite might just be drawn that way for aesthetic reasons and you're supposed to ignore handedness. Eden also used her left to rip out Xander's eye, apparently. I haven't seen anyone bring it up, but I have made this mistake before with a certain bat swinging Milgram prisoner, so I'm saying this to avoid others making the same mistake.
That clarified, however, the first point is still valid. Although I consider it perfectly possible, at present I do not believe Whit is holding anything behind his back.
Why does he pose like that, then? To answer that, perhaps it'd be better to answer what the deal with his other behavior is.
Because it's weird, right? Whit focuses on Charles even when everyone else, Charles included, are fretting over Teruko and Levi. And then, despite being able to brush off things like Levi's secret confession and Min's execution with nothing but a "that's wack," joking about rewatching said execution, etc., somehow the elevator being closed is what finally gets him to bring out the breakdown sprite?
Well, yes. And this shouldn't be all that surprising, imo. Because everything about Whit's reaction is perfectly in line with his previous behavior. Not to say it isn't weird (it is), just that it's weird in the way Whit's always been weird, and not in any new special way.
This is because every part of this reaction comes from the already established way Whit deals with tragedy; he avoids it, and moves on. You'll immediately think of Whit's mom when I say that, the way he omits her death whenever he speaks of her to the point he genuinely forgets that's a thing until a few seconds after the secret Rose received was brought into the conversation, but there's more examples that are actually closer to this situation. In particular, I want to direct your attention to the investigations in both chapters so far.
For the first trial, Whit spends literal hours hanging out with Charles while the Chemist has a breakdown, to the point he almost didn't investigate at all. This is excusable, of course; he was helping someone in need, and the culprit was thought to be obvious enough that investigation wouldn't be necessary.
The second, though, is perhaps a bit stranger. First, Whit doesn't look closely at Arei's body because he was busy comforting Eden, apparently. Alright, fine. But, hey, how did he try to comfort Eden after everyone started to filter in?
Whit [2-8]: There, there. Pat pat. Do you want to sit down somewhere else?
He immediately wants to leave the room. But, he's still trying to help Eden; maybe he's projecting? Because he'd want to leave the room if a loved one died, so he's asking Eden if she wants to do it?
Except, he does leave the room. He doesn't have any other lines in the playground past this point, and then he starts investigating with Charles, the one dude he knows won't enter the scene of the crime.
And you know when he splits off from Charles?
Whit [2-8]: If you're worried about Rose tampering with evidence, then all you need is another witness to watch over her, right? I can do that, since I'm here. I mean, unless Charles needs me for something.
My guy will genuinely do anything except investigate the playground.
And that's where the pattern starts to be noticeable. Whenever something bad happens, Whit finds any excuse he can to distance himself from the situation. And to be clear, they're usually good excuses; it makes sense for Whit to do all this in a vacuum, it's just odd that he constantly finds them. Other examples include him bringing up alibis when the note first comes up, and then, when he's pressed about it:
Whit [2-9]: Eden has [the note]. Ask her.
He doesn't even... want to have the responsibility of the note? Admittedly that could be for other reasons, but still.
With this pattern of avoidance in mind, the things he says in 2-16 are perfectly explainable. Instead of focusing on Teruko's incoming execution or Levi's injuries, he chooses to focus on Charles, because that's easier for him. He's once again finding an excuse to look away from tragedy.
By the way, I don't want to make it sound like Whit doesn't care about Charles as anything but an excuse to get out of thinking of bad stuff. It's pretty clear a big part of why Whit does the shit he does is that he genuinely cares about Charles as a friend (crush?). Whit probably does want to help Charles just for the sake of helping him, but it does come with the benefit of helping Whit avoid stuff he doesn't want to think about.
This whole avoidance thing is also why Whit is so perturbed by the elevator. When Levi gets shot, Whit probably hopes that they get to leave the trial room quickly to take care of him, at which point Whit can just avoid the situation entirely by just sticking to Charles like usual. But they can't. The elevator is shut. Not only does Whit probably realize that means they have to watch the execution, but it also means Whit is not able to get out of the room where a guy is actively dying, and sticking to Charles only lets him ignore the situation so much.
Why does he have his hand behind his back? Well, this is gonna sound like I'm on anti-Whit!MM copium (I swear I like the theory well enough), but I think he's simply balling up his fist out of stress. It's just that Whit "I don't want to talk about any problems ever and don't want anyone to ever know when I'm suffering" Young is instinctively hiding it so no one sees any sign that he might not be okay.
Does that make sense? Barely? Well, it's not like "emergency elevator shutdown button" is particularly more believable in my eyes, so that's the answer I'm going with for now.
Anyways. Jesus Christ Whit you're barely even relevant to this part how the fuck did you still force me to write so much about you.
Arturo Giles
I have less to write about Arturo than Vero and Whit because he's a bit more straightforward, but I'm still putting him here because he was more directly important this part. Speaking of, what notable things did Arturo do these episodes? Ah, right.
Arturo [2-12]: You shut your whore mouth!
"I thought you were only doing necessary imag-" This one's necessary shut
I'm using this to talk about the big speech about his talent, that he started studying plastic surgery when he was 12 and that it's impressive he's a plastic surgeon this early in his life. Props to dev for addressing this, I know some people are irked when characters are in the medical field from way too early in life without good justification like this. The fact he started so young also adds to the theory that Arturo's home life sucked, because it'd be really odd for a 12 year old to already be planning to leave otherwise.
The way the cast keeps insulting his skill, even though as he's said several times over the course of the series, the shit they expect him to do is way beyond his area of expertise, is a good way to build up to the way the cast also dismisses Ace's intelligence and skills later.
Other than that, there was one more moment when Arturo took part of the spotlight. When Levi gets shot, despite everything that happened earlier, everyone still turns to Arturo to save the Stylist. This leads to one of the most human moments Arturo's given us since 2-10:
Arturo [post Levi shooting, 2-16]: I--! I'm not that kind of surgeon! I've told you, over and over, I have no experience with saving lives! Something like this! There's no way I can do it--
Apart from the stellar voice acting that cannot be pointed out enough times, Arturo's doubt over Levi's condition is certainly a good setup for CH3, I'm really interested in how he'll handle this. Especially because...
Do you think he'd think of Felicity, looking at Levi like that? Because just like Arturo ignored Felicity's feelings (to an extent) in pursuit of his dream, he also neglected to study the more standard medical knowledge in favor of becoming a plastic surgeon faster, and now he needs that standard medical knowledge to save Levi's life. Food for thought.
Arturo is definitely an interesting character to watch out for moving forward, he's certainly in for a very curious CH3. Final note:
Arturo [to Levi, 2-13]: How could you simply *forget* that you murdered your own family member?
Get it because the death of Felicity haunts him even though he didn't kill her himself- Man I love recap foils.
MonoTV
I cannot fucking believe that this hunk of metal is getting its own section, but it is. 2-16 what an episode you are.
Thankfully, I've already expressed most of my thoughts about this damn thing in this linked post, so I'll just refer you to that one instead of writing it all again. As a summary, there's quite a few lore implications to the fact that we now have a clearly stated purpose for MonoTV, a goal for the killing game, a connection to XF-Ture Tech (because MonoTV seems to have been specifically created for the game), and I'm really wondering why the hell the default XF personality seems to care so much about Teruko and where that could lead to in the future. Also, very curious where the theme of fate will be taken with it, as well as where dev is planning to take the fact that it seems to have feelings of grief and pain and maybe even cares about Teruko??? Or has compassion in general??? What is wrong with this dog-
Rose Lacroix
Btw I greatly appreciate everyone who colors her name rainbow, I see you and you're valid for it. I need to color code my highlighting though, and if I have to do rainbow for every word I highlight I will actually die. Also I would need to put in an epilepsy warning in my posts lol
Rose got a few nice lines, but when it comes to her, there's one big moment that's really on everyone's mind.
Rose [2-14]: Has it really gotten this bad? I think my brain is falling apart. I can't even recall what day it was when that happened. Levi: You can't remember? I was under the impression that your memory was the best out of everyone here. Rose: It's true that I remember everything I see. But that means that most of my memories are meaningless junk. The kind of thing a normal person would forget without a second thought. But I can't forget. My brain won't work the way I want it to. I can't draw associations so easily. Everything reminds me of something meaningless, and I get distracted. And the worst thing is that I remember it all in perfect detail. Xander's body. Min's execution. I can't even look at Teruko without seeing blood. I know I'm supposed to remember everything. I know I'm supposed to be smart. I know I'm supposed to be helpful. Yet I'm not. I... I'm sorry for being useless. Maybe if I tried harder, if I just got over myself--
Do I... need to talk about this, beyond pointing out how good the VAing is? Everything about it is heartbreaking, but pretty straightforward. It's an extension of the conversation she and Teruko had in 2-5, where we also throw in Rose's growing self-doubt and self-blame over everything that's going on around her. It adds into the theme of this cast pushing expectations on each other (like wanting Arturo to be a better doctor or Ace being too stupid to do a murder), throws in some parallels to Teruko and Hu and Eden (the self-blame sisters!!! *fire emoji* *fire emoji* *fire emoji*) and Xander (the survivor's guilt boy!!! *fire emoji* *fire emoji* fire emoji*), foils with J (J who rejects what others like Mariabella want from her VS Rose who internalizes the expectations and accepts the whole Spurling situation), there's the "a normal person would forget" wording that kinda connects her to Nico and Levi and David (the "feeling separated from other humans' experience" siblings!!! *fire emoji* *fire emoji* *fire-), obviously memory is connected with Charles and Teruko, etc.
You see why I don't always talk about parallels? I have to bring up every single character up every time because that's the shit that happens when your writing is this *fire emoji* *fire emoji* *fire emoji*.
The other thing is Nico, but maybe it's better to keep that for their section. Overall, just a fantastic feast for enjoyers of Rose angst.
Arei Nageishi
You know this trial went crazy when Arei got a whole ass character arc during it, and she's the dead one.
For this part in particular, the big Arei moment was obviously during 2-13, when we finally got to hear the end of the conversation between her and David. I'm not transcribing it, because I'm sure we all got the gist. Arei figured out one of the main themes of the chapter, that everyone is a flawed person, and that means that no one's ever too far gone. There's always a possibility of becoming a less shitty person, and that's sweet.
But beyond Themes, learning what Arei's mindset about good and bad people was really helps to understand her actions before this point, though I do find it interesting that the whole "sorting people into good and bad" mentality she had is actually pretty similar to the way she talks about people in her FTE, which is some fun consistency!
Arei [CH1 FTE]: Yup, that's right! I organize everyone I meet into categories of how I should bully them.
... Well the context's different but you get the idea.
Arei used this principle of "sorting" people into "good" and "bad" to deny herself the possibility of getting better, because trying to change is scary. Man I wonder why that rings a bell.
Teruko [to Whit, 2-2]: But if you start talking about me and saying that I could be a good person if only I make an attempt to change, then I'm going to stop you right there. Don't say that I could be a good person, because all it'll do is make me feel bad that I'm not.
Ah right because Teruko's a well written protagonist. And actually wait, isn't there someone else?
David [2-11]: "People can always change?" What complete bullshit. No one ever changes. People who are born lazy, useless and stupid will stay that way until they die. If you were able to "improve" yourself into a better person, then it only means you were a better person to begin with.
Ah right because David is a well written character. Carry on then.
I do wonder why she waited until night three after the motive handout to talk to David about it, though, instead of doing directly after the playground breakdown. Was it, like, she didn't want to confront it directly after and only got the motivation/courage/whatever after talking to Eden? And then couldn't find David until then? It's odd, but I imagine there's no, like, big reason behind it necessarily.
Eden Tobisa
Hey Eden sorry I suspected you as the killer for a year can we still be friends? :,)
There's two big Eden moments to take into consideration, one in 2-14, one in 2-16.
Eden [2-14]: Why... No one... believes in me... Why? I'm... Arei's killer? No... No way....... Hu: Eden? Please don't cry. Eden: This whole time I've been trying to hold myself together... because Arei died...... I wanted so badly for this all to be a dream, and for Arei to be alive and by my side.... But now, you all think I killer her? Why? I cared about her! Arei is... She could have been my friend! Why would I kill her?? Levi: Eden, please calm down... Eden: Why am I being accused of murdering Arei? I wanted to help her! I just wanted to be friends with her! Why would you say that I killed her? Is it because you think I hated her? That's not true! I didn't hate her! Teruko: Eden.
I'm gonna cut it off there and resume in a bit, partly so I can organize this better and partly to make absolutely sure I don't hit the Tumblr limit on characters in a single text block (because my entire blog is evidently dedicated to testing this hellsite's limits lmao).
There's honestly a surprising amount of nuance in this small breakdown. We start with re-establishing that Eden is someone who constantly tries her hardest to remain strong in the face of adversity, holding herself together as best she can when her newest friend just died and she's more or less blaming herself for it.
Then, while I always praise the voice acting (because it deserves it), I need to bring special attention to the sheer amount of emotion in that "Why? I cared about her!" Hearing Eden genuinely frustrated at the accusations on top of her sadness is heartbreaking, and just a wonderful display of humanity from a character who is at times almost inhumanly patient. Makes me feel bad for suspecting her, and she's fictional in our world!
On top of that, "she could have been my friend" is an interesting choice of words regarding Arei. This is where having hyper-analyzed all Eden lines comes in handy lol. Because taken at face value, it means that Eden recognizes that her relationship with Arei wasn't at a stage where she could genuinely called her a friend, given that as far as we know the last conversation they had was after the Arturo thing. Nice depth!
The rest is pretty standard, though again the phenomenal VAing still makes my heart ache. Continuing:
Eden: Teruko... I didn't kill Arei..... Do you believe me?! Teruko: Listen-- Eden: *sniff* I, I didn't do it! Please.... Believe me... This whole trial has been cruel to me.... Help me, Teruko... I can't stand it... I just wanted to help Arei.... I didn't kill her... Teruko: You know I can't just take your words at face value, Eden. Eden: Please, Teruko... You're my friend, aren't you? Friends help each other... So please, help me... I promise I didn't... I didn't kill her.... I'm innocent... Please trust me..... Please.....
AAAAAAAAAAA-
Okay with that basic reaction out of the way, because evidently the reactions didn't have enough "text screaming" for me to fully get it out of my system, this is just a really heart-wrenching scene. Just the combination of VAing, music and visuals, man... ouch. It's especially tragic when taking the following line into account:
Eden [2-3]: Teruko, relationships aren't transactional. It's not that I did something good for you that you should do something good for me.
The Eden hyperfocus comes in clutch again- Is it weird that being an Eden!Culprit believer for so long is making me appreciate her character more now that she's confirmed innocent? :v
Teruko has, up to this point, never outright claimed herself to be Eden's friend, at least not as far as I can recall. Hell, her lines following Eden's plea for help seem to completely disregard the idea.
Teruko [2-14]: So for now, I'm going to assume you're innocent. Eden: W-What? Really? Thank you so much, Teruko... Teruko: Don't... get me wrong. This isn't out of kindness or pity or anything else. This is only because you helped me in the last trial. I'm repaying your favor, and nothing else. That's why I'll trust you, just this once.
How much she means that is for the Teruko section. What's important is that this means that when Eden says "you're my friend, aren't you?", she is actively going against her claim that relationships aren't transactional. She expects Teruko to consider herself Eden's friend because Eden has done a lot of stuff to try to make that friendship work.
This. Is. Wonderful. Don't you love it when characters fail to uphold their beliefs when faced with a horribly stressful situation? Well, I love suffering, so I sure do! :D
To be clear, I'm not trying to paint Eden as a hypocrite or anything. She's right in saying that relationships aren't transactional, and is justified in asking Teruko to help her because she considers Teruko her friend, even if it's a slight contradiction. After all, what are humans if not a swirling well of contradictions, desperately arranging themselves like the magnetic moments of a metal to try to make the slightest bit of sense of a reality they hopelessly seek to understand-
Ehem. The point is I like Eden a lot :D
Speaking of wonderfully human moments, time to switch to the other big Eden character moment!
Eden [2-16]: This... This all could have been prevented, couldn't it? [...] Of course I know [we can't blame ourselves for Ace's murder]. Ace planned to kill Arei, and even before that, he was planning to kill me. Rose: Then how can you forgive him? Eden: I never said I forgave him. It's just that... The Ace that I met for the first time wasn't a murderer. I... I can't forgive him. He killed Arei, after all. She was innocent, and he killed her for unfair reasons. But... Those unfair reasons were unfair to him as well.
You know, we joke about how awesome it is that the entirety of the DRDT cast is mentally unstable (because it is), but it's also cool to see the one actually more or less functional member of society in the group being the voice of reason like this. Not to spoil anything, but I find her stance regarding Ace's murder as the most reasonable stance one could have, and it's always cool to see a character who has reasonable opinions every now and then. But having such an opinion is easy when you're outside the show and the characters are all pixels on a screen; the fact that Eden can still find it in herself to be charitable towards Ace's situation while not outright forgiving him for his actions is a really powerful statement about her strength and sense of morality. Eden could not stop catching Ws this part.
Anyways, here's a few more fun Eden moments this part gave us.
Eden [2-15]: Wait, but... Is Ace even capable of doing a feat of strength like that? He's injured, after all.
I just think it's sweet Eden tries to defend Ace even when she's the other prime suspect :)
Levi [2-13]: And if tomorrow it turned out you all had passed away, I'd care as much as if we had never met. Eden: But you're a good person. Why are you saying these things when it's clearly not true? You're so kind to everyone. You're always helping others out, even when it'd be easier not to. Like that time Ace almost died. You kept trying to help him, even if he always pushed you away. Isn't that what "a good person" does?
For all the Eden Ws, she had to take an Eden L. Come on, Eden, Levi doesn't need to actually care to be a good person, he just needs to do good things, you know this :(
It makes sense character-wise, though. Eden has a surprisingly strong belief system, which is heavily shaped by her emotional nature, so it makes sense that Levi's Deal of doing good things with no emotional attachment to them would throw her off.
Still cool of her to accept Levi as a good person even though she just learnt he killed four people, however. It's good characterization; despite her misunderstanding with the lack of empathy thing, she still chooses to judge Levi based on the things she's personally observed, as opposed to making assumptions over things she only has half the story for.
Man, she's just so mature and cool and awesome and not fucked up in any way! Now that the tape thing's been resolved, I can't think of a single thing that would make anyone think that she might be a little-
Ah. Right.
Well, as a first reaction, this is definitely an Eden W in the oh so prevalent... DRDT powerscaling scene? She apparently managed to slash at Xander's eye, twice, with a fork. And with her non-dominant hand no less!
So... what the hell am I even supposed to do with this? Unfortunately, we're currently missing gigantic amounts of critical information regarding this situation, meaning I can't for the life of me come to any conclusions, at least not confidently. I tried to look at the pre-prologue dialogue to see if I could find anything, but...
Ouch... I really wasn't expecting her to attack me like that. I made a massive mistake to trust them. I can't rely on anyone. All by myself... I have to end the killing game. And even if I can't do that... I have to kill Teruko Tawaki. No matter what.
Fuck am I supposed to gather from this.
Uh... someone told Xander that Eden would be down with whatever plan Xander had to end the killing game if he just showed her whatever documents we're seeing in the Bloody Hands scene??? And she got too scared and just stabbed him with a fork??? Who is the "them" who told Xander this, a group of people, or a single person and Xander's playing the pronoun game? Or was it Nico???
Nico [1-9]: Are you really using unclear pronouns for dramatic effect? That's such a cliche.
Fuck it, locking in Nico as the one who told Xander to talk to Eden, just because that's the funniest possible reason Xander could have used "they" there. I doubt it's true, but it's gonna feed my God complex if I get it right, so-
Yeah, in case it isn't obvious, I have very little idea what this scene could even be about. Very excited to see where this could go :D
Nico Hakobyan
Nico stole the show for practically half of 2-14, so it's natural we should start at the main event.
First, the soft confirmation that Nico really did attack Ace with a plan to get away with the murder and escape as the blackened, particularly framing Hu by using her wire. This... vaguely contradicts something they claimed earlier, so we gotta discuss the implications.
Veronika [to Nico, 2-9]: Is this what you were envisioning when you tried to kill Ace? That the trial would happen like this, but with Ace instead of Arei dead? Nico: I didn't... I never thought about it... I... I never should have... done that...
Were they just... lying here? Did they mean something else?
My best guess to explain this apparent contradiction is that Nico thought about the trial in a more... impersonal sense? Like, when planning to kill Ace, they figured they should try to hide that so they didn't go down with him, but sort of... ignored that winning the trial would kill everyone else? It's hard to describe, but that's what I get from that line as well as:
Nico [2-14]: I tried to kill [Ace] because I don't like [him].
When they say they "never thought about the trial," they probably mean that they never thought about the full implications of it, even though they did plan for it. They knew in some level they were supposed to hide the murder if they did it, but things like escaping the killing game and actually getting everyone else killed didn't fully register. This thought process makes sense in my mind, I hope it makes sense in yours because I don't know how to describe it any better :v
Second.
Eden [2-14]: That's- That's so cruel! Nico, why? Aren't we all friends? If something was bothering you, you could have talked it out with someone else you trusted? Nico: ... Someone I trust? What are you talking about? I don't trust anyone here.
Fantastic bit of characterization here. Nico, despite being relatively civil to anyone they're not actively planning to kill, apparently trusts no one. However, I want to explore what exactly that means. Because it's not like Nico is paranoid they're gonna get killed per say:
Hu [2-12]: Nico does have an alibi. I was having breakfast and tea with them in their room early in the morning as well. Drop it, Ace.
I can think of few better opportunities to kill someone than being alone with them, in their room, at around 7:30 AM when it's still officially nighttime. Nico, at least, trusts that Hu won't kill them, though whether that's because they're confident they could survive anything she tries or because they genuinely trust she wouldn't try at all is up in the air.
Point is, Nico is distrustful, but not as paranoid as, say, Ace. Because of that, currently, I believe Nico's claim that they don't trust anyone is an extension of things they've said before; that they prefer animals because people are unpredictable. Really, Nico's lack of trust being interpreted as "not trusting people to react to their concerns properly" is very consistent with the way they've acted in the past, particularly their reaction to getting forced into revealing their secret, so we probably shouldn't be surprised.
Nico [2-6]: I thought you would laugh at me. I was worried you would pick up rocks and start throwing them at me or pick up clumps of mud and start throwing them at me.
Next point:
Nico [2-14]: You all are right. I tried to kill Ace and pin the murder on Hu. What else should I say? Ace: W-- "What else should I say"?? You tried to murder me. You fucking tried to murder me! And after all's said and done, you can't even say something as simple as "sorry"?! Nico: ... I tried to kill you because I don't like you. Even now, there's still no use to try and pretend that I like you. If I say "sorry," you're still going to hate me.
... Yeah.
Nico [2-2]: If you're having dinner and want someone to pass the salt, you can say, "Please pass the salt," or you can say, "Give me the salt." One of those things is supposed to be more polite than the other, right? But why? They both mean the same thing. They're just slightly different mixes of words. It's like that. I don't understand why some mixes of words come off as "rude," and some don't, even if they mean the same thing.
I don't even think I need to explain this further. I think it's pretty clear why Nico wouldn't apologize to Ace. Nico's just not to into social conventions.
Except:
Veronika [2-15]: What's wrong, Ace? You seem stressed. [Your neck injuries] are only wounds. What's the issue? Could it be that almost being murdered has traumatized you a little bit~? Ace: You think?! You think that almost being killed could have maybe given me a little trauma!? Nico: ... [Whispered voice clip: "I'm sorry"]
This one's... odd. Nico doesn't say it loud enough for Ace to hear, evidently, so it's just a genuine reaction to the harm they've caused. What could have triggered this change? Uh... maybe a little extra trauma dump will help? Let's pick up after where we left off in 2-14.
Rose [continued]: D-Do you even regret what you did to [Ace]? Do you regret what you were planning to do to everyone else? Nico: O-Of course I regret doing it! I'm not Levi, of course I feel bad about something like that. I'm not heartless! Levi: Heartless? Nico: That was the worst choice I've made in my life. I wish I had never done that. But looking back, I still understand why I did. I... I just can't stand being treated like that. My teachers, my classmates, my father... I don't ever want to relive what they did to me. It's because of those kinds of people that I can't be happy with who I am. That's why I hate Ace.
Okay cut off there. First, interesting to see Nico calling Levi heartless. I've seen it brought up that it makes sense for Nico, who struggles to relate to other people on a good day, to latch onto any defense of their "normalcy" they can, including "I'm not the weirdest person here" despite how hurtful that can be to say. That's some neurodivergent on neurodivergent hostility right there! Fun to see characters being flawed in new and unique ways /gen.
Apart from that, there's some nice reveals to Nico's backstory, which are always welcome. We already knew Nico was harassed because of their identity, but now we have names (as in, identity of aggressors); teachers, classmates, and Nico's father. That obviously comes with a question; was Nico raised by a single father, or did they have other relatives who were more accepting? For now, we got no clue.
But that final line is important, because I believe it's what explains Nico's whispered apology in 2-15.
Nico [already written]: It's because of those kinds of people that I can't be happy with who I am. That's why I hate Ace.
Nico's apology comes after Ace explicitly mentions being traumatized over the murder attempt, in particular in regards to his neck wounds. This can be taken as Ace revealing he's not happy with a part of himself (scars) as a result of Nico's actions. When abstracted this way, the comparison to Nico's situation (unhappy with a part of themselves (gender identity) as a result of others' actions) is much clearer. Nico apologizes for accidentally causing Ace a comparable trauma to their own. Which... I think makes sense from their point of view? People apologize when they do something hurtful they didn't mean to; Nico meant to murder Ace, so no apology for that, but they didn't mean the trauma, so they say sorry for it. Not that Ace heard it, but you know.
... That's a weird ass thought process, but I think it makes just enough sense to explain the apology. Let's finish the 2-14 scene.
Nico [continued]: Even so... I'm not a child. I know that murder is wrong. I'm not the victim here. I know that it was dumb to resort to murder. I don't even know what I thought I would have accomplished back then. I mean, I started regretting it as soon as Eden and Teruko saw me. I don't expect you to forgive me. Very few people ever do. So I don't see the point in acting sorry. ... That's the entire truth of my murder attempt. I don't have anything else to say.
So... "I don't even know what I thought I would have accomplished back then" seems to corroborate what I said earlier about Nico not truly grasping the full implications of a trial while they planned the murder, which is nice.
Nico's attitude over this ("I'm not the victim here") is nice to see, and makes me very interested in where their arc is going to go from here. Especially since Nico maturely accepting the blame is already causing friction between them and Hu (even if Hu doesn't seem to notice), and will likely continue to do so in the future.
Hu [2-14]: You all are too cruel! None of you understand how much stress Nico was under! And yet you continue to insist on bringing this up. Can't you see that you're traumatizing them? Nico: Hu, I-- Hu: Don't worry, Nico, I'm on your side. I'll always defend you. I can be reliable for you. You trust me, right? Nico: ... I never asked you to defend me--
... We're gonna have to talk about this in the Hu section.
Finally, "I don't expect you to forgive me. Very few people ever do."
Nico, what the hell does this mean? What have you done in the past that requires so much forgiving? What in the [DR2 CH3 killer]-?
Unfortunately, this is one of those "we're missing critical information" situations when we can't even begin to speculate what, if anything, this is supposed to mean. We'll move on and patiently yet eagerly await elaboration.
There's one more big thing to bring up in respects to Nico, and that's... Rose. For who knows what reason, Nico never gives an explicit answer to whether they actually were interested in learning to paint or not.
Rose [2-14]: Did [Nico] even want to learn to paint? Or to be my friend at all? Or were they only using me as a tool for murder? Nico: ...
Regardless of what the answer is, that's kinda weird. I'm leaning "no, they didn't want to learn to paint," because it sure would be a hell of a coincidence that they just happened to gain an interest in painting just when they're planning a murder that happens to require a painting supply.
That said, Nico does still seem to somewhat care about Rose, and probably would like to be her friend. At least enough to eventually apologize to her out loud.
Rose [2-16]: [Ace]'s right. Only Nico took [the turpentine] from me, and I really doubt they gave it to Ace afterwards. Hu: You're always attacking Nico like this! Nico: It's the truth, though. And Rose is right. I kept it. I still have the turpentine in my room. I'm sorry.
And it's not like anything this chapter erased the FTE:
Nico [FTE]: I was going to thank [Rose] for hanging out with me. I really enjoyed her presence.
So, while I can't know for sure, I hope Nicorose can make a comeback, at least in time for Nico to die so dev can inflict extra psychological pain on Rose! :D
Final highlight:
Nico [to Levi, 2-13]: If you said you killed [your father] because you just didn't like him, I could understand that. But you're saying you forgot about taking a life...
Apart from Nico obviously projecting their own murder motives on other people, do we think Nico ever considered killing their own father? I doubt they actually did, else that would probably be their motive secret (provided it's not a Veronika situation where their secret isn't the worst thing they've done), but I could see them considering it given how they talked about him and Ace in the same breath, and... yeah Nico sure did want to kill Ace alright.
Hu Jing
Hu was quite fascinating this part, wasn't she? For someone that actually ended up having zero relation to the murder, she sure had a lot of important character scenes. Let's start with the confirmation of a particular theory that really helps understand her character better.
Hu [2-13]: I've been quite selfish this whole time, keeping my secret because I didn't want you all to think less of me. Most of all, I wanted to lie to myself and pretend that I had no ties to the person that I used to be. I wanted to believe that the past never happened. But that's just self-centered. I've always been a selfish person, haven't I? I should put those feelings aside and do what is right. No, I should have done this from the start. I will share my secret as long as you all promise to immediately move on. I have Veronika's secret, and she has mine.
Well that's just sad.
I don't think I particularly need to analyze this, it's all pretty explicit. Hu wants to be relied on because she feels useless if she doesn't provide guidance:
Hu [2-11]: I have to be the one to give everyone guidance. That's the only thing I can do. If no one relies on me, then I won't be useful anymore.
And if it comes out that she's attempted suicide, then in her eyes, that makes her less reliable.
(Obvious disclaimer is obvious, the character's views don't reflect my own, there's no shame in having attempted suicide or needing help to keep fighting it, etc.)
As a result, she dislikes the memory of that "hopeless child" who attempted three times, and wishes to avoid talking about it if possible. Metamorphosis (butterfly) and rebirth (water by her name being "still lake") symbolism pulling through.
Also, while there's many reasons someone could attempt suicide, that little "I've always been a selfish person, haven't I?", especially combined with other statements she's made in the past, heavily implies her attempts were a result of self-loathing :( . Thus why she so desperately seeks value in herself by helping others, which is sorta crumbling as everyone she put her faith on (David, Nico especially) starts to reveal themselves as not-that-great-people.
Hence why I'm worried we might see a fourth attempt in the killing game. Her secret quote seems to go against the idea, which combined with some of her statements in the series proper make me doubt it, but y'know... The precedent's there.
Anyways, I'm bringing this up first because, again, it helps understand her other actions this chapter.
Hu [to David, 2-12]: Unacceptable! What on earth [sic] is your problem? I have had it up to here with you! Because this killing game requires us to live, you think you should just reject that notion and kill us all? You lied to me, manipulated everyone, and tried to make us all commit mass suicide! You really are the lowest of human beings. You have no right to decide whether I, whether any of us, live or die, all because *you* feel like you have no chance! If you're so bent on dying here, then die! But don't you dare try and make everyone else die with you. If we decide to continue living, then we will. It is not and never will be your decision as to what happens with our lives. David: ... Rose: Wow. Hu can be scary. Hu: ... I'm sorry to everyone else. But I've lost my patience. I won't apologize to David.
(Obligatory props to VAing ofc)
I mean, yeah, it makes sense for someone who used to be suicidal to be mad at David's bullshit. Especially considering that, in regards to "you lied to me, manipulated everyone here," the line I mentioned before about providing guidance continues like this:
Hu [to David, continued from before, 2-11]: I have to be the one to give everyone guidance. That's the only thing I can do. If no one relies on me, then I won't be useful anymore. You knew how I felt, and yet you... You... You toyed with my heart! All that time you acted like you were encouraging us to reveal our secrets to "prevent conflict." That was all a lie!
Assuming the whole "You toyed with my heart!" thing isn't referring to a conversation we don't have information on (which, to be clear, is 100% possible), it's possible that at this point in the trial Hu felt bad for going along with David's plan, especially since she might have believed it directly led to Arei's death. I think it's worth noting that she's one of the two first person to speak after Ace confesses, and she asks if he did it because of the motive.
Ace [2-15]: I killed Arei. That's exactly right. Shit, it sounds really bad when I say it out loud. Eden: Why? Why did you kill her? Why would you do such a horrible thing? Hu: Did you kill Arei because of MonoTV's motive? Because you wanted to keep your "secret" hidden--
Which could be read as her trying to confirm whether or not going along with David's plan was a good or bad idea, maybe?
Admittedly, "going along with David's plan" in her case literally just means "she told David, Nico and Teruko that people used to call her Julia," which you could argue is too small for her to genuinely feel like she contributed, but keep in mind the "you toyed with my heart" line is directly before a line referencing the "reveal the secrets" plan. At the very least, she didn't go against it, not in a significant way anyways.
If I'm right to be reading these lines the way I'm reading them (which, again to be clear, might be wrong), then David purposefully used Hu's desire to help and be relied on to get her to agree with his plan, or at least not go against it, or at least Hu feels he did. Whether he intentionally targeted her, or if his methods to convince the others to convince the cast of revealing their secrets just happened to strike a cord (zither pun not intended) with Hu, is still unclear, but both are possible.
So she's already incredibly pissed at him for that, then he says he wants everyone dead, yeah my girl's got the right to go off.
Though, speaking of Hu blaming herself for what happened to an extent:
Hu [2-16]: Arei wasn't killed because of an accident. Bad luck or not, Ace had made up his mind to go through with this murder! So we can't possibly blame ourselves for failing to prevent something like that.
This is after Ace confirms that the motive and David's BS had nothing to do with the murder, so Hu can fully deny blame for what happened. Which is relatively fair, it's not like being mean to someone makes you guilty if they then choose to kill someone, but it's also presumably really important for her mental stability.
Did any of that make absolutely any sense? Maybe. Hopefully.
And that's just all the Hu-only stuff. Because a big part of her character this chapter was defending Nico far beyond what anyone could possibly see as reasonable. I'll bring back the example I gave before, because I think it's by far the most extreme.
Nico [2-14]: Someone I trust? What are you talking about? I don't trust anyone here. Hu: Stop! Just stop it! You all are too cruel! None of you understand how much stress Nico was under! And yet you continue to insist on bringing this up. Can't you see that you're traumatizing them? Nico: Hu, I-- Hu: Don't worry, Nico, I'm on your side. I'll always defend you. I can be reliable for you. You trust me, right? Nico: ... I never asked you to defend me--
Like, this goes beyond unreasonable. Nico literally says they don't trust anyone in the killing game, but Hu still thinks they trust her for... some reason. And even though Nico says they never asked her to defend them, Hu continues doing it past this point.
The thing is, though... why? Like, I get the basics here, it's what we talked about earlier. Hu only finds worth in herself by being reliable, and she sees Nico as someone who needs her reliability, so she tries to defend them no matter what. Hell, she even specifically says "I can be reliable for you" in the quote.
But... is there a reason she's so adamant towards them in particular? She doesn't get like this when Eden starts being accused, even though they have a good relationship with each other. Apart from reciting Rule 10 when it first comes up, once that gets thrown into question, the only thing Hu says when Levi and Arturo talk about Eden possibly being the killer is:
Hu [2-14]: Eden? Please don't cry.
She never pushes back against David's claim that he saw the corpse, even though that would practically exonerate Eden via BDA; that's Nico who does that. And Hu never claims Eden is being traumatized by being accused even though she clearly takes the accusations a lot worse than Nico was taking them in 2-14.
So, like, what the hell? Is there a deeper reason she's so defensive towards Nico and not Eden, or am I just going insane?
Well, at this point, if such a deeper reason exists, I have no clue what it could be. I could speculate about Nico reminding her of someone in the past, be it herself or someone else, or maybe Hu just sees Eden as less "in need" because she's generally more stable and happier than Nico, but really, I have no way of knowing.
The thing I can talk about in regards to the Hu-Nico thing is its parallels to Veronika-Arturo and Levi-Ace.
Veronika-Arturo is funny because, well.
Veronika [2-10]: Arturo, you're... You're so... Fascinating. You're really entertaining. So I'll take your side. I don't care about morals. I don't care about whether people get hurt or whether they die. I just need to be entertained. If you become more and more irredeemable, then I'll only love you more~ I want to hear all about those terrible things you did with no justification. Arturo: For someone who's taking my side, you sure are making me look a lot worse!
I really love how a big part of the Vero-Hu recap foil so far can be reduced to the "I can fix them" vs "I can make him worse" meme :p There are their secrets as well, but that analysis will have to wait for further elaboration on them, presumably in CH3.
Meanwhile, Levi-Ace... will have to wait for the Levi section, because this is already getting quite long for Hu, and it requires a bit more context on his character.
Miscellaneous highlights!
Hu [2-14]: Hang on! Eden isn't the killer! Don't accuse her! Charles: Not this again. You can't keep blindly defending the people you hope to be innocent if you don't have evidence, Hu.
Hu: I do have evidence! Why are you writing me off? All because I-- ... *sigh* Rule 10...
Damn she really gets defensive when you question her reliability huh?
Well, moving on. That was a pretty long section, hopefully the next one will be easier to write.
...
Oh. Oh no.
David Chiem
YOU
WHAT THE FUCK IS WRONG WITH YOU?!
Genuinely what is this motherfucker's problem? Everything he does seems to contradict something he did before, for reasons unknown. The only way I can even begin to try to analyze this son of a bitch is to go through everything he does in the series in chronological order, because trying to figure out his thought process in any other way would drive me in circles harder than anything in LGI ever did.
The first thing David truly does that informs us on his later actions is forming a genuine and positive relationship with Xander. In case the LGI MV didn't make it clear that David genuinely cared about the Rebel, we finally got near 100% confirmation of why exactly David liked him so much.
David [2-12]: You, and everyone else listening. I do so kindly request that pretty please stop talking about Xander at all if you don't know what the fuck you're talking about. It pisses me off to no end. After all, it's still unbelievable to me... ...That I'm the only person here who remembered him. Even if you all lost a year of memories for this killing game, there's no reason you shouldn't have recognized who he was.
While we unfortunately don't get much more clarification, it seems David knew what Xander did to earn the title of Ultimate Rebel, and likely admired him as a result. As per Xander's numeral I in LGI, "I have always looked up to you."
This admiration is presumably why David was so adamant in the first trial that there was no way Xander really tried to murder Teruko.
David [Debate Scrum, 1-8]: Are you saying that Xander is a killer? I find that difficult to believe.
You might argue that maybe he was just trying to throw the first trial, the same way he tried to throw the second. But that's not possible.
This is where we get to Weird Point #1. David didn't want to lose the first trial.
Nico [1-11]: Ah, right. Min was going from the laundry room to the kitchen. That path crosses the computer lab. She would have seen Teruko's body if the door was open. Min: ... Ace: And why exactly would the fucking door be open? Nico: U-Um... David: I suppose Min may have arrived near the computer lab's entrance just as Charles left. If she was curious, she would have even gone out of her way to see what was happening in there.
If David was trying to throw, he wouldn't be the first to explain how it would be possible for Min to be involved in the murder. And this is only one example, there's other lines where he specifically suspects Min. Apparently, he simply cannot handle a bad bitch winning (committing murder and trying to sacrifice 14 lives for her own benefit).
However, something in David shifts upon seeing Min's execution.
David [1-12]: I... I've seen enough. There's no point in keeping my hopes up anymore. We are all certainly going to die here.
This line is said pretty somberly.
Which is weird. Because not four days later, David will be trying to throw a class trial, which will kill everyone and him. Interesting detail about that, David doesn't seem to believe that the blackened will escape if they actually voted wrong, based on this line.
David [2-12]: 15 lives. Some of them are very dear to you. And your own life as well. Is there anything at all that could be more important to you than those 16 human lives?
Where he seems to imply a wrongful vote will cause 16 deaths.
But the thing is, it's not just the trial, is it? David also tried to instigate a murder through his "reveal all motive secrets" idea. That's what he does during the majority of CH2, starting in 2-4, just two days after Min's execution. Now, it's fully possible that at this point, he wasn't yet planning to throw the next trial, but rather, he was just doing this to hide his own secret. He certainly considers losing his "speaker persona" a genuine sacrifice, so it isn't unbelievable that he'd hope for a murder even if he was planning to win the trial if it happened.
David [2-12]: Even so... Lying about all that wasn't easy. Even I like to have good relations with others, however fake they might be. And I had to throw that all away. I know that no one will ever trust me, believe in me, or look up to me again after this. But doing "good" things requires sacrifice. Sometimes that sacrifice is being seen as "a good person." That's what I learned from Xander. Even if doing something will make you hated, if that action is for a greater good, then it's an action that you have to take.
(By the way, his views of goodness as martyrdom are quite interesting and I'm curious to see where it will go, but currently we don't have much more than this line for insight on it)
However, I don't quite think that he just wanted to keep the others' goodwill; I think he was already hoping to throw from the moment he started instigating the murder. And this is where we need to ask; what was it that made David switch up? What happened between the first trial and the second that made his goals change from surviving to... whatever he's cooking now? Because in case it wasn't clear from how I'm talking about it, I don't believe David gave the real reason for his throwing to the class. Let's look at the "confession."
David [2-12]: Ugh, fucking fine. You want an answer so badly? Any answer? ... I...
Ah... We're... in a television show, after all. That's... what MonoTV said, right? "Entertainment" is an ongoing show. If Min successfully got away with the very first murder and escaped while we all died, then isn't that way less interesting for a TV show? What's the point of roping 14 other people into one murder, only to kill them all off immediately? The killer is supposed to fail and be executed. We're all supposed to catch the killer, again and again, and participate in trial after trial. You're *supposed* to try to survive. All of you who are trying to solve these class trials to continue living on are playing straight into MonoTV's hands. [Confident] As if I'll accept that. I don't care how low I'll sink, or how despicable I'll have to become. I'll do anything to carry on Xander's ideals by ending this killing game, even if it means that I have to dirty my hands.
Although I wrote it all out, I want you to focus on the start: ".... - I... - Ah... We're... in a television show, after all." Even beyond the meta argument that it's unlikely we'd actually get the answer to why Xander wanted to win the class trial this early in the series (which is a valid argument, but I prefer to theorize without meta reasoning), that hesitation should tell you everything. The way it's written, it makes it seem like David is hesitating because he's making everything up on the spot, up to the "Ah..." potentially being the exact moment David figured out what angle he wanted to take. Given he's already admitted to both being manipulative and wanting to get everyone killed, this is the only reason I can see for why he'd hesitate to give such a relatively simple and "reasonable" (as in, it logically follows even if it's still insane) answer.
So, now we have two questions. What does he actually want to achieve by throwing, and why did he only start pursuing it after the first trial ended?
Well, let me say first that I don't think we're supposed to be able to answer these questions yet. Obviously; we're dealing with shit very closely connected to some pretty large, overarching mysteries of the series, which we probably won't get full answers for until much later than CH2. But we can try to speculate the general direction of what the answer will be. Let's look at another one of his lines to try to do just that.
David [2-13]: Achoo! Ah--Bless me! Also, excuse me! Wow, thank you for your support, everyone!
(I only included that line because it's fucking hilarious and I didn't want that to go unappreciated :p)
I have another interruption~ Hu: ... David: Teruko. Own up your [sic] goddamn secret already. You are the last person to do so. [...] Teruko: ... My family. David: ...
So, just like everyone who is somewhat deep in the DRDT theorizing community, I don't think this is true. I am pretty sure David has Teruko's secret, that secret being "How could I even select what secret to be your motive? Just about everything you've done in your life is worth killing for. The killing game is all your fault." There's many reasons beyond the weird ass David sprite pictured above, which many have already covered, but as a quick overview: the family secret ("you're constantly blaming yourself for the death of your parents and siblings. It doesn't matter that it's not your fault, just that you didn't go with them") fits Xander better (see: Bonus Episode 2, Xander's secret quote being the definition of survivor's guilt), the family secret mentions "siblings" plural when Teruko's only claimed to have one brother, we don't know what happened to Teruko's parents and brother when we know Xander's family is dead, Teruko didn't believe David when he said he got Xander's secret so she probably suspects the killing game one is hers, "this killing game is all your fault" is consistent with the second anniversary art code ("It's all your fault" in a picture which only features Teruko reaching out to presumably-Mai's hands, which disappear), etc.
So now we have four questions, because evidently I'm quite bad at this. Apart from the two mentioned before, we need to ask why David lied about the secret he received, and why he was happy when Teruko answered with the family thing.
But sometimes, one question can answer others. The reason I'm bringing this up is because I believe David's heel turn was likely motivated in some way by receiving Teruko's secret. Take a look at his immediate reaction when the secrets are first handed out.
Pretty frowny, huh? Yeah understandable given the secret he received is "hey the killing game is all the girl that Xander tried to kill's fault." Unfortunately this is the only reaction David has to any of the secrets, as the rest of his dialogue after this is just explaining J's secret. Well, and this:
Eden [2-1]: Then let's end the killing game before [the motive secret reveal]! Nico: Eh?! David: Optimistic as ever, Eden. I'll do my best.
Which is kinda funny in retrospect. Yeah, he sure did do his best to end the killing game before the secret reveals.
Tangent aside, the important thing is that David wasn't necessarily surprised by Teruko's secret, but rather, uh... Well it's hard to read him on expression alone. Frustrated, maybe? Possibly mad that Xander didn't succeed in killing her? It's also worth noting that this is shortly before Teruko goes into her whole "I don't plan on leaving" shtick, which includes the following tidbit (and yes David is in the room to hear this).
Teruko [2-1]: And I'd recommend that you drop that foolish optimism for making it out of here alive. With 100% confidence, I can say that... You will all die down here without ever seeing the outside world again. Ace: This bitch is totally out of her mind. Teruko: I'm not saying this out of ill-will. It's simply how this story works. You all have the misfortune of being "characters" in a story where I'm the "protagonist." Because of that, you're all doomed.
What's so important about this? Because I believe that, in David's mind, this proves Xander right. It proves that there is something off about Teruko, that he probably did have a good reason to attack her, that the note he received wasn't complete bullshit. If there is any single thing that would get David to follow Xander's footsteps, regardless of whether he has the full story or he's just doing what Xander was trying to do even without knowing the reasons the Rebel made the moves he made, it would be getting confirmation that the person he tried to kill specifically has something suspicious going on.
Especially because David does, in fact, seem to have a very weird fixation on Teruko.
David [2-14]: As long as there's a possibility that the evidence is false, as long as there's even the slightest reason to distrust others, then Teruko cannot trust Eden. Isn't that right, Teruko? Teruko: ... David: It's in your nature to distrust people. Everyone you know has already betrayed you. There's no one in this world who won't hurt you. Even the people you love will turn their backs on you in the end. You know that well enough, don't you? So distrust in others. Because that's the only way you know how to live. Teruko: ...
(Obligatory props to VAing ofc)
... Alright so it's five questions. Because how does he know all that?
Let me knock that one out quickly, though. Right now, I don't think this is solid enough reason to suspect that David knows more about Teruko than he's letting on. I could be wrong about that and David could just be aware of her entire backstory, but I currently don't believe that.
Instead, I think this might actually be an extension of his talent, in a way. The joke that he gave Teruko a "demotivational speech" is funny, but I also think it's actually on the right track. David knows the right things to say to someone to inspire them, to push back against their insecurities, as he did with Arei in the playground breakdown. Thus, it logically follows that if he's able to identify emotional weakness to push against it, he would also be able to exploit it.
Or, try, at least. He actually fails pretty spectacularly, since Teruko ends up trusting Eden anyways, and I don't think there were any reverse psychology 5D chess moves on David's part given his immediate reaction to Teruko's 2-14 speech to Eden.
Like, that's the face of a man who tried to be slick and failed miserably.
(And in case it isn't clear, I don't think his lie of seeing the body had anything to do with the trial, he did it just to fuck with Teruko)
In any case, what happened here is that he figured out the (relatively obvious, it doesn't take an Ultimate to see this) trust issues that plague Teruko, and is trying to make them worse in order to... uh... fill in the blank I guess. One option I've considered is that he knows something about how her luck works, that it hurts people she likes, so if she doesn't trust anyone then her luck's effects will be concentrated entirely on Teruko. However, that requires a pretty deep understanding of something he shouldn't have that much info on, so I don't find it that likely. Also I'm not 100% sure if this is how her luck actually works so there's that.
Yeah, unfortunately, at this point I struggle to see exactly what David's angle is here, which is probably intentional given, again, CH2. However, it does somewhat tie back into what we were talking about. Along with everything else I've mentioned, this fixation on Teruko's trust makes me believe that David's heel turn is at least partially motivated by receiving her secret.
And if we once again combine questions 3, 4 and 5, we can actually arrive at a new conclusion. We know David's hiding Teruko's secret, we know he's happy that she's not calling him out on it, and we know that he has a vested interest in getting her to distrust others. With all these combined, I believe that David is trying to look for a way to manipulate Teruko specifically as a backup plan if the cast managed to win the trial, which they did.
By getting her to distrust others, she'd isolate, making her an easier target for manipulation as she wouldn't have anyone to fall back on if David starts getting to her. And the secret is good blackmail, pretty straightforward why he he hasn't revealed it yet. That's also why he's happy she helped him keep it hidden; he can pull it as a card to make her seem less trustworthy and isolate her further. "She lied about her secret, she was trying to hide it." If she had been honest and said that neither the family nor the poison secret fit her and that someone lied about their secret, it would make her look comparatively better once the secret came out. In other words, it makes the blackmail even better, especially because now David knows for a fact that she wants to keep it hidden.
That brings up to question 6: why does David want to manipulate Teruko in the first place? And this is where we finally reach a dead end, because again, CH2, we're not gonna get all the answers yet. I have less than zero idea what David will try to manipulate Teruko into doing, when he will make his move, what his end goal is, or any other question you can imagine. I have my doubts that he'll succeed, obviously, but of course that depends a lot on what his final angle ends up being.
So, let's recap.
David knew of Xander before the killing game, admiring him because of his work as the Ultimate Rebel. As a result, David tried to establish a good relationship with Xander once the killing game started.
David originally rejected the idea of Xander attacking Teruko out of denial and nothing else. He had genuine faith his friend wouldn't do that. David wanted to catch the correct blackened in the first trial.
Upon receiving Teruko's secret and hearing her speech about everyone dying as a result of misfortune, David begins to believe Xander was in the right, and chooses to pursue what he thinks Xander was trying to accomplish. This includes trying to instigate a murder and admitting to killing Arei.
David lied about his motivation to throw the trial. I don't know if he's specifically trying to kill Teruko, or if he thinks everyone in the cast needs to die for some reason, or if he genuinely has no idea what Xander was trying to do and he's just following his actions blindly, or if it's something else entirely; whatever motivation he actually has, it's not what he said.
As a backup plan if the cast manages to win the trial, he hides Teruko's secret and plans to manipulate her via blackmail, for reasons yet unknown. This is why he's happy that she also keeps it hidden, and why he tries to build her distrust in others.
And that's the basics of what I believe regarding his actions... related to throwing the trial and Teruko. We still have one more David Moment TM to deal with.
David [about the Arei conversation, 2-13]: ... Nothing. Absolutely nothing. I didn't say anything to her, and she didn't have much to say to me either. Arei simply got annoyed with me and left without saying anything else. Nothing else happened between us, I promise. Eden: You promise? You absolutely promise, you didn't say anything to her? David: One hundred and one percent, I promise. Ace overheard everything, and what he told you all was the entire truth. Does that satisfy you? Eden: ... That's... a relief. That you didn't make her feel bad, I guess.
So, question 7, why does he hide the truth from Eden? I doubt he suddenly gained an interest in progressing the trial without further interruption. He's also not doing this for Eden's sake; what Eden wanted to hear was that Arei walked out of that conversation still hoping to change for the better, which she did. Hearing that Arei still wanted to "be less shitty together" even after knowing David's a manipulative asshole would have made Eden very happy.
But David doesn't want to hurt Eden, either. If he did, he'd lie and tell Eden that he said something that made Arei run out crying and having lost all hope, or something. I also can't really think of anyone else who would have much of a reaction either way, since as bad as it sounds to say it, Eden's more or less the only person who was genuinely invested in Arei's progress. Maybe "the blackened," but if David doesn't know who the blackened is, there's no way he'd know how they'd react, so it's likely not because of that.
So, if David doesn't hide the truth for the sake of the trial, and he doesn't lie because of Eden, and he doesn't lie because of anyone else, then he's lying for his own sake. I believe that David is trying to hide how much he genuinely cared about Arei, and probably doesn't trust himself to be able to tell the story without giving the game away.
And to be clear, he did genuinely care about Arei. If his immediate reaction to her death doesn't convince you, his breakdown after hearing the Arturo-Eden-Arei story should.
David [2-8]: Of course. Of course this would happen.
David [2-10]: If Eden and Arei really had that conversation, then it explains a lot. I had my doubts. A clearly suspicious note, asking her to meet alone and with no explanation as to why. During a *killing game* of all times. What kind of person would fall for such an obvious trap? You'd have to be shortsighted, naive, foolish, senseless, downright idiotic. ... Unless, of course, you were Arei. That girl wanted desperately to prove herself as a "friend" to Eden. And yet she completely lacked any experience with what "friends" were actually like. Of course it never occurred to her that handing out suspicious notes was not something that normal people did. What could she know about "friendship," after all? Someone like her, who had not once experienced kindness in her entire life up until now? Even if she had her misgivings about something so suspicious, she must have pushed it aside due to her unwavering faith in her blossoming friendship. A friendship that she didn't understand in the slightest. It's... It's so... Ahaha. It's just so foolish. For someone to take advantage of Arei like that. It's absolutely unforgivable. All she wanted was to change. What a reprehensible person this killer is. I look forward to seeing their painful execution.
(Do you think all this talk about "suspicious notes" is making him think of Xander with the suspicious note he received? Don't know, maybe :p)
Between David hiding the end of the conversation and the whole "Arei was a temporary weather spell" line, it seems he's really committing to the role of someone who doesn't care about Arei.
There are many reasons he could be doing this, but I believe he's just pulling a Teruko: Showing no vulnerability, because if he did, then maybe people would actually try to reach out to him. And then they'd get hurt like Xander and Arei; quote one of the Hamlet quotes in LGI (one of the eight lol): "I did love you once. You shouldn't have believed me." And/or David would need to confront how awful he is to try to change and better these new relationships.
Because it's a lot easier to be an irredeemable asshole who will never get better, than to confront the reality that he can, just that it's hard. Cue parallels with Arei and Teruko and Ace and you get the idea.
Final note, completely unrelated.
Whit [2-12]: Hey, hey, you could say those fish were a... red herring? David: Ugh! Goddamn it, Whit, does everything you say have to be made into some shitty dumb joke?! You're actually really fucking annoying! Shut the fuck up!!
Question 8: Why is David so pressed about Whit's jokes? At the moment, my only guess is that Whit's attitude of always remaining positive enough to crack jokes reminds David a bit too much of his "cheery" persona, which also is supposed to always remain optimistic in the face of adversity, and David either hates that because he hates himself, or because he's envious that Whit can hold that optimism without trouble (as far as David can see). I lean on it being a combination, where he does hate his "cheery" persona, but also wishes he could genuinely be like that, but it's very hard to tell atm.
Alright that took way too long. Can't wait for this all to be proven horribly wrong the next time we get any solid info on David!!!
Levi Fontana
Hey Levi sorry for calling you an accomplice for like a year are we still cool? :,D
Although Levi had a lower amount of Big Moments than David, I consider them more impactful to the chapter. And when you're talking Levi, you're talking 2-13 and 2-16. Let's start with the former.
Levi [2-13]: The secret that Arei received, "You're a murderer, and you hold no remorse...." That's my secret. [Cast reactions] If you were wondering, it's not in my legal records. The court struck it from the records. Ace: No shit! There's no way Hope's Peak would have scouted a murderer! Levi: Don't make the mistake of switching cause and effect.
Let's take our time with this one, it's a long speech. First, nice to see we called this secret, it's nice. Also, I'm not the first to point this out, but it's a neat bit of characterization for Levi to first talk about the legal side of his secret instead of anything more related to emotions; he only really cares about the effects things have in the present (that'll become explicit in a bit), so the first concern he thinks of are the legal repercussions.
Then, Hope's Peak... Hope's Peak why are you this shady. Between Rose's situation, the Ultimate Contest for Eminent Students, and now this, it's now three times they've specifically targeted people in vulnerable positions. Four if you count Teruko, but that would imply they rigged the lottery for the Lucky Student, which I would believe but we currently don't have evidence for. No wonder Xander has issues with them, they're cooking something weird.
Rose [1-4]: I'm sure Hope's Peak wants me to become some sort of appraiser or forgery detective with the skills that I have. Taking some offending youth and turning them into a productive member of society would be a pretty good look for them.
Unnamed Classmate [BE1]: Why would Hope's Peak announce [the UCES] 12 years before it would actually take place, when all the would-be contestants are just children? Min: Because they wanted the contest to hang over the heads of kids like me for 12 years, from childhood all the way into high school. They wanted to single out those who were obsessive enough to spend their entire lives preparing for this one test from childhood.
Unnamed Classmate [BE2]: If you set out to do something, then never give up on that, no matter what obstacles may stand in your way. Even if it's risky or against the rules, as long as it's for a good cause... I'll trust that you know to do the right thing. Xander: Yeah. Of course. That's why I've come to Hope's Peak, isn't it?
We currently have no clue where this is going, but I'm noting it for further reference. Let's pick off from where we left.
Charles [continued]: Care to explain yourself? Levi: At the time, I was confronted by three guys who tried to start a fight with me. I believe they were some old enemies. I killed their leader first, which may have been justifiable as self-defense, but then I tracked down his two remaining friends several days later and beat them to death. J: "Old enemies?" "Leader"?? Were you in the freakin' mafia or something? Levi: No. J: ... Levi: ... J: Are you not going to elaborate?? Levi: I don't particularly think I need to elaborate. After all, that happened in the past and has nothing to do with Arei.
One question this speech leaves us with is "why did Levi track down the other two after killing the leader?" We don't have enough info to tell for sure, but I assume it's a matter of safety? Like, Levi thought those two would try to attack him again if he left them alone, so he needed to make sure that didn't happen. I think that makes enough sense for me not to lose sleep at night over it, but of course I'm open to being wrong.
Also, this is the point where Levi's pure pragmatism becomes apparent. "It's not important right now, so why would I elaborate?" A philosophy which is born from his lack of empathy which will be discussed later. This pragmatism is probably why he's the one to argue that Eden was in an advantageous position to kill Arei; the logistics of murder come before emotional aspects in his mind, which is understandable.
Eden [continued]: Who... Who did you even kill? Levi: They were three guys... a few years older than me... Uh... I don't remember their names or who they were.
Do we think Levi knew their names at one point and forgot, or did he somehow track down two people without learning their names? I find the former more likely, just wanted to point that out.
Levi [continued]: I was a bit of a delinquent when I was younger, so they could have held a grudge against me for any reason. Maybe I smashed their windows and robbed them? Or, wait, maybe something to do with that car I blew up once? Rose: That's... kind of a lot to admit all of a sudden.
One thing I always enjoy is when the character who reacts to cut off a monologue has some kind of connection to the thing being discussed. Like, of course Rose is surprised at everything Levi is saying. She's out here being haunted by the crimes she committed, to the point where the debt she put her family in is her motive secret, and then this other guy has broken All the Laws and is just admitting it openly lol.
Levi [continued]: I've forgotten most of the details, as I haven't though much about it since I was cleared of my charges. Sorry, I can't really remember why that happened. Arturo: How could you forget something so important? You can't even be bothered to remember their names? Did you not care that you killed three people?
Speaking of matching reactions to character, Arturo "I feel unending guilt over the death of my sister who I did not even directly kill" Giles cannot conceive how someone else isn't haunted by the lives he took, more recap foiling at eleven.
Veronika [continued]: You say that your backstory and secret aren't relevant to this trial, but they are. That second part of your secret, that you "felt no remorse" for killing people... If you don't care about murder, then you'd have a much easier time killing than anyone else here. You may even be unbothered by the fact that passing the trial would mean everyone else's execution. After all, you seem completely detached while admitting not only to murdering 3 people, but to several other crimes as well. Almost as if you didn't care about any of this. At least not from a moral standpoint, that is. Levi: I won't deny it. That is indeed how I feel. Ace: You are one sick bastard. What could you possibly say in your defense.
This is the first big hint of Levi's low to non-existent empathy, but I'll wait until it's fully elaborated on to discuss it in depth. Also this hints to Ace business that will be discussed in his section. Why am I even writing here.
Levi [continued]: That incident happened when I was in my junior year of high school. My junior year was also the year that Hope's Peak scouted me as the Ultimate Personal Stylist. To my understanding, it would have reflected poorly on Hope's Peak to recruit a murderer, so they pressured the court into not pressing charges.
I do wonder now why Levi even started styling in the first place. By his own admission he's pretty new to it, though he's got at least a year or two of experience if he was scouted in junior year (I think? USA why can't you fucking number your grades like sensible people I don't know what "junior" means without firefoxing that shit). Maybe a job he picked up after disownment? Though that heavily depends on when and why he got disowned in the first place; was it because of his father's murder, the murder of the three dudes and the court case just took a while, or was it something else? Questions to mull over, but can't answer without further info.
Levi [continued]: Err... Hang on. Now that I've thought about it a little more, my motive secret may not be referring to those guys. It could also be referring to the time I murdered my father. J: Wait, you-- YOU WHAT?! Levi: It's quite difficult yo tell what these motive secrets truly mean because they're all phrased so vaguely... It's a bit of a bother. J: No, fuck that noise! Go back! The hell you mean, you fucking killed your dad? Levi: Correct. I simply forgot about it up until now. That would make four people in total that I've killed, not three, I think...? Arturo: How could you simply *forget* that you murdered your own family member? Nico: If you said you killed him because you just didn't like him, I could understand that. But you're saying you forgot about taking a life... Levi: It wasn't that important. Not even the police cared about a man like him, so nothing came out of it. I truly just forgot.
(why is everyone blue you're fucking up my color schemes-)
Back to the whole "appropriate reactors" thing, while I've already mentioned the Nico thing, I think it's cool J (the anti-murder spokesperson with a bad relationship with her mother) specifically says 'dad,' while Arturo generalizes to 'family member.' Someone's being reminded of his past~
I find this admission pretty funny for a few reasons, and very interesting for many others. Funny because my guy is complaining about the vagueness of the motives while admitting he killed his dad and not elaborating in the slightest. Interesting because... why did that happen? Levi doesn't respond to Nico's comment, so it seems like he didn't particularly dislike his father or anything? Especially in the context of the way he's talked about his family in the past.
Levi [responding to Eden, 2-1]: No, not at all. It's for the best that neither I nor my family see each other ever again. Eden: Eh? If you don't mind me asking, why? Levi: Why? My father, my mother, my brothers... We were all bad influences on each other. That's all that needs to be said.
I mean, Levi's father probably wasn't a shining beacon of hope or anything, given the police didn't even investigate his death, but like... lumping him in with the mother and the brothers, and just saying they were "bad influences" instead of, like, genuinely shitty people, it all makes it sound like there's no specific grudge against the father. Which makes sense, right? Even his father would feel like a stranger, as Levi will describe later. I really wish we get some elaboration on this, because I'm pretty curious about what kind of situation would lead Levi to this. I did try to check what's caused Levi to snap before, see if I could figure out what could have prompted it:
Ace [1-9]: What's the damn point of this whole trial if we're going to make choices based on dumb crap like that?? You useless shit-for-brains! Are you even taking any of this seriously?! Whit: Huh? Am I taking this seriously? Nah, not really. Ace: YOU--! Levi: Ace, calm down. You are not helping at all with this argument-- Ace: You shut your damn trap too, Levi!! I'm done with you trying to play the moral high ground by pretending to be some peacemaker! "Oh dear, oh my, calm down, everyone. Let's not fight, alright? Aren't I such a level-minded pacifist?" Stay the hell out of this if you know what's good for you. Levi: ... Ace: That's right. Shut your damn mouth, you coward-- Levi: Fuck. Off. Ace. How far do you want to push it? Do you think that I don't have a limit to my patience? I would gladly strangle you right here and now to shut you up if I were allowed. But if you're the coward I know you to be, then you should back up before you dig your own grave. So shut. Your mouth. Before I shut it for you.
Uh... Personal attacks against Levi? Yeah I have no idea what the hell his father could have done to prompt the murder. As usual, we're missing too much critical information to make a call on it. I'm gonna wager a guess that Levi didn't plan the murder, but rather it was an in the moment decision, but again I have no actual way to be sure.
Levi [continued]: Frankly speaking, I see no reason to remain hung up over some incident that is long past, especially as it ultimately had no impact on my life. Eden: You forgot about all of the things you did simply because you didn't face any consequences? That's incredibly selfish! Shouldn't you feel even a little bit bad? Those were human lives you took! I don't know what happened within your own family, so I can't pretend to understand why you killed. But even then, I'm sure those other people had families and friends who cried over their deaths!
Again the responders; remember how Eden feels guilty over both Min and Arei's death even though she never "faced any consequences" for them (mainly because she didn't actually do anything wrong but you get the idea)? Yeah that.
Levi [continued]: *sigh* I wonder if I should really tell you the truth, or if it's best to keep it to myself. I don't know how you all will see me after this. Teruko: You've already admitted to murdering 4 people. If you insist on not being completely honest with a secret this bad, then you're going to be the next one on the chopping block. Out with it.
Considering the stuff he says later, it's interesting to me that Levi seems to be more worried about revealing his lack of empathy than admitting to murder, especially with the knowledge that he's only doing this because he thinks being honest will make him "a good person."
However, I think it makes sense. Amongst the cast, there's already several people who either killed or tried to: Xander, Min, and Nico. But a lot of the others still speak of them in good terms; David talked about how good of a person Xander was for several minutes, Eden has made it clear she still misses Min, and Hu still defends Nico. Not to mention that Levi himself already threatened to kill Ace, and got called "a good person" by Eden just a few hours later. That means that, although admitting to murder will probably make the others more wary of him, there's precedent that Levi will still have people who stick by him after all's said and done.
Meanwhile, as far as Levi can tell, he's the only one who doesn't understand empathy in the slightest. And that means he has no way of telling how the others will feel about him if he reveals it, which is why he's more nervous about it than the murders. It plays on the themes of feeling disconnected from the rest of humanity that characters like Nico (via gender identity) and David-
Tally 5 Page: "... I wasn't capable of ever becoming human in the first place."
-have going on, which is definitely something that's cool to mull over. I hope these three get some kind of interaction about this in the future.
By the way, as always I'm just kinda guessing why Levi does the things he does and says the things he says, I could always be wrong.
Levi [continued]: It's not really that I don't care about killing people. Rather, it's more accurate to say that I don't care about people at all. No matter how much I hear about such things like empathy or compassion or love, none of those concepts resonate with me. Are those emotions really universal? The idea that people naturally "care" about others is a completely foreign concept to me. Nico: Eh? What are you saying? Levi: Judging by your reaction, I suppose that's a bad thing. But I wouldn't understand why. On the other side of this planet, there's a person who's suffering. Maybe they're even drawing their last breath. But none of you care, do you? Why would you? They're a stranger, after all. You don't know them. Their life holds no consequence for you. For me, everyone I've ever known is that distant stranger. It doesn't matter how long I've known you, how much we've done for each other, or even if you were my own father... You're still a stranger to me. And if tomorrow it turned out you all had passed away, I'd care as much as if we had never met.
So here's the big reveal, bolded text and all. Levi has extremely low empathy. I'm not gonna try to assign any specific disorder because I'd have no idea what I'd be talking about, but the empathy thing is pretty clear. I'm also no authority on whether this would be good representation for that or not, but for what it's worth, I think it's done pretty well. Levi's perspective is presented neutrally, in a way that shows his lack of empathy doesn't inherently make him a bad person, but not shying away from some of the real effects that can come from it (combined with other factors of course), such as the whole 4 murders situation.
I also like the way Levi describes it. It does a good job of getting the audience to understand his feelings, while still holding quite a bit of characterization in there. For example, the reason he gives for why the cast wouldn't care about the stranger on the other side of the world is because "their life holds no consequence to you." Even when trying to speak from the others' perspective, his understanding of why someone would care about someone else is still shaped entirely by what tangible effect that person has in the other's life, in a way sorting people by "holds consequence/holds no consequence."
Eden [continued]: But you're a good person. Why are you saying these things when it's clearly not true? You're so kind to everyone. You're always helping others out, even when it'd be easier not to. Like that time Ace almost died. You kept trying to help him, even if he always pushed you away. Isn't that what "a good person" does? Levi: In all honesty... I don't personally care what happens to Ace. Whether he lives or dies is none of my concern in the end. Ace: ...?! Levi: But it is a "good" thing to make sure someone else doesn't die, even if I personally do not care about the outcome. I truly believe that. But I adhere to that principle out of duty, not sentimentality. Does that make any sense?
So I'm gonna do a funny here and skip Ace's reaction to this, because that's more for the Ace section than this one. I also already talked about Eden's reaction to this.
Instead, I'll focus on Levi, particularly the question of "does Levi actually care about Ace?" To answer that, it'll be helpful to get the full Veronika Breakdown TM.
Veronika [continued]: Hm hm... I understand now. You're quite the interesting person, Levi. From what I've seen of you so far, your personality has been awfully inconsistent. It's like you don't know how to act. Trying to act like "a good person" without any intuitive sense of what's good or bad is hard, right? For someone like you, who lacks compassion, it must be quite difficult to pretend to be nice. You're always guessing as to what a normal human would do in your situation. You're so awkward in social settings because you can't tell what other people want. You act like a big pushover because if you go the other direction and stand up for yourself, you won't know where to stop. You offer to do things for others because you've observed that "good people" help others, and you parrot noble assurances without understanding why. Such things like that. Not only are you trying to act without a script, but you don't even understand the story. And you slip up constantly. Levi: You explained it better than I could. You really have an intuitive understanding of other people, Veronika. That's a trait I envy. The way I see it, it would be beneficial if I was "a good person." Then other people would trust me and not pick fights with me anymore, and they'd do things for me because they "liked" me. If I was a good person, then I wouldn't have to live a life full of violence anymore. I did everything so that I could have a better life.
Okay hold on there's a bunch to talk about here. Let me do that before circling back to the Ace Question.
Veronika is thankfully good enough at describing the stuff she said that I don't feel the need to elaborate on that. It's basically just a perfect read of Levi's actions so far under this new frame of someone who lacks empathy yet still is a good person. His awkwardness, his outbursts towards Ace, him being sort of a pushover, everything. I also like the little comment of Levi envying Vero's understanding of people, it's neat characterization.
Aside from that, there's also cool contrast between the way Levi sees being a good person as a sort of purely pragmatic social contract (being good leads to a peaceful life and ensures others help you) and Eden, which as referenced earlier sees friendship in a purely emotional and non-transactional way. Not exactly fully comparable, but close enough, and still worth mentioning given the chapter starts with a conversation between the two of them about how they're good people. Both of these have their merit, the point is that, in the end, no matter the reason you have for doing good things, regardless if it's out of sentimentality or just duty, doing good is enough to be a good person. While still of course keeping in mind Arei's message that no one is effortlessly good 100% of the time, and simply trying to be as good as you can be and improve on your flaws is enough.
Also, "I did everything so I could have a better life," huh?
Arturo [referring to Felicity's suicide, 2-10]: How is it possibly my fault that I wanted to live my own life!?
Get paralleled, idiot >:D
Wanting better things for yourself can end up having good effects on others (Levi being good to the cast), or negative (Felicity dying), fun contrast.
But I'm beating around the bush. The question I asked earlier, does Levi actually care about Ace?
Well, there's definitely room for interpretation, but my read is... well, not in the usual way. I mean, Levi explicitly says he doesn't particularly care if Ace lives or dies, so that's kind of a giveaway that he still very much does not feel empathy towards him. To better understand Levi's perspective, it might be helpful to analyze the previously mentioned Hu-Nico and Levi-Ace parallels.
Fandom has long since grouped together Hu and Levi as the "parental figures" of the group, and while I don't particularly enjoy applying familial relations to friendships, there's some basis for the interpretation. They both (to varying effect) commonly act as peacemakers and moderators in the context of the group, but have had this position compromised by emotional outbursts (Hu's defense of Nico and Levi's threats to Ace). Hell, there's even parallels in the way people react to some of these outbursts.
Levi [after the previously linked outburst, 1-9]: I'm terribly sorry for that, everyone. Please continue discussing as you were earlier. Ace: So scary!!
Rose [reacting to Hu's "fuck David" outburst, 2-12]: Wow. Hu can be scary.
To be fair the 2-12 outburst is far more justified than a lot of Hu's others, but you get the point.
They both act this way for similar reasons; to control the cast's perception of them. Hu wishes to be seen as reliable in order to feel useful as a way to counteract her suicidal tendencies and self-loathing, while Levi wishes to be seen as a good person for the reasons he states (to live a peaceful life where others do things for him). And in order to do this, they've both chosen to focus on one person in particular to "protect" or help in some way; Nico for Hu, Ace for Levi. The reasons for this are different mind you, but the effect is similar enough.
However, while it's still unclear why exactly Hu is so adamant about Nico in particular, we kind of know why Levi is focused on Ace. Simply put, before the second trial, Ace was sort of the only person who had legitimate reasons to dislike Levi, at least in Levi's mind. Because of the death threat in trial one of course. Most people haven't really expressed an opinion on Levi either way, but they're civil and at least neutral towards him. Hell, Eden even specifically says Levi's a good person after the death threat, and since she's a pretty rational person, it follows most of the cast would see him that way as well, given how quickly they all moved on from the death threat.
Ace was the exception, however. Ace was very explicitly (and understandably) pissed at Levi for the death threat, so he stood as somewhat of a threat to Levi's goal of being seen as a "good person." Levi trying to fix things with Ace is an extension of this goal, and I don't think there's much else to it. Even to the very end, Levi's frustration at Ace doesn't come from a sense of betrayal or sadness or remorse for not being able to stop the murder, or anything like that. Levi only gets frustrated at his inability to understand Ace, which we already knew from his envy of Veronika's psychoanalysis abilities is a point of insecurity for him.
Ace [2-16]: I just needed a reason to stay mad at you, any reason at all, goddamnit! [sic] Levi: Why? Why do you have to force yourself to be angry at me? You just said you know that you're in the wrong, so why do you still do it?! I don't understand. I can't understand you, no matter how hard I try.
Levi, under this reading, still doesn't "care" that Ace is about to die, not in the way Eden felt bad about Min's death for example. He's frustrated that he's trying to be a good person towards Ace, and it isn't working for reasons he can't grasp. More on those reasons in the Ace section.
I am very curious as to how he'll react to Ace wanting to speed up his execution to try and save his life, and I predict Levi will probably try his best to honor Ace's memory and his sacrifice, but as always, out of duty and not sentimentality. Sorry Acevi fans, hope you still find a way to make it work :/
Since we're on the topic (and Ace's section is gonna be long enough as is), I'll talk about the other side of the Hu-Nico and Levi-Ace parallels, the way the "protected" act in respects to the "protectors." The main point of contrast is that, originally, Ace specifically sought out Levi for protection, while Nico never asked Hu for it.
Teruko [1-2]: Since when were you two so friendly? I distinctly recall yesterday a certain someone being terrified whenever Levi came near him. Ace: Whaaaat? Me, scared? Are you just making things up? Teruko: ... Ace: Okay, fine. Yeah, Levi's scary as hell! But I realized that MonoTV is even scarier than Levi! At least Levi is sorta safe to be around. And I like to be safe, you know?
Nico [to Hu, 2-14]: I never asked you to defend me--
Then comes the aspect of "betrayal" in both these relationships, where the roles are flipped. It's Levi who originally "betrays" Ace by threatening him, while it's Nico who "betrays" Hu by trying to frame her with the wire. However, Ace takes this betrayal much more personally than Hu, getting mad at Levi while Hu continues to defend Nico. As a result, Ace gets a bit of a victim complex, while Nico fully acknowledges blame for the murder attempt. Etc.
Okay time to continue with 2-13 because no we're not done with it.
Levi [continued]: After listening to David, I concluded that a good person would also be honest, even if the truth makes them look bad. Ace: You're taking advice from David of all people? Look at this asshole! David: Try looking in a mirror before you talk, Ace. Levi: I thought David was a prime example of a good person. Is he not? David: Wow, you really don't understand people at all, do you. Levi: I don't want to distract you all from this case any further. So, I apologize for this tangent.
Another really cool bit of characterization here. Levi struggles so much with understanding most people's sense of morality that he still thinks David "I actively tried to kill everyone here by pretending to be the blackened" Chiem is a good person. There's also the quick implication that David doesn't see himself as a good person, but I feel we're well past the point where that's news.
We also get the reason why Levi even said all this; he thinks being honest will help him be a good person, and presumably only brought it up after the whole David thing got resolved because "good person" David was (eventually) honest with both his motive secret and the reason he tried to get voted out. Or, rather, Levi thinks David was honest on the latter. Fair ig.
Levi has a few other lines in this part, but the next most striking thing to talk about is, fittingly, not a set of words, but an image.
Levi's protective streak has always been a big part of his character, and now he's literally taken a bullet (or 5) for Teruko. Just for the record, I imagine he'll survive, because there'd be no real point to most of the end of 2-16 if he didn't.
The big question around this is, naturally, why did Levi jump in? Obviously, it's not that he particularly cares if Teruko lives or dies, not from an emotional standpoint anyways. It could also just be Teruko's luck somehow manipulating him the way it seems to have influenced Min somewhat, but I can't see that as the only reason this happened. So, like most people, I believe he feels he owes Teruko.
Teruko [1-2]: No... I should be the one apologizing. It's my fault you got hurt. Levi: What do you mean? Without your warning, I could have gotten fatally injured. I should thank you that my wound is not more severe.
Teruko warning him in the prologue is the most obvious case where Teruko saved Levi, especially since it parallels this scene. Teruko saves Levi from execution, so he returns the favor. However, we also need to keep in mind that, without Teruko carrying, these people would not have made it through the trials, so Levi might feel he owes her for that too. And "good people" repay their debts, don't they?
Very interested in seeing where Levi's character goes from here!
Teruko Tawaki
You know a series is doing something right when the protag has so much shit going on in a trial where she didn't even have strong relationships with either the victim or the killer. Now, a big chunk of her screen time was devoted to crime solving, so her section might end up smaller than Levi's even though I consider her more important, but the order of this analysis is kinda all over the place anyways :v
I'll go in the order of Teruko moments as they appeared, though I'll skip the whole "fix my mistake" thing since I already mentioned it in the Min section.
David [2-12]: Xander is a good person. He's the only good person I've ever known. I swear, I'll follow in his footsteps and-- Teruko: And get everyone killed in the class trial? Xander is a good person? Are you hearing yourself right now? What virtuous reason could he possibly have for trying to kill me and everyone else here? David: I'm sure he had a good reason. I believe that he did. Xander is not the kind of person to do anything for frivolous purposes. Teruko: You *believe* that he had a good reason!? Hah! Based on what? The 3 days you spent with a fan who was too infatuated with the ideal of you to treat you like an actual human-- David: SHUT UP!
She says all this like she wasn't play-acting her Xanruko fix-it AU with cacti, like, two days ago lol.
Teruko Cactus [2-3]: That's right. Give up now, and surrender. Then I'll consider letting you live. Xander Plant: Teruko... I've changed my mind. I promise, I will turn my back on whoever made me do this and stay by your side from now on. Do you forgive me?
I don't actually have much to say about this. Teruko's complicated feelings about Xander aren't exactly news; genuinely angry at him for attempting to murder her, also genuinely upset that things didn't go better. No wonder David's uncritical view of the guy ticked her off.
2-13 had a lot of murder solving from Teruko, which is cool but not crucial for character analysis. Meanwhile, 2-14 had quite a bit more going on.
Rose [2-14]: I... I'm sorry for being useless. Maybe if I tried harder, if I just got over myself-- Teruko: Rose. Don't blame yourself anymore. You are helpful. It's because of you that I can solve this murder. Besides... I'm as much to blame as you. Maybe more, even. If only I listened to you when you said the tape was missing, then maybe I would have realized the truth of this case much earlier. Once again, I've made a stupid mistake. I simply wanted to believe that I could make it through this killing game without relying on anyone else. That I could be dismissive of everyone around me without consequences. So I refused to listen to anyone other than myself. I thought that if I did that, then I could avoid a repeat of the last trial, where I had made the mistake of trusting people too much. But now I'm making different mistakes instead. Again and again, I keep messing up this class trial with hasty assumptions and overlooked evidence. So... Rose: ... Teruko: ... Thank you, Rose.
Yuri stays winning.
Again, it's hard for me to add any commentary when Teruko's just... explaining all the themes out loud. We go back to the idea of Teruko fixing mistakes that she seems to have taken to heart from Min's CH1 breakdown (YURI STAYS WINNING), which ties into the idea of self-betterment that Arei's scene conveyed; and we basically have Teruko stating a reworded version of her secret quote, "It is an equal failing to trust everybody, and to trust no one at all." It makes me wonder how Teruko will behave moving forward. Will she trust a few select people? Will she continue to keep other's at arm's length, but being slightly more open? Well, based on what she does with Eden, it seems Teruko is willing to trust select people until the situation merits distrust, which is a pretty solid way of looking at things.
Speaking of that.
Eden [2-14]: I just wanted to help Arei... I didn't kill her... Teruko: You know I can't just take your words at face value, Eden. Eden: Please, Teruko... You're my friend, aren't you? Friends help each other... So please, help me... [...] Teruko: Eden. Eden: *sniffing* Teruko: Eden. Pick up your head. Look at me. At this point in the trial, since I've narrowed Arei's killer down to just two suspects, I'm going to pursue each suspect individually under the assumption that they're the killer. That way, I can see if any evidence matches up to them only. [...] So for now, I'm going to assume you're innocent. Eden: W-What? Really? Thank you so much, Teruko... Teruko: Don't... get me wrong. This isn't out of kindness or pity or anything else. This is only because you helped me in the last trial. I'm repaying your favor, and nothing else. That's why I'll trust you, just this once. Eden: Teruko... T... Thank you, Teruko... Teruko: ... Let go of me.
YURI STAYS WINNING!!!
That's what I was talking about. Choosing to trust Eden over Ace, but being willing to turn suspicion on the Clockmaker if Ace turns out innocent. A very reasonable approach! We love character development in this house.
That said, Teruko is still being a bit of a tsundere, with the whole "repaying a favor" thing. Levi parallels anyone? Well, not exactly, since Teruko does feel empathy towards Eden, but close enough. What's more interesting is that Teruko is using the exact transactional logic that Eden warned her against, which is intriguing setup for the future when it becomes more undeniable that Teruko is definitely not doing this just to repay a favor.
Also, the Trauma remains. Teruko telling Eden to let go fully completes the parallel to the Min scene, where she says the same thing (among others). I imagine our girl won't be too receptive of hugs for a while.
Before we get to the next big moment, real quick, we gotta fulfill our "Teruko's life is miserable" quota.
Teruko [to Ace, 2-15]: And three. You took the tape for first aid. Arturo: That's ridiculous. Who uses non-medical tape for first aid? That's sickening. Teruko: It's not that weird. I do it all the time.
Alright quota fulfilled. Let's move on. In this case, I'll skip to when Teruko gives up on the "show me your injuries Ace" line of reasoning.
Teruko [2-15]: No. It's fine. That's not a very fair line of logic, so forget it. You were almost murdered, after all. I should have understood that.
I don't know why Teruko really thought this line of logic was even worth following in the first place, but it makes sense for her character to ignore Ace's possible emotions in favor of the trial. But it's also cool to see her backing down when she realizes the harm she may be causing, especially as someone who has very notably hid how much her own murder attempt affected her, and in particular the wound that came from it.
Teruko [2-15]: The point of this trial is to determine who the killer is, not to determine every single little detail of what happened. It doesn't matter that you're not convinced. It's not going to help you, nor change your fate. No matter how you feel or what you think, nothing will change. [...] I've been fighting this entire trial to find the truth using real evidence. And when I make mistakes, I own up to them. What have you contributed? Show me some concrete proof of your innocence. Otherwise, shut up and stop wasting everyone's time. Ace: ... Teruko: Are you silent now? What happened to all those things you were shouting earlier? Don't you have anything to say for yourself? Ace: ... Teruko: Any evidence, any deductions to show that you're innocent? Come on, Ace! Don't you want to live?! Defend yourself!
So, a few things. First, regarding that second paragraph. "It's not going to change your fate"? "Nothing will change"? We'll circle back to it, but it seems Teruko is projecting how she feels about her own fate (before the Levi incident at least) on Ace. You could even say-
Literature Girl Insane: Even if we cry make noise shout go mad - this world won't change!
The foils ever.
Anyways, I assume that's why Teruko gets so worked up over Ace remaining silent. She sees a bit of her situation in trial 1 (almost murdered, suspected as the killer) in Ace, so her emotions run high with both the frustration of a long trial and the bad memories this is probably bringing up. At least, that's how I interpret it.
Also another mention of correcting mistakes, which shows up one more time before the episode ends, which I already mentioned as being tied back to Min and Arei; alongside with another "fate" drop. "Fate" is becoming the new "good person" isn't it :p
Teruko [2-15]: Confront the mistakes you've made. Then accept death. That's the fate of everyone who choose [sic] to participate in this killing game.
Also I find it endlessly funny that Teruko's reasoning for the Closing Argument being necessary reads a lot like "this is a DR trial we gotta do this, it's in the contract." Consider me amused.
But I've beaten around the fate bush enough. Let's get all of that over with in one fell swoop.
Teruko [2-16]: It's just... misfortune. That's why Ace killed. That's all.
Teruko [regarding her execution, 2-16]: What's the point [of running]? I should have known this would happen. [...] Even if I shield myself behind others, even if I search for an escape, it always comes down to this. I have to face the consequences of my actions. There's no escaping that. [...] Arturo: What are you talking about?? You're going to be killed!! Teruko: Killed? I doubt it. As if something so kind could happen to me. [...] I won't die, even if MonoTV puts a hundred bullets in my body. I'll only be badly injured. Possibly lose a body part. Maybe I'll even end up in a coma for months. [...] But I won't die. I never will. There's nothing I can do but accept my fate. It's what I deserve, after all. [...] I was perfectly willing to get shot. I thought I didn't have to care about what happened to other people, and especially not about what happened to me. I thought that if I lived alone and died alone, nothing would stain my conscience. Even if that was a selfish way to live. But even so...
Teruko [to MonoTV, 2-16]: Can you really say it's fate's fault for everything you've done, and pretend that you hold no blame in the matter? I have always said that my misfortune, my personality, the choices I make, everything was all a product of a bad luck that I can't control. That I grew up in such terrible circumstances, so I was destined to grow up to be a terrible person. That everyone else abandoned me, so it's not my fault that I'm alone. I want to say it's fate's fault, and that I had no choice in the matter. But, even so... Even so... Everyone. Xander, Min, Arei, Ace. Maybe even Levi. Is it my fault that they died? [...] MonoTV: You have to decide the answer for yourself. Teruko: Whether it was the fault of fate, or my fault... I already knew the answer. I had known what the answer was since a long, long time ago.
Alright I made myself sad, so something's been achieved, I guess. Poor Teruko :(
Just to start somewhere, we get confirmation of Teruko's suicidal tendencies in the present, which was already implied strongly enough, but now she straight up says she considers death something "kind to her." Just sad in general, but I wonder if there will be some discussions of it with the fellow suicidal characters like Hu. In fact, I wonder if that's the reason that Hu was the one to see the scar on Teruko's back during 2-2; so she'd have a vague idea of Teruko's backstory for some interaction in the future.
But the main point of these scenes is Teruko's relationship with the concept of fate. She basically goes through an entire character arc from the moment she says Ace's murder was just misfortune to right after Levi jumps in to save her. Basically, she used to blame fate (or "bad luck") for everything she did and what happened to her, thinking that just accepting this fate would allow her to live more easily. Especially noticeable because part of her "bad luck" is being betrayed, which gives way to her trust issues.
Teruko [2-2]: If I get in a car, it'll crash. If I stand in a construction site, it'll crumble to dust. If I trust others, they'll turn their back on me.
Hence her internal monologue about "living so nothing stains my conscience." If everything that happens to her is fate's fault, then she doesn't have to change, she doesn't have to confront her faults. Even when she talked about accepting the consequences for her actions, it was always in the context of accepting her fate. If she just accepts whatever consequences her actions bring, then she can excuse herself from fighting back against that, which is an easier way to live, but as she says, could be considered selfish. What's easier for Teruko is not always best for others, exemplified perfectly by Levi protecting her; Teruko chose not to fight her fate, and it got Levi hurt. Funnily enough, this somewhat parallels Hu feeling selfish for not sharing her secret, which is fun contrast. Hu is more justified in not sharing her secret, so it shows that feeling selfish for doing things that are good for you can be pretty bad. Meanwhile, Teruko shows that not taking others into account can also end up hurting people.
Of course, the whole "not fighting fate" thing also obviously parallels Mr Literature Boy Insane's feelings on the whole thing, to the point where they have practically the same character flaw. Believing themselves and others unable to change as a result of fate is the way they try living with themselves, because of the whole self-loathing thing, but that means they're resistant to changing their flaws. MonoTV says similar things, but it's a machine so it's not so much a flaw as just the nature of its character. It was a flaw Arei had, though, but she grew out of it through Character Development, similarly to the way it's implied Teruko is growing out of the "all fate's fault" mindset in the last inner monologue. You might also notice that tying fate into self-betterment allows you to draw a connection to the theme of admitting mistakes and fixing them, tying to Min who is also connected to the concept of fate through her entire backstory of being "destined" to be the Ultimate Student from the moment her family accepted XF-Ture's Tech contract, and obviously Min contrasts Xander who is all about fighting fate as the Ultimate Rebel, and that's without mentioning all the other "fate" bullshit going on and-
Yeah you get the idea. Too much peak for me to write it all out.
Very excited to see where Teruko's character goes now that she's not going to blame her bad luck for everything now. I worry she'll swing too hard the other way and end up blaming herself for things she shouldn't, but oh well, that's just more character development to be had.
That was the biggest Teruko thing, but there's still more to cover.
Teruko [to Ace, 2-16]: If you can't [attack MonoTV]... If you can't do that, then tell me, why did Arei have to die?! Ace: ... Teruko: It's because unlike Arei, *you* couldn't make amends with the people you made enemies out of. *You* were too scared to confront the people you hurt, say you're sorry, and promise to be a better person. So instead you took out your own personal problems on other people by murdering someone who had nothing to do with you! Arei died because you're a coward, Ace!
Uh... someone's projecting~
Teruko [already linked, 2-2]: But if you start talking about me and saying that I could be a good person if only I make an attempt to change, then I'm going to stop you right there. Don't say that I could be a good person, because all it'll do is make me feel bad that I'm not.
Damn it's almost like she hates herself because she already knows deep down that her mindset is flawed and so when she sees someone else behaving like she does/did she gets upset at them that's crazy :O
(I mean it's not 1:1 because Teruko never did anything as bad as Ace, but the point stands :v)
Final note, as always, voice acting was peak, just that there's too many good examples to point them all out one by one. Same with Levi btw, I think I forgot to mention it in his section.
Teruko continues to be probably my favorite protag of any DR or DR inspired story, though as always I'm working on a small sample size. Really excited to see her development in the future!
Ace Markey
Well if it isn't the man of the hour! It's only natural the blackened gets to close things out. Let's do the same thing as we did with Teruko and go by (mostly) chronological order.
That includes the quick, retrospective observation that a lot of Ace's behavior in the trial and investigation now needs to be re-analyzed with the understanding he's the blackened. It mostly just adds an extra layer to Ace's constant accusations towards Nico, though, since Ace didn't really do much most of the trial. The only other notable thing he did was revealing David's secret, and even then, nothing too big. I know it's a bit silly to go so hard on Nico when David is almost easier to frame, but this is Ace we're talking about. He's emotional and not quite the most strategic, so nothing weird there.
Although, speaking of Ace knowing about David's secret, why did he not hear the end of the Arei-David conversation? I doubt he's hiding it, because he doesn't really have a reason to, so apparently he just, like, left. I guess he just didn't care enough :p
Finally getting to PT 2 itself, we have a 2-13 speech we skipped earlier, don't we?
Levi [2-13]: I don't personally care what happens to Ace. Whether he lives or dies is none of my concern in the end. Ace: ...?! Levi: But it is a "good" thing to make sure someone else doesn't die, even if I personally do not care about the outcome. I truly believe that. But I adhere to that principle out of duty, not sentimentality. Does that make any sense? Ace: You... Hah. Hahaha. You-- You fucking piece of shit. Levi: ... Ace: I was right all along. That you felt bad for me... That you actually wanted to help me... That even if everyone here treated me like shit, there was at least one person who still cared about me... That shit's too good to be true, isn't it? Yeah, good thing I didn't fall for that in the slightest. Not one bit. I was totally right all along to burn our friendship-- No, I can't even call it "friendship." There's only one person in my whole life who I've ever been able to call my friend. That I ever thought, even for just a short time, that you and I were "friends" is an insult to his memory. I probably sound real pathetic admitting that. But I'm not nearly as pathetic as you. After all, you're a piece of trash who probably has never had a single friend in your life. Levi: ... Ace: Got nothing to say to me now? That's fine. Hey, Levi. I really hope you fucking die.
Okay there is... so much to unpack there. Let's... start by the smaller thing, which is the Taylor Riley drop in "there's only one person in my whole life who I've ever been able to call my friend." This guy's name was revealed in a now deleted CH2 PT1 QnA answer, alongside with the name of a friend of Veronika's who gave her her green triangle earring, Alyssa Belyaeva. We got main series confirmation of the name in one of the graves of Thanatophobia, alongside the names of Elliot Cuevas and Felicity Giles.
We know... zero about Taylor, apart from the fact that he was Ace's friend and is now very evidently dead. Thankfully, we get a bit more context on his death by one of Ace's comments:
Ace [2-16]: Execute me right now, you hear me, MonoTV? MonoTV: ... Ace: Because... Because Levi is gonna fucking die, and I'm going to have a third goddamn death on my hands!
Third, huh? Arei, the hypothetical Levi death, and presumably Taylor. Sure, the third could be Ace himself, but I feel the line makes a bit more sense with Taylor.
So, Ace blames himself for the death of Taylor. Given he liked the guy, probably not intentional murder, but who knows what the hell he did. At this point, we really have no way to deduce the way Taylor died or how Ace could have caused it somehow, though. Maybe we'll get some answers in the Bonus Episode? Hopefully :p
But that's the easy part. The hard part is Ace's feelings towards Levi. Immediately, we can tell the whole "I never thought you cared about me, not one bit" thing is a complete lie, not just because the line itself is extremely unconvincing, but because of something Ace says later in this episode.
Ace [to Levi, 2-13]: You piece of shit. I can't believe there used to be a time I actually liked you.
So, yeah. Similarly, based on the fact that Ace wanted MonoTV to speed up the execution to try and save Levi's life despite his fear of death, we can infer that Ace is also lying when he tells Levi "I really hope you fucking die."
No, Ace really does care about Levi. For the reason stated at... some point in this analysis; Ace feels safer around Levi. And that creates a bit of a problem for him, because if he wants to escape the killing game, he's gonna have to kill Levi to do it. It's unclear if that's the reason he originally pushed Levi away, "burning their friendship to the ground" in his words, or if he just didn't want to trust him after the death threat in trial 1. However, guilt over trying to get Levi killed is definitely part of why he says this:
Ace [2-16]: I knew... I knew that I wasn't allowed to call [Levi] a murderer. I had no right to act betrayed, because I was the one who betrayed everyone. But still, I...! Levi: Why-- Ace: But still, I--! I don't care what it was! I don't care if it made me a hypocrite! Even if I was completely in the wrong, and even if it made my life worse! I just needed a reason to stay mad at you, any reason at all, goddamnit! Levi: Why? Why do you have to force yourself to be angry at me? You just said you know that you're in the wrong, so why do you still do it?! I don't understand. I can't understand you, no matter how hard I try. Ace: Good! Stay that way! I hope you never understand me, even after I'm buried a billion miles deep in the ground and you're weeping at my grave, you piece of shit!
Ace tries very hard to find reasons to hate Levi because he's afraid of growing close to anyone in the killing game, mostly because he thinks he'll be betrayed, but by the point he starts plotting murder, also because he's trying to kill them all. Being close to them is a good way to feel more horrible about himself than he already does.
To be clear, the reason I say the first reason is more important is because I think I can more or less pinpoint the moment Ace starts thinking about murder, and by that point he's already trying to cut Levi off.
Ace [2-2]: In this killing game, everyone is out to get me. Especially people who love picking fights with me, people like you [Teruko] and Levi. I can't believe I wasted my time with all that dumb shit like arm wrestling and running around screaming at meaningless stuff. I was fucking stupid to not take this killing game seriously from the start. I'm done with being everyone's kickable scaredy cat. The only thing I should do is look out for myself and myself alone.
Well he sure did take the killing game seriously after this point now didn't he?
Obviously, this is a pretty direct parallel to the way Teruko tried pushing everyone away in this chapter, and the way David pretends not to care about Arei after the magical girl transformation. More on this whole thing in a bit.
The relationship between Levi and Ace is one of contrast. Levi, who doesn't actually care about Ace the "usual way", chooses to try to get closer to him. Meanwhile, Ace cares about Levi maybe too much, and his fear of this attachment drives him to push Levi away. The yaoi truly is doomed with this one. Moving on.
Ace [to Nico and Hu, 2-14]: You two are a real fucking joke. It would have been one thing if Nico gets away scot-free with trying to kill me, but now they apparently also have a fucking defense brigade to shield them from even having to think about the fact that they're a murderer. Who's gonna stick up for me, huh? No one. Because I have a spine and I don't need other people to lie to me constantly to keep me happy.
Ace [to Nico, 2-14]: You tried to murder me. You fucking tried to murder me! And after all's said and done, you can't even say something as simple as "sorry"?!
Ace [to Teruko, 2-15]: Were you convinced by Eden because she had a little sob story ready? Should I start crying and wailing too to change your mind? Teruko-- No, everyone here. You're always attacking me for stupid reasons. Everyone always has it out for me. That pisses me off. All of you piss me off.
Ace [2-15]: You all actually think I'm too goddamn stupid to accomplish anything? Do you really think I'm 2 seconds away from choking on my own spit and passing out?
This is where we start to see Ace's persecution complex on this part, which was already alluded to in the previously linked 2-2 Ace quote. He thinks everyone is out to get him, and to an extent, he's not horribly wrong. Very few people in the cast have favorable opinions on Ace, and he knows that if he gets revealed as a murderer, that "few people" will likely turn to "no one." I mean, not even Levi wants to defend him.
Ace [2-15]: Hah... I expected everyone else to get on my ass, but for you of all people to think I'm the murderer... What happened to ever wanting to make things up, huh? Besides, between you and me, we both know who's really a murderer.
And hell, Nico's already tried to kill him! Ace is the victim in that situation, even if he did "start it."
Which gets us to one of the most interesting moral quandaries this trial presents us with, Milgram style. Because the thing is, Ace has given the cast reasons to dislike him. Ever since the start, he's been confrontational, insulting, and just generally not the most delightful person to be around. Especially to Nico, who he specifically targeted to bully. Obviously it doesn't justify being horrible to him back, including things like Hu's slap and Levi's death threat, and especially Nico's murder attempt, but... well, if people don't feel about Ace the same way they feel about some of the calmer cast members, there's a reason for it.
How justified is the cast in the things they say about Ace? How much of it is Ace's responsibility, and how much is it the cast's? How much responsibility do they hold for creating the hostile environment that pushed Ace into murder? How does the mastermind and the killing game itself factor into this valuation? These are all interesting questions the series asks us to ponder on, and by their nature don't have any one right answer. Especially because "blame for a thing that happened" isn't a number that can be evenly divided by percentage, it's a very complicated and subjective thing. J puts it pretty well in her speech to Ace in 2-15, giving her perspective as well.
J [2-15]: Maybe I was too harsh on you. Me and everyone else here, I don't think a single one of us stopped to think where the breaking point is. ...But. Murder is unacceptable, no matter what. Your problems might be awful, and they might be the worst in the world, but they're still not so bad that killing 13 people is acceptable. You can't be forgiven as a murderer just because your life sucks.
My personal opinions on this are probably best saved for when we get the full picture in just a moment.
And speaking of the full picture, since Ace's persecution complex feeds into his fear of death, why don't we skip right into the big speech?
Ace [already linked in the Hu section, 2-15]: ...... God damn it. I'm such a piece of shit. [...] You're right. I'm screwed. There's no way I'm making it out of this trial alive. I just... wanted to stall for time. I'm scared of dying, I really am. [...] I killed Arei. That's exactly right. Shit, it sounds really bad when I say it out loud. [...] Hu: Did you kill Arei because of MonoTV's motive? Because you wanted to keep your 'secret' hidden-- Ace: Hell no! I don't give a damn about that motive, or my dumb little secret, you idiot fuckwad! Who do you think I am, you?! *sigh* That wasn't why I killed her. I was scared of dying, that's all. [...]
Quick thing, but I think it's cool that the motive really had jack shit to do with the murder. Hate to bring the guy up so much, but it helps make David's "plan" of revealing all the secrets unequivocally wrong, which I feel is important for some of the themes of the chapter. In particular, the idea that gets pushed that everyone should be allowed to reveal their secrets at their own time, aka privacy is important. Nico's public secret reveal happened before they were ready to share, and that was a bad thing, after all. And a lot of the conflict in this chapter came from MonoTV giving the motives in general.
Ace [continued]: I'm definitely going to die in this killing game if I don't escape. Everyone hates me, right? Because I'm a volatile asshole who can't help but pick fights and make people mad at me. Veronika was right. If pushed to kill, everyone would feel the least guilt if they killed me. They might even have some sort of grudge. I wouldn't be surprised. When Nico tried to kill me, that just confirmed it. There's a part of me that's a little pissed that Nico didn't succeed back then, because that would have saved me the trouble of having to go through this stupid-ass farce. Although I'd be real fuckin' pissed if they *did* successfully kill me. I'm kind of pissed at Nico for trying to kill me, either way. Nico: ...
Interesting to hear part of Ace wanted Nico to succeed. It certainly speaks to a great level of defeatism, where everything is horrible and death would be preferable, which parallels Teruko nicely. That defeatism for Ace comes partly from the persecution complex discussed earlier, and some other stuff we'll talk about in a moment.
Ace [continued]: But still! If I didn't kill someone and escape... then I was going to die. I'm fucking terrified of dying! I can't sleep at night because I keep thinking about how I'm going to die young in this goddamn killing game! I didn't want to die! I want to live. Just like everyone else. Live, and escape this killing game, and go back to my shitty life where I can't do anything on my own because I can't control myself. Back to that life where I can't do anything but a sport that I hate because I suck shit at everything else. I was forced into that fate, to kill someone because I'm scared. It was either that, or I would be killed first. There were no other options for me, because I'm a coward who can't fight my own fate. [...]
I think an underrated part of Ace's character is just how much damn symbolism is hidden in his talent.
The first connection is the more or less obvious "if I didn't kill someone, I would be killed first" mentality, where Ace literally views the killing game as a race to be the first blackened to get away with it. But that's almost an extension of the other connection.
You hear it from him here; he feels he completely lacks control of his life, that it's all decided by a fate he can't control, the same way that a jockey doesn't walk on their own, but rather is carried by a horse to their destination. And it's no wonder that this feeling of lacking control is referenced in his secret quote, "I don’t know what to do with myself anymore." After all, it's this feeling of lacking control of himself and his situation that causes him to seek control of anything he can, be it bullying Nico because he sees them as an easy target, distancing himself from others because it's easier to control his feelings that way, killing someone because it's the only way he can control his place in the killing game, or anything else I might be forgetting.
And this fear of lacking control is probably part of his fear of death, isn't it? Because no one can control what happens after death. Maybe yes, maybe not, but regardless, Ace's thanatophobia is pretty evident. I mean, it's the name of his execution, and it's a fitting one. Ultimately, Ace's fear of death is what gets him killed, both metaphorically because it's the reason he became a blackened, and literally because he dies of a fear-induced cardiac arrest. That, alongside with the incredible art and banger music, is why I consider Thanatophobia one of, if not the single best DR style execution I've ever seen. Simply peak.
Ace [continued]: Do you think I give a crap about you all? Why would that matter to me? No one gives a crap about me either! None of you even respect me enough to think I was capable of killing Arei! In fact, that made me feel way less guilty about killing-- [J makes her anti-murder speech] Ace: ... I know that [I can't be forgiven]. I'm the one who murdered Arei, so of course I know that. Arei... She was a piece of shit too. Just like me. Even if she said all that nice bullshit to Eden, there was no guarantee that she really was going to change and become a good person. Maybe if she lived, then by tomorrow she'd be right back to her annoying bitchy self. ... But at least she was trying. And I can't even change one thing about myself. Not my shitty job, not my shitty personality, nor my shitty life. I really am a piece of shit, huh?
At the end of the day, Ace is his own worst enemy. What really gets Ace killed (apart from the already mentioned fear of death) is the inability to change, to see the flaws in the way he behaves himself and try to better himself. Or, rather, he does see the flaws, he knows he's a target of the killing game because of his aggressiveness and that he drove himself into a corner out of fear, but he considers himself incapable of changing that. Changing is difficult, and Ace is scared to even try. Like he says, maybe Arei couldn't have managed it either, but she was trying. And that's what ultimately separates the two.
In case it isn't obvious, my take on who's to blame for everything that happened is pretty much squarely on Ace. Sure, there were things the others did to Ace which aren't justified, but you can't blame people for disliking someone that knows he's unlikable and cannot find it in himself to try to change that. Arei tried to change; she died a good person. Levi tried to make amends for trial 1; he's a good person too. The tragedy of the situation is that Ace himself could have been a good person too, because everyone can be, but it's a decision that must be made, as Eden put it earlier in the chapter. And it's a difficult one, too difficult for Ace.
Teruko, David, all these people... they can also be "good people," in the sense of always trying to be "less shitty together" in Arei's words. Ace is a cautionary tale of how not doing so can end up really, really badly.
Which is the setup for Teruko and David's continued foiling, isn't it? Teruko will presumably look at all of Ace's flaws (lack of trust, unwillingness to change, accepting fate without fighting it) as pitfalls to avoid, because of how similar the two of them acted in CH2. Meanwhile, David, since he heard Arei's speech and knows just how hard she tried to change, will see those same flaws as strengths. In his eyes, Arei died because she trusted the note, because she tried to change, because she tried to defy her nature. At least, that's my prediction. Where all of that will go is anyone's guess.
But, how do we know that Ace could have been a good person? How do we know that it isn't David who is right, that neither Ace nor Arei could have ever gotten better, had they simply tried? Well, simply put, because in the end, Ace does start changing. As a final, tragic note, Ace's ability to confront fate and try to correct his flaws only surfaces when it's far too late. And not only when he punches MonoTV, though that also is a good example of it, but also when he chooses to face execution quicker in an attempt to save Levi.
Ace [already linked, 2-16]: Execute me right now, you hear me, MonoTV? MonoTV: ... Ace: Because... Because Levi is gonna fucking die, and I'm going to have a third goddamn death on my hands! Arturo: E-Even then, there's no guarantee that he'll live--- Ace: Shut up! What the hell are you talking about? Aren't you a surgeon? Can't you fix him? Arturo: I--! I'm not that kind of surgeon! I've told you, over and over, I have no experience with saving lives! Something like this! There's no way I can do it-- Ah! Ace: SHUT UP! Shut up, Arturo! You *can* save his life! Shut the fuck up! Stop saying you can't do it, because you can! Don't you understand? I'm going to die right now, and you're going to live! So decide whether you want to at least *try* and put in some fucking effort for once, or keep making excuses for yourself like a sniveling coward for the rest of your life. I don't even get to make that decision anymore! Stop complaining, you whiny little shit! Grow some fucking balls and save someone's goddamn life, asshole! Because you can!
There's layers to Ace's shouting barrage at Arturo. Obviously part of it is just Ace trying to convince himself that Arturo can save Levi so he can die with a relatively clearer conscience, but there's also a sort of self-awareness of Ace's faults in the things he says. Try swapping "save Levi's life" for "be a better person," and pretend it's being said to Ace by someone else who is about to die.
You *can* [be a good person]! Shut the fuck up! Stop saying you can't do it, because you can! Don't you understand? I'm going to die right now, and you're going to live! So decide whether you want to at least *try* and put in some fucking effort for once, or keep making excuses for yourself like a sniveling coward for the rest of your life. I don't even get to make that decision anymore! Stop complaining, you whiny little shit! Grow some fucking balls and [be a better person], asshole! Because you can!
Because moments ago, it was Ace who was making excuses like a coward for why he felt he would never be a good person, and why he had no control over his shitty personality that made everyone hate him and made him a target of the killing game, etc. He never put in the effort to change because he thought it was pointless, that he was unable to, and didn't realize the falseness of that preconception until he was faced with death. Seems I was on the right track when I connected his thanatophobia to his issues with control; death robs him of the decision to try and be a good person ("I don't even get to make that decision anymore!"), which he hadn't even realized he had until that moment.
It's no wonder Ace was a popular survivor guess; he could have changed, could have been a good person. And despite the harm he's caused, the way he robbed Arei of the opportunity to do what he couldn't and attempt to change, the intention he had of killing everyone in the trial, his death remains a tragedy for the hypothetical of what could have been. Maybe if Levi had managed to properly reach him the way Eden reached Arei, this could have all been avoided. But alas, Ace didn't accept the hand strectched out to him, and now it's too late to fix things.
I said during my reactions that I felt just as emotional during Ace's execution as I did with Min's, which was certainly true and very impressive given my massive bias towards the Ultimate Student. And while I can't say that I'll miss Ace as much as I miss Min (because come on), I'll certainly hold him close to my heart for as long as I live regardless.
As a final note, holy shit the voice acting. If I pointed out every line where the acting for Ace was spectacular, I would be here all day. I doubt I need to elaborate on this; the sheer perfection of the performance should be obvious to anyone who can hear it. Godspeed Seth Raffield, you truly were incredible. Can't wait to hear what you do in the Bonus Episode, provided there is one.
---
I am free! Holy shit that took way too fucking long. I need to figure out a better way to do this shit for later chapters, because geez. You have no idea how much Tumblr's drafts lagged because of this shit, I had to write the final sections in different drafts and copy paste them over because it was unbearable. Not to mention hitting the goddamn link limit which is just clinically insane from me. Anyways, if you somehow managed to read all of that, I feel genuinely sorry for you. You know you can be a good person if you try, right? There's no need to punish yourself like this.
I'm being silly, of course. Thanks for reading, hope you enjoyed!
#drdt#danganronpa despair time#drdt spoilers#david chiem#teruko tawaki#eden tobisa#ace markey#levi fontana#min jeung#arturo giles#veronika grebenshchikova#j rosales#nico hakobyan#whit young#charles cuevas#monotv#drdt analysis#arei nageishi#rose lacroix#hu jing
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How to Make your Writing Less Stiff 4
Let’s keep this train rollin’! This time less down to line edits and more overall scope of your narrative
Part 3
1. Foreshadowing
Nothing quite like the catharsis of accurately predicting where something’s going to go. It doesn’t have to be a huge plot twist or a character death, it can (and should) be little things that reward your audience for paying attention. Double points if it adds to rewatch/re-readability.
Example: In The Dark Knight, this exchange happens:
Harvey: “You’ve known Rachel all her life.”
Alfred: “Oh, not yet, Sir.”
You won’t think anything of it on your first watch. Alfred is just making a witty joke that throws Harvey off. Watch the movie again, when Rachel dies, and it becomes some incredibly dark foreshadowing. Turns out Alfred has, actually, known Rachel all her life.
2. Chekhov’s Gun
Chekhov’s Gun is a narrative concept where a seemingly inconsequential element introduced at some point in the narrative (a gun) must “fire” by the end of the narrative. Sometimes this element leaves audiences uneasy or anxious, because they know something bad must come of it. Sometimes they think nothing of it until it’s about to fire and you get a one-two punch of the realization that it’s about to hit, and then the impact of the hit. It helps create tension, and tension is incredibly important (if you want a whole post of my take on it, lmk).
It also helps your narrative look more cohesive, where nothing is left on the table. Your set-ups and payoffs leave no threads dangling.
3. Repetition
The Rule of threes can apply on a micro and macro scale. I like doing lists of adjectives in threes, (e.g. My cat is soft, fluffy, and adorable) because the cadence and the flow of three is something we’re familiar with in spoken language. We like three supporting examples for an argument. Any less doesn’t feel strong enough, any more feels like you’re trying too hard. This is not a rule it’s a suggestion.
On a grander scale, you can look at the script of Curse of the Black Pearl for a masterclass in macro rules of three, like three parlays. Doing this helps your narrative look more cohesive and like every detail is thoroughly interwoven and nothing is coincidence. Your audience will get to the third instance and mimic that DiCaprio pointing meme—they will absolutely notice.
4. Motifs
Motifs as well, beyond threes, help. Colors are a huge one. For example every time you mention the color purple, you could attach it to an emotion, or a character, or an important plot beat, like how leitmotifs work for character themes in movies and TV shows.
Obvious examples in film are like lightsaber colors or dressing up the good guys in white and the bad guys in black. I did this whole post about color in fiction.
It’s a lot of other things too. Weather elements and times of day, or specific inconsequential objects popping up over and over again, like birds, or litter, fallen leaves, clothing items. Whenever the narrative mentions them, the author is trying to clue you in on some subtext within that scene.
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My new novel is here!!! Do you like supernatural fantasy? How about queer vampires? How about acespec characters? Then Eternal Night of the Northern Sky is for you!
#writing#writing advice#writing a book#writing resources#writing tips#writing tools#writeblr#foreshadowing#chekhov's gun#motifs
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I'm starting to get the sneaking suspicion that Rick Riordan treated the Magnus Chase books like side pieces to the Trials of Apollo. Because this trilogy does not feel nearly as well put together as the Kane Chronicles. The Kane Chronicles was a book with minimal connections to his other books. They work as beautiful standalone pieces of literature. The Magnus Chase books don't. Percy Jackson is in the last book. Annabeth Chase is in all three of them. The books always end with hints to the Trials of Apollo, etc. It paints a bad picture.
Also, the Magnus Chase books feel more haphazardly pieced together. In the Kane Chronicles, every character and plot point made sense. Set was chaotic and evil, but he wasn't the apocalyptic big bad like Apophis. He even helped our heroes. He was multifaceted. Miquel Desjardins was a man who valued traditional values and the old ways, but he still died trying to save the Kanes. This antagonist gave his life to save our protagonists, because he learned the error of his ways. That's beautiful. Sadie Kane can sometimes be abrasive, but she always means well by her brother and her friends and family.
The Magnus Chase books do not have that nuance. Alex Fierro is meant to be likeable, but half of their scenes involve them just teasing Magnus or calling him rude names. They don't show their warm side the way Sadie Kane did, and it makes their scenes feel very uncomfortable sometimes. Also, we don't have any villains like Set in the Magnus Chase books. Loki is just the big bad, without there being anything worse than him. But since Loki behaves almost exactly the same way Set did, you half expect there to be something more going on besides just one god's revenge quest. But there's nothing else. It feels simplistic, in a way that I can't quite say I love.
Also, the Hotel Valhalla is not explained nearly as well as the Egyptian afterlife was. Rick Riordan pretty much said that everyone sees what they want to see after they die. That did lead to a bit of a cruel remark about atheists just losing existence after death, but I can forgive him that one (mostly since his explanation in the Kane Chronicles was the only good afterlife explanation he ever gave). He pretty much talked about how the afterlife is different for everyone. It's personalized based on faith. So that was an explanation I liked. Mostly because it means that i don't have to go to the greek afterlife (which rick riordan always portrayed so horribly).
So, I really am starting to think that Magnus Chase and the Gods of Asgard was a series Rick Riordan haphazardly put together. Don't get me wrong: I still like it. There are still good scenes and elements. But it feels less cohesive than a lot of his earlier books. And no judgement on Rick. The man pumped out around 20 books in 12 years. That's impressive. It might explain why I find some of his later books slightly worse, too.
But again: this isn't meant to be severely judgemental of Rick. I still like his books. And I definitely like him as a person. Well, in the one way can like a celebrity they don't know very well as a person. He just seems like a nice enough man. I've never meant him, but he seems pleasant. So I mean so disrespect when I criticize his books like this. I just need an opportunity to get everything off of my chest.
#i don't mean to be overly critical of rick riordan#but i just feel like there's wasted potential here#i hate it#magnus chase#magnus chase and the gods of asgard#mcga#mcatgoa#mcga series#rick riordan critical#i like him#but i still have my critiques#rr critical#rr crit#books#reading#books and reading#readings#reading and books#mcga critical#sort of#the kane chronicles#tkc#kane chronicles#pjo hoo toa#pjo#hoo#percy jackson#heroes of olympus#percy jackson and the olympians#percy jackon and the olympians
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THE FANTABULOUS FUCK-UPS OF FANTASTIC BEASTS
Tagging @keepmeinmind-01 , as promised. Thank you for the lovely ask, friend 😁🫶
Alright, so to start off, I just want to get this out of the way: Fuck JK Rowling, trans rights are human rights, free Palestine, black lives matter, and bigotry of any kind is an absolutely disgusting use of free will.
I was going to throw all of my issues into the answer to your ask, but I got part way through the first section and went, "This is a lot. Maybe I should just make a post." So here we are.
I'm going to be breaking this post into sections, just to keep it a bit more cohesive and less wall-of-text-y. First up:
MAJOR PLOT HOLES AND INCONSISTENCIES
(More under the cut 😁🫶💝)
There is absolutely no mention of Credence at all in the original books. If he was such a pivotal character, especially one related to the Dumbledore's, how did he just disappear into obscurity (no pun intended) by the time the main series took place?
Gellert’s “Your brother abandoned you” comment at the end of CoG makes no sense. If Aberforth is the father, that would make Albus an uncle… and if Grindelwald knows oh-so-much about the Dumbledore family, you’d think he would know enough to not make that mistake
Jacob in Hogwarts is literally impossible... Unless he’s a squib. But if he is a squib, we should have gotten even a tiny hint of magical ancestry. Now, we're just assuming things to make the dots connect, and if your readers have to go through such mental gymnastics to understand the story you've written, you've done something wrong.
The Queenie/Jacob marriage at the end of SoD takes place in Queens, in Jacob’s bakery. But how are they getting married in the US? The laws regarding No-Maj/Wizarding relationships haven’t changed yet!
‘Vulnera Sanentur’ is the counter-curse for ‘Sectum Sempra’… A spell that was invented by the Half-Blood Prince… who has not been born yet. I mean, come on. That's just lazy writing.
Ariana’s death in the three-way duel between Gellert, Aberforth, and Albus directly goes against the blood pact! Killing curses were being exchanged, so why didn’t the pact have any effect then?
The whole blood pact in general makes no sense tbh. If thinking about harming the other is enough to activate the curse, why is murder by proxy allowed? They're still thinking of hurting each other, just by manipulating other people to do it for them. Is that not seen as "direct harm"???
Leta and Corvus Jr are very explicitly stated to be the last of the Lestrange line… But they’re obviously not? Where did Rabastian or Rudolphus come from? Did they just spawn in? Or could it be that the entire Lestrange plot line in CoG just meant absolutely nothing
The twin Qilin being dead means that it. Is. Dead. Magic cannot bring back the dead, which was the whole point of the OG books. So is it an inferi now? An animated corpse? But it apparently still uses magic to figure out who to bow to, which is something I'm pretty sure an inferi is incapable of. So what is it??
The future is the future is the future. Gellert saw the future. So anything that happens between the present and the point he saw was *always going to happen*. The whole “counter-sight” plot doesn’t make any sense because the only ones confused are the characters and us. The future has already been set!
In CoG, Albus is a DADA teacher… But he never taught Defense. He was the Transfiguration professor! We know this because it was stated in the original books that Tom Riddle asked for the Defense position when the previous teacher (who had been working there for 50 years) retired. So how on earth is albus teaching DADA 10 years before Tom starts school??
The Qilin bowing to Albus makes no sense. His entire arc in The Deathly Hallows was there to prove that he was not pure of heart, nor was he deserving of a powerful station.
After all the lead-up and hints that Jacob is pure and virtuous, it would have made more sense for it to bow to him… By which I mean, it still makes no sense, but it would have been a better twist than whatever bs they actually tried to pull.
Yusuf Kama going to Grindelwald serves no purpose other than to add suspense for the audience… As far as the others know, he was loyal to them for the entire time. The whole question of "will he, won't he" is totally irrelevant to the other characters because they know him to be on their side. It's not a surprise to them when he turns on the wizard nazis
There is absolutely 0 continuity with the Dumbledore/Phoenix thing. If Credence’s came to him because he was dying, then does that mean Ariana had one, too?
Honestly, on the topic of Credence, his entire story was just. Anticlimactic. You mean to tell me that after all that build-up, all those hints that his mother will finally be revealed... We get literally nothing about her?? Then he just dies??? Off-screen??? WTH Joanne??
If Yusuf couldn’t follow Corvus Jr because Irma’s magical signature was too weak, then WHY SEND LETA? Wouldn’t she have a magical presence he could trace? She could jeopardize the entire operation, all for what?? Some convoluted baby swap scheme? That also makes no sense??
AND WHY LEAVE HIM WITH A RANDOM LADY - no way to contact him, no way to find him, nothing - especially if that lady happens to be descended from the witch hunters responsible for the Salem witch trials??? Me thinks Corvus Sr put zero thought into this entire situation
Timeline Fucky Wuckys
I know this one comes up a lot, but how is Minerva McGonagall teaching at Hogwarts a full three decades before she was born?? Her birthday is in October of 1935, yet she's somehow teaching Newt and Leta in the 1910s??
SoD takes place sometime before 1939 because WW2 hadn’t started yet. BUT Tom Riddle starts school in 1938… And he needs his wand, which means Fawkes had to have been with Albus already in order to donate the two feathers for the brother wands. When did Fawkes come to Albus? How long was he with him? We have no answers!
Lally says it’s been, “... a little over a year,” since the events of the first movie. But it’s not? It’s been, at the very least, 5 years! Just more timeline confusion
FBaWtFT takes place in 1926. Credence is supposed to be 18 years old. But in SoD, it’s revealed that he was conceived in 1899… So either his mother (whoever she is, we still have no gd clue) was pregnant for about 8 years, or it just doesn’t make any sense period.
Minor Mistakes and General Questions
Mistakes
Tina and Theseus have the same job… So why could Theseus participate in the third movie but Tina somehow couldn’t?
There is some Portkey vs Floo Network confusion in SoD. Jacob comes whooshing onto the train *through the fireplace*, yet still calls that transportation a Port Key? Maybe he's just a little confused, or maybe the writers just overlooked it?
There are quite a few Vanishing Characters throughout the franchise, but 3 main ones: Abernathy, who they were implying was high-up in grindelwald's close circle; Nagini, apparently a shape shifter somehow; and Tina Goldstein?? A main protagonist???
Albus tells Jacob to, “Keep it close,” referring to his snake-wood wand. But why? Why go out of his way to instruct caution for absolutely no reason? As far as they know, it's just a stick! The wand doesn't have a core, so even if it is made out of a rare type of wood, it's still just a stick??
If the Swooping Evil venom from the first movie only works on “bad memories”, then Langdon Shaw wouldn’t be affected either. He was ecstatic to find out witches were real! Even if he was labeled as a crazy man and completely disregarded, it is entirely plausible that other people (ehem, Jacob) would have remembered the events of the last fight.
I hold very firmly to the idea that if Bunty had been introduced in the first movie, she and Newt would have ended up together. Instead, they're both just left pining with no resolution.
Questions
For a show called Fantastic Beasts, there really aren't a lot of beasts in the later films, are there? What happened to the whimsy of the first movie? Where did it go?
What is Aberforth's thing with mirrors? It was in the Deathly Hallows, and here it is again in SoD. Does he have a specific affinity for mirror magic?? Is that even a thing???
Speaking of Aberforth, what's with the goats? We have no explanation for any of that, even though it was an established piece of his character in the og book.
The whole "mirror dimension/inverse realm" in SoD also makes no sense? What kind of magic was that? Why does it never come up again? Is that just one of Albus Dumbledore's many talents, or was it just something the writers threw in because it looked cool?
On the topic of Albus, is he a seer or is he just really lucky?? In the books, it was implied that he was a very talented statistician, not a prophetic wizard. He could look at memories and easily distinguish patterns, thereby allowing him to guess at the most likely immediate future. But in SoD, it's pretty heavily implied that he saw some glimpse of the future and that's how he knows the counter-sight plan will work.
How do American muggle-borns get their letters to Ilvermorny if it’s literally illegal for any non-wizard to even know about the existence of magic? How does magic *work* in the US if it must all be kept strictly underground??
Bunty orders 6 identical cases, but only 4 of them are used in the plot. What happened to the other 2?
In the books, Aberforth hated Albus since the day Ariana was killed. That has already happened in the movies, and yet they get along relatively well? So what happened?
Why establish a connection between Newt and dragons in the first film, and then just abandon that detail to the void? Do you have any idea how cool it would be to have newt right in on the back of a Ukrainian Ironbelly to fight literal nazis?? That would have been SWEET
If you're cursed after killing a unicorn, the slaying of a being as pure as a Qilin would have a similar effect, yes? Apparently not.
I'm sure there are lots and lots that I overlooked, but I this is a pretty good list for now!! I think I might make another post for my theories and how I plan on fixing this whole mess in my rewrite... but that will be a project for another time.
Thanks for reading!! Feel free to scream at me about discrepancies I missed in the comments 🙏 I'm sure I missed some somewhere
#fandom#author#fanfiction#plot holes#fantastic beasts and where to find them#harry potter#rewrite#newt scamander#albus dumbledore#tina goldstein#credence barebone#crimes of grindelwald#gellert grindelwald#grindeldore#ao3#archive of our own#fanfic#magic#wizarding world#world war ii
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ltye + 𝑓𝑎𝑚𝑖𝑙𝑦 oneshot

authors note: the wonderful @callmekayd asked about roman's conversation with fetu where he called solana his light, so i figured, why not write it?
only gonna tag a couple of people, cause i'll link this with the next update.
gif belongs to @romanreigns
words: 2.3k
warnings: some angst, discussion of solana's trauma
“You’re quiet, tonight.”
Roman looks over from the bottle of corona he was spinning in a circle on the wooden dining room table. “Am I?”
Fetu chuckles, snatching the bottle from him. “Smartass.” She pops off the cap and takes a swig, Roman sitting up in the chair.
“Should you be drinking that with your medications?”
“Probably not.” She answers so casually, so nonchalantly. It makes him sigh. This is what Ava was talking about. “But, I’m old, so I do what I want. Now stop trying to change the subject.” Placing the cap back on the drink she’s now commandeered as her own, she asks again in a more serious tone. “What’s going on, atalii o le uso?”
That’s such a loaded question, so much so that he’s not sure where to start. “Solana….”
“Your wife, right?” He nods, eyes glancing to the phone that’s screen up on the table. She hasn’t text him in a couple hours, which could either be a good or bad thing. He’s not sure. “How is that going? I know you weren’t very happy about it the last time I saw you.”
Roman is the one to chuckle. It’s almost unreal how much his tune has changed since his last visit with his aunt where he essentially expressed both disinterest and acceptance with the arrangement.
“Yes, it’s about her, but….not in the way you think.”
When he doesn’t say anything, Fetu impatiently implores, “well, would you hurry up, boy? I may be old, but I still need my beauty sleep.”
Rolling his eyes, Roman shakes his head, growing quiet, muddled thoughts floating into something less disorganized and more cohesive. “She’’s—she’s not what I thought she would be.”
At that, Fetu asks, “Oh?” She offers a warm smile. “Tell me.”
Another loaded request he’s not sure how to handle. Roman swallows. “She’s…..kind.”
Fetu snorts, again grabbing the beer he really should try to take from her and would if not for the fact she’d probably bust it over his head in the process. “Well, they say opposites attract.” Roman rolls his eyes. Granted, she’s not entirely wrong, hence why he offers no disagreement. “What else?”
Leaning back in the chair, Roman tries to think of the best way to describe her. To describe the last person on earth he ever expected to care about but has done just that. “I’ve…..I’ve never met anyone like her. She has a big heart, and she’s so innocent. Despite being raised in this life, surviving hell, she still….she still has this softness about her.”
Fetu hums, reminding him, “not everyone in this world is cruel and unkind, Roman. There are very much good people, and it sounds like you’ve maybe been lucky enough to land one of them as a partner.”
He nods, quietly admitting. “I have.” Roman traces his finger over the imperfections of the wooden table. “But, she’s had a lot of trauma. It’s been….not the easiest to get to where we are.” He takes a deep breath, disclosing, “we haven’t even consummated the marriage yet.”
Fetu’s eyes widen a bit as she asks, truly out of genuine curiosity, “wasn’t that the point of the marriage? To create an heir?”
“She was gang raped as a child,” Roman informs in a low voice, only feeling comfortable sharing such sensitive information because he knows it will never leave this room. “So touch is….it’s hard for her. She asked to work up to intimacy, so we’re trying that.”
“Oh, that poor child.” Fetu’s expression is visibly disturbed and saddened. “Sick fucks.” Roman doesn’t say anything, but the murderous urges boiling underneath are something he has to push back down. In due time. “Wait. Don’t take this as me agreeing with that bullshit requirement, but if she wasn’t a virgin, how did the Elders approve of the marriage? It obviously wasn’t her fault, but we both know how they are. Traditionalist pricks.”
If not for the nature of the conversation, Roman would laugh. “Her father had the doctor lie on her medical report. It stated she was still a virgin.” Roman feels the need almost to defend, “wouldn’t have made a difference to me either way. You know this.”
“It better not. I didn’t raise you to be a hypocrite.” Fair. “Wait, her father did that?”
That actually makes Roman chuckle, but there’s no humor whatsoever. “That’s why I’m here.” Hand naturally forming into a fist, he continues to share information he would never share with anyone else. “Her mother was stabbed to death when she was ten. Solana was there and stabbed too, but she survived.” His jaw clenches. “Her father and brother are both pieces of shit who used to abuse and torture her.”
Fetu is visibly perturbed by the heavy details. “My God, that girl has been through hell.”
“I know.” It doesn’t make sense to Roman how with everything she’s experienced, she still stands, still keeps going, keeps fighting. “But, she’s made tremendous progress since leaving her family. I made her start training, and I think it’s helped a lot. She’s made good friends with Naomi and her friend Bayley. Solana is half Mexican, and Bayley is Mexican, so they seem to bond a lot over that.” And he's happy she has that. Glad she has people she can talk to and connect with. “She’s……happy now.”
Better.
Much better.
Fetu tilts her head to the side. “Something tells me there’s a but.”
There is. A major one. Roman releasing a heavy sigh and running his hand over his face. “I found out her father was behind the hit that killed her mother and was intended to kill Solana too, but she survived. And when he couldn’t afford to pay off the balance, he sold Solana’s virginity and had it set up like a home invasion.”
Fetu says something in Samoan, her own expression slipping into something angry. “What a fucking piece of shit. His own wife? His child?” She asks, an almost demanding element to her question. “You’re going to kill him, right?” Like it’s less of a request and more of an order.
“Of course.” That’s a no brainer. Roman’s new number one mission in this life is to see Xavier, his bitch ass son, and Solana’s rapists meet gruesome, painful deaths. And he’ll be sure to see it through. “But, I don’t—I don’t know if I should tell her. “ He quickly adds, “but, I don’t want to lie to her either. I promised her I’d never do that.”
Fetu nods, her lips pressed together in a sort of frown. “I see…..”
“I don’t want to hurt her,” he admits in a low voice. “I don’t—I can’t see her hurt.”
“Roman….” Fetu’s voice takes on that gentle tone that’s always been comforting to Roman. That, for a long time, before Solana, was the only source of comfort he truly could find in this life. “It’s obvious you lo—care for this girl.” She catches herself. In his own timing. “But, the truth is, there is no way around her being hurt by this.” Roman looks away, jaw clenched, clearly not wanting or liking what he’s hearing. As expected. “She’s going to be devastated. As would anyone to find out their own flesh and blood, let alone a parent, could be so evil.”
“She’s tried to kill herself when she was younger.” Recalling this specific piece is by far the hardest part. Just thinking about the medical report he read detailing the emotional aftermath Solana’s attempt. How distraught she was. “I just—I just don’t want to be the cause that pushes her over the edge.”
Fetu reaches over the table, placing her hand on top of his. “It wouldn’t be because of you.”
He shakes his head. “Yes, it would. Either because of what I tell her or I don’t tell her, and she finds out some other sort of way.”
“Is there a way she could find out?”
Roman has to think about it. One of the first things he did was cut off contact between Solana and her family. For the mere fact he knows Xavier is up to something, wants something out of Roman’s marriage to Solana. Roman knew that he would try to use her, and just from what he saw at the outset of this whole thing, he knew the last thing she needed was to be dragged into some type of wicked plan.
Xavier has no way to contact her, and he’s not stupid enough to show up or send his dumbass son to her job.
He knows it’d be walking into a deathtrap. So, no, it seems like there’s no chance for this information to ever get out and arrive at Solana’s doorstep.
But……there’s still a chance.
“I don’t know,” is the answer Roman settles on. ‘But, I can’t—I won’t do anything I think could hurt her, and this…..this will do more than hurt her.”
It could destroy her. Destroy all the progress she’s made. Regress her so far back that he’s not sure she’d be able to recover.
And he can’t have that.
“I think she deserves to know the truth. It was her mother. Her assault. She has a right to know.” Roman doesn’t disagree with that. “But, I’m also thinking about everything you’ve told me regarding her mental health, and I guess my concern is what that truth could do to her. If she could handle it.”
And that’s exactly what his fear is.
Roman’s voice is full of vulnerability that he could never show outside of this safe space. “I don’t think I could handle seeing her the way she used to be. I—I care about her too much to do that to her.”
“I understand.” Because she does. Oh, she does. And if not for the heavy nature of this conversation, she’d be more expressive at the joy bubbling beneath the surface. Her elation at finally having years worth of prayers answered. At having comfort in knowing her sweet boy has finally found his person. His soulmate. “Your intentions are good, Roman, and I can’t tell you what to do, though something tells me that’s what you’d prefer.”
He scoffs, shaking his head and admitting, “I just needed to talk to someone.”
That much was obvious. She continues, advising, “what I can tell you is to just continue to support and be there for her, because when she does find out, whether from you or some other means, she’s going to need you, son.”
Roman doesn’t say anything, sitting on his aunt’s wisdom. She’s right. This truly is the depiction of being stuck between a rock and a hard place, but for the sake of Solana’s mental health, it’s not in her best interest to know the truth.
He’ll tell her.
But only when the time is right.
Fetu, however, has a question of her own. “I want to ask you something, and I want you to be honest with me.”
Roman sits up and sighs, “I’m always honest with you, uso o le tinā.”
“Because you know, even with how big and strong you’ve gotten, I’ll still whoop your ass, little boy.” She’s pleased to see the small smile that accompanies his eye roll, a brief glimpse of that young child she once knew so long ago appearing for the first time in a long time. And she’s pretty sure she can bet just what’s brought that dormant side out of him.
Or who.
Her voice is gentle. “If you knew then what you know now about Solana, would you have still agreed to marry her?”
It’s a valid question.
It’s also something he doesn’t have to think about.
“Yes.” Fetu smiles. Knowing. Confirmation. “I wouldn’t change anything.” It’s the easiest thing his aunt could ever ask him. It requires no thought. No contemplation. Just an automatic response. “Solana is…..she’s my light.”
Her heart swells, and she finds herself with unshed tears. There’s this invisible weight that’s suddenly lifted off her soul. A worry that’s been destroyed by one woman. One strong woman who’s managed to capture the heart of her sweet boy.
Even if he hasn’t realized it just yet.
“Well, she’s obviously a strong woman to survive all she has, and she must be to deal with you.” She flicks his hand, pulling back and asking, “let me see a picture of her.”
Roman grabs his phone, unlocking it and opening his photos album. Hitting the favorites folder, he selects one of the photos taken of Solana the night she went out with Bayley and Naomi for Cinco de Mayo.
Reaching the phone to his aunt, he watches her slide her glasses over her eyes, mouth ajar just a bit. “Oh my goodness, she’s beautiful! Too pretty for you.” Roman smiles. “You know if my tits still sat nice like that, I’d wear stuff like that too.”
And just like that, a scowl is on Roman’s face. That was the last visual he needed. Ever.
Taking his phone, Fetu implores, “I want to meet her, Roman.” He stills, hitting the lock button after checking for any texts from Solana. “It’s bad enough I can’t have gentleman callers or anyone else come see me. The least I can do is meet your wife.” It’s a fair request, though something he’s unsure about. “I’m tired of seeing your big ears and Ava’s massive forehead all the time. Bring Solana here.”
This request, however, is not the easiest thing. He doesn’t have an answer for her right now. “I’ll think about it.”
“Well, don’t take too long,” she warns. “I’m not getting any younger.”
Roman tenses at that. He hates when she jokes like that.
He stands up, walking over and kneeling in front of her. “Thank you.”
Fetu smiles warmly, reaching over to kiss his forehead. “Ou te alofa ia te oe”.
He doesn’t hesitate to reciprocate. “Oute alofa fo'i ia oe”
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Translations:
"atalii o le uso" = nephew
"uso o le tinā" = aunt
“Ou te alofa ia te oe”. = I love you.
“Oute alofa fo'i ia oe” = I love you too.
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Yknow i love fo4 and fo76 as games but hate them as Fallout games yknow?
Like theyre nice to play and i love some of the characters but man. They just. Are not Fallout. Its literally like if you took Fallout but made it for a general audience, theres no spice!! Theres no grime!! Why is everything so clean!!!
That's the thing; these games are built with inherently different base goals in mind. Bethesda in the modern day thrives off selling the idea of player empowerment, of being an explorer in a foreign land that you conquer through hard work. You shape the world to your liking by questing and exploring and conquering. And genuinely? I got no problem with that. I think games that gas the player up like crazy and set you loose on a world to make it your own are totally fine conceptually! Like, the fantasy of being able to shape the world the way you see fit is something I think a lot of people can get into, whether you're just looking for control in your life or you just want the experience of feeling like you can have some grand effect on the world at large.
But because of that, I think the core of what makes Fallout so interesting has to be put on the backburner. I don't play Fallout to feel powerful necessarily, and I certainly don't play it for the fuckin' gunplay. I play it because it has such a fun dedication to weird stories that feel like they have something to say, a staff of writers dedicating their time and effort to being a proto-DM at a table, trying to provide interesting and thought-provoking or at least real damn fun stories in front of you, because ultimately, the West Coast Fallout games are about people. They're about characters! And when you focus less on the idea of telling stories in a world and more on empowering the player as a fourth-wall observer, those priorities clash and in the East Coast Fallout's cases, it makes for a game with no spice or edge. Having something to say about, say, the US Military or American Expansionism and Exceptionalism or the nature of clinging to the past kind of fundamentally clashes with the player empowerment fantasy that Bethesda Fallout games want to sell you. You can't have these philosophy-based, morally-interesting factional conflicts that want the player to look inward when the very concept of your game is built around collecting loot and shooting guys instead of learning about that loot and learning about those guys you're shooting and why you're shooting at each other. Having radiant quest loot loop gameplay just doesn't mesh well with a world where choices are meant to have far-reaching impact, because if it did, it'd be impossible to program under a normal development timeframe, and it would likely make the player look inward and go "what the fuck am I doing with my time?" at the endless meaningless quests to go on.
I don't think the "Lone Wanderer Comes Across A Microcosm Of Adventure" format is bad, not at all, but you have to put a lot of work to make that feel cohesive with the larger character and faction-based narratives that 1, 2, and NV are built on, so instead those Bethesda-style games opt more for a toybox, playground approach to the post apocalypse. And when your primary goal is showing the player how cool of a sandcastle they can build, it'll never be structurally sound enough to sustain even a wave of nuance.
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a world of colour
chapter 1
{ reader x seonghwa }
daycare au
ateez members included
single dad hwa, fluff, hurt/comfort, mentions of divorce
. * . * .* . loading . * . * . * .
Waking up in the morning wasn’t always a chore. Usually you gave yourself enough time to run your coffee machine and do your full AM skincare routine. The sun was never up when you rose, which always made it tougher to pull yourself from the warmth of your bed. It was the cost of running your own business, one where you needed to be there to open up shop. While it was a struggle to make it out on time, it wasn’t a chore. Every morning you travelled to your passion project, your dream job.
The daycare looked a little drab with all the lights off as you parked in the lot outside. It had taken years of hard work in school and then raising the money to get yourself the rental space, but the little daycare was yours and every day was rewarding.
Unlocking the door, you moved inside and flicked all the switches outside the office. The rooms illuminated, all the colourful displays of hand-crafted art and spelling guides suddenly blooming to life. One of your favourite things the daycare did was display copies of their attendees’ creations, hand-print art and colouring sheets and everything in between. Your staff always reported that the kids were proud that they could see their art lining the space they spent so much time in every day, obviously through less and more simple wording.
A bit of time had passed and you had gotten most of the set-up for the day done. It would still be a while before the first parents would arrive and even the staff would only arrive a few minutes before official open. You believed that it was more cohesive and less stressful for everyone if you were the one to handle all that and the attendants could arrive ready for the day.
You really weren’t expecting the knock on the front glass door, the sound of it sending you jumping a little where you were sitting at the greeting desk. After the initial shock, your body started moving automatically, kicking into gear. You could see two sets of legs through the door, one adult and one mini.
At first glance the man behind the door seemed intimidating. There was something about the energy he exuded. He wasn’t looming over you, meeting you eye to eye, but there was something that made him seem bigger than he was.
“I’m so sorry, I see the hours don’t start until 7,” Your gaze automatically follow his pointing to the plaque in the window despite knowing it by heart already. “There was a work emergency and I wanted to make sure she got in before the cut-off time- seems like I went a little overboard.” The man’s energy was contagious and you found yourself laughing along. The man moved to rest his hand on his little companion’s head, fingers pressing lightly to her scalp in what looked like a calming massage.
You looked down at the little girl and was pleasantly surprised that she had a familiar face. Her eyes were wide and looking right up at you. Quickly your smile warmed, moving to kneel down to meet her level.
“Hi Seoyeon, good morning.”
She raised her hand to offer a shy wave, turning to press her face into her guardian’s pantleg.
“I didn’t even tell you my name, sorry again. I’m Seoyeon’s… uncle, Hongjoong.”
“You don’t seem very sure of that?” You joke, standing back up. The bell on the door chimes as you open it up and usher the duo in.
“I’m her dad’s best friend, I just- yeah.”
As they walk back in you feel a little tug at your work apron. Seoyeon’s little hand has grabbed the fabric and she’s turned her wide pleading gaze your way. “It’s okay I get it,” You offer to Hongjoong, then to Seoyeon, “Yes, yes, I’m coming. Don’t worry sweetie.”
You pat lightly at her back, reassuring her that you’re there, guiding them into the playroom. “I can take her early this time since it’s a one-off thing; I hope everything is okay with her father’s work.” Hongjoong thanks you, relief evident in his voice. He signs easily when you turn the drop-off sheet his way.
“Seoyeonnie, what do you think of some early colouring time?”
#park seonghwa#seonghwa#ateez#ateez fanfic#reader x seonghwa#ateez x reader#fanfic#fanfiction#ateez fic#atz#atz fic
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The ot2 travelers don't feel like a found family as much as the ot1 travelers - an analysis
This is probably the boldest opinion I've ever shared on socials for this fandom and I am aware this take will probably get me some hate but I feel like I want to say this and compare the two games under this aspect also to know other people's opinions about this (I feel so brave right now) but I have to make a premise: I loved octopath traveler 2 to death as well as the ot2 travelers, this is not a hate post by any means. Also, the fact that the first game is still more dear to me doesn't make me blind to the fact that ot2 did improve its formula under almost every aspect and is overall of better quality than ot1.
So as I was playing ot2, I felt like it was somehow “missing” the same warmth of the first game. Naturally, my first thought was that it was just nostalgia for the first cast, until my boyfriend said the exact same thing to me some time after he started playing ot2. When I asked about it in a small octopath server, almost every response I got was similar to what we were feeling, and many of us pinpointed that the main reason is that the cast doesn't feel as a found family as much as the ot1 cast did, and I'll explain why.
/!\ Spoilers for both games! /!\
The group of travelers in ot2 doesn't feel as cohesive: on the contrary, it often feels like the travelers aren't involved in their friend's adventures as much. They often come off as a bit more individualistic and just casually sharing the same road together while pursuing their own goals. In their banters together, they rarely offer/actively seek each other's help and they generally feel more lonely in their paths
This is kinda ironic given how much more content together the ot2 travelers have, like the crossed paths or the journey for the dawn chapter. The one exception, at least regarding the crossed paths stories, are probably Throné and Temenos
The found family trope is more often than not shoved down your throat in a way that's just less effective and more annoying ex. Ochette calling Osvald and Castti mama and papa (or the general imagery of every traveler seeing Castti as their mom when she is just doing her job as a caregiver) or Osvald getting drunk and mistaking Castti and Agnea for his wife and daughter, when Osvald often shows fatherly instincts only towards his actual daughter Elena
The major issue we all agreed on: the travel banters. The main difference is that in ot1 every travelers had a chance to talk to all 7 travelers during each chapter of their story, which actually gave the impression of them traveling together and also the opportunity for a good balance between more lighthearted banters about disparate matters, and deeper banters that explicitly address what's going on in that moment. In ot2 we had the amazing opportunity to reread every banter without missing even one of them, but the amount of banters drastically reduced! Which left me kinda confused!! Because for every chapter, only a few travelers get to talk with the one progressing through a chapter. And that leaves place for an awkward silence on the other travelers' behalf, because it does almost deliver the vibe that they're just observing quietly, or that they don't care enough about what's happening to intervene. That silence takes a big toll on how believably the concept of found family is delivered, in my opinion. We don't really need 70% of the banters to be about card games, fashion, hobbies and food (why are there so many banters about food lol) when the actually deep/important matters barely get addressed by the other travelers.
An example: the apothecaries' chapters 3. They both are very emotionally heavy chapters, where both Alfyn and Castti are having a really rough time. Having the chance to talk to all 7 of his friends, Alfyn not only gets to talk about his job as an apothecary and joke with Therion about getting drunk at the tavern, but he also receives important advice and active help from his teammates. Like Olberic, for example, you can almost picture him holding Alfyn's shoulder in the attempt of getting him to calm down


Whereas in Castti's chapter 3, she goes through one of the most painful and heartbreaking moments of her life (remembering what happened to Malaya and the Apothecaries) and barely anyone comforts her. You only get Temenos saying "you can count of me" and Hikari, saying more or less the same thing. No Osvald talking to her about dealing with the grief of losing everything?? No Agnea and Partitio reassuring her, telling her she did what she could and that it was not her fault?? No Throné sharing with her the relief of freedom, of finally being free from her amnesia?? ... That does feel like a huge missed opportuniy and really makes it look like the other 5 travelers are just observing in silence, and that really ruins the immersion to me. They do feel more lonely and less of a family, no matter how many times Ochette calls her "mom" , she wasn't there for Castti when she needed it. She didn't say anything. The effort made by their crossed paths story isn’t enough to make up for it to me


Not only that, but ot1 is full of other examples of the travelers actively seeking each other's help: Olberic is constantly asking for his teammates' opinions because he trusts them (Olberic ch4, Cyrus banter) and offering his protection in return, Tressa and Therion often value each other's advice, and many other cases.
Final point: this is a bit of a pet peeve of mine, but I couldn't help but feel my opinion reinforced by the promoting team's choices; in every piece of art for the first Octopath Traveler game anniversary, all 8 travelers were featured. As they should be! OCTO is in the name, after all. None of them is more important than the others, and it's crucial to me that in their anniversary art they ALL get featured. Well, for the first anniversary of the Octopath Traveler 2 release the official promotional art only featured Temenos and Crick. One (1) traveler and a npc. Well done, that's how you don't want to celebrate your game's 1 year anniversary when the main feature of the game in question is that it's a collective story that features 8 characters. Yes I am not blind I am aware of Temenos and Crick's popularity as both individual characters and as a ship (which by the way I am very neutral about so again, no hate), but my god that official art did leave a bitter taste in my mouth as soon as I saw it. Like really? What about the other 7 travelers? Aren't they supposed to be a found family?
So in the end I think the missing travel banters are what makes the ot2 crew feel a bit more distant and less of a family to me, and the crossed paths and Journey for the dawn really, really struggle to make up for this because the basics of the relationship between the travelers just aren’t quite there.
Now I know this game is dear to many, me included, and that many others may have the complete opposite opinion, and that's okay. We can talk about it! I love hearing different opinions.
Peace! ✌️
#octopath traveler#octopath traveler 2#sly rambles#I KNOW this is a controversial opinion and may be very subjective#it really depends on what you value more in a found family dynamic
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I finally started playing Baldur's Gate 3. I know I'm slow. Many people told me I wouldn't like it. The reasons why were varied - turn based combat, unvoiced protagonist, characters not as in depth as they are in Dragon Age. And I listened.
What changed? Frustration with Veilguard.
And I liked BG3. A lot. Enough to hyperfixate on it? No, but it is a game I want to play again. Something I don't want to do with Veilguard. I got the ending I wanted but it was kind of a slog to get there and I don't want to do it again.
Which brings me to why I created this post. BG3 reminds me of what I loved about the previous three DA games and what I found lacking in Veilguard. To start I will just say that Veilguard was not for me and that is fine. It works for others and I am happy for them.
BG3 has characters that feel like real people. They have likes and dislikes. They get along with other party members or they don't. They don't really like or trust your character at first. You have to get to know them but they also have to get to know and trust you. They don't always agree with you. They make their own decisions based on how you have helped change them. For example. I can tell Shadowheart what she should do about the Nightsong, but ultimately it is up to her. I can try to persuade her but its a pretty high check if she doesn't really like me.
You get to decide what kind of person your Tav/Durge is. And there are consequences for the kind of person you choose to be. The world reacts to your character and not always pleasantly. So I felt a sense of accomplishment when a character became friendly or made a choice based on what my character did.
DA games used to do that to one extent or another. Even in DAI some of your characters could leave you. Others just hated you. It was realistic.
The story was cohesive. It had themes and those themes were dealt with well.
I understand that DATV was a result of its development cycle and that we got a game at all, much less one that was polished and had a mostly satisfying ending is great so I'm not overly critical. It is what it is but it isn't for me.
So this Solavellan blog will be looking a little different going forward. There will be more posts about other games. I need to step away from DA for a bit.
I suspect it will still lean heavily toward Solas and Solavellan. That is my hyperfixation after all, but I want to post pictures of my other games and don't feel like creating another blog dedicated to those other games (yes, I'm lazy).
So everyone that follows me for Solavellan content be warned.
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Girl lineup with fix-ups and proper lineart (kinda just redrew Pam entirely lol). Thought I'd actually share the design progression of each girl (a lot of these started in 2022). THOUGH WARNING I was a teen when I drew a lot of these so bear with me
Originally planned to make Margaret a full cardinal and have her be a jokester girl failure character (akin to Quips). This was based on her whole scary story being a punchline in the season 4 terror tales. I realized that Pam and Eileen were already the silly silly girls, so I opted for something more "normal" and down-to-earth. Hence, making her a UK robin.
Back in 2022, I did redesign Eileen bc of the whole "she doesn't look like a mole" thing. Which is a very fair point, but I think not being able to tell what the hell Eileen is works pretty well (and works for how I'll write her)
Wasn't originally gonna redesign Starla but decided to in the end (which was def a good call looking back at it) I still like the vibes of the first redesign, but she looked too similar to a design I saw online, hence going for a different color scheme, hairstyle, and outfit.
Originally was going to give CJ a bit of a different outfit/body design, but found out less is more with her, hence just giving her a different body type, dark eyes and rainboots, and a chin cut off.
Mona's been relatively consistent even back in 2022. Main changes are making her look actually more sheep-like, and giving her a chubbier body.
Some of these older designs I still like (i.e. Starla and Margaret), but then there's the beta Celia design WHAT WAS I ON WITH THOSE COLORS. Most of her design progression has involved making her body more cohesive and simplifying A LOT (like I still like the rings but that would be hell to consistently draw)
Pam was probably the most hellish to develop the design mostly because me didn't understand how to make scientist character look like scientist character. She was originally gonna kind of match Benson with a bigger nose and pink but decided to keep it at least a bit more similar to the show design.
Ik I don't show it here, but these designs are based on the young adult ver. of Stef lol. Always intended for her to be a jerk, but didn't decide to make her a demon until the last two. Me likes a lot of the stuff in the second-to-last design, but I had to stylize/simplify her more similar to the show. The tragedy. Honestly, there's a bit more I can show here, but this is enough for now. Moral of the story: character design is a hard, lengthy process LOL
#regular show#reimagined show#margaret regular show#eileen regular show#cj regular show#starla regular show#mona regular show#celia regular show#pam regular show#stef regular show
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Probably quite a silly question, but how did you go about worldbuilding the realm of madness? It felt so lived in and intriguing, if that's the right way to put it
thank you!
my world building is not quite so scientific, and i relied heavily on the idea that things dont really have to make perfectr sense since it is the realm of MADNESS, yknow? so i could cheat and cut corner a bit when writing.
I broke it down to what we know (The poison bog or whatever its called. the mountain of madness. the portal that acts as a place to crossover into ninjago inside the MoM) and what was needed for the story (a long journey where the ninja needed a guide. an obstacle to avoid, that they then fail to avoid (oasis). and other characters to add more depth to the story) and then constructed a more fleshed out world that met all the requirements and then some.
So I needed people there. and i needed Zane there. why would they be here..? well, i'd already decided Wu would banish zane from the Never Realm instead of killing him, so maybe that's what other people in other realms did too. What would a bunch of people stranded in an unfamiliar place, with no chance of ever going home, do? Create a community. Oasis was born.
WHats stopping the ninja from getting to the mountain of madness on their own, wirthout a guide? Well, they don't know where it is. But if the realm is all the poison bog, and the MoM is presumably noteworthy enough to earn a special name, wouldn't the ninja be able to find it on their own? Maybe from descriptions from wu? and if this place was only the poisoin bog, how would Zane and any other person sent here survive? Other biomes were born. WHy couldn't the ninja just ask birdy to draw them a map? the chaos of the realm makes maps impossible to follow. the evershift.
why did garmadon grow an extra set of arms in the RoM? the chaos of the realm effects people, too. Now we have mutations. Mutations that must be painful. Why would a bunch of villains choose to follow samira? She controls the supply of painkillers that make life a little bit less like agony.
It's all a series of questions i ask myself that I have to answer in a cohesive way.
of course, there are plenty of times where i invented something on the spot for plot reasons. or just to add more meat to the world.
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Let me just quickly say, cross-overs can sometimes get REALLY difficult to map out and write in a cohesive way but you have absolutely NAILED IT!! I absolutely ADORE LoF!!! I usually don’t even bother reading fics with the ‘Richard Grayson is Richard Parker’ premise cause I felt like they were super confusing and overcomplicated but this fic?? SUPERB. ABSOLUTELY INCREDIBLE. OH MY GOD I ADORE IT. Everyone’s characterizations are so nice and wonderful aaaaaaah!!!! <33333
Ok ok I did actually have a question as well: would you be willing to share what your writing process looks like in terms of a chapter you’ve already posted? I was just wondering since I’m also currently working on my own fic (it’s been a few years but I managed to get fixated on an idea and it grew legs lol) and I’m currently fighting the organization of it haha.
How do you keep track of the plot points and/or foreshadowing you want to get a ‘lightbulb!’ moment for later? Do you have any tips?
Thank you so much! I absolutely adore your writing AND your art is so gorgeous omg it adds so much to the incredible story :DDD I hope you have a good day!!
I have a secret: I actually didn't like "Richard Grayson is Richard Parker' tag for a while for the same reason. Sometimes they felt like they missed the mark or it's just. A thing that's there? I almost didn't include it for LoF, but I'm glad I did because it changed the direction in such a big way.
Another secret: this made me incredibly happy because I have read so many wikis and scoured the internet to make sure that I had enough info on both fandoms so LoF could make sense to anyone who's reading it, whether they know Spider-Man, Batfam, or neither at all. Sometimes I worry a lot before I post that I'll miss a mark and will confuse people.
As for the question: I definitely am willing to share what my writing process looks like!
Be prepared for under the cut, I love to yap. It's in my blood to yap. And that's why it took a minute to get to this ask haha
(Spoilers for Leap of Faith!! Everything mentioned has already been published ((Chapters 1-11))
I had to go and find out which chapter I wanted to use as an example and I think we're gonna go with Chapter 5 for the most part :)
My writing process is, as described by alighterwood:
I think the description fits because while I'm all over the place, I have to be very detail oriented and I store everything in one spot.
Starting with the overall process, what I find is most helpful for me, when organizing, is having a notebook rather than doing it all digitally. I've been using a 70 sheet notebook that I had lying around waiting to be used, and as of yesterday, I officially filled the entire thing front to back. It's been an incredible help, for a lot of reasons, but mostly because it's a lot easier to remember something I physically wrote down than it is to remember something I typed. I'm now on to my second notebook for LoF, and I might even have to get a third.
In another ask, startupkat asked me this:
And I shared a little about my outline process there, but I'll try to go into a little more depth here. Emphasis on little because this is so long.
I write a truly insane amount of outlines in this notebook.
This is just what I can show you, but a good chunk of the notebook is just outlines. Over and over and over again. That's because they're always changing/adapting based on so many different factors. Sometimes I get to a chapter I thought I had fully planned out and then realize it just doesn't work anymore. Other times, I get to the chapter and realize I don't want to write that anymore/isn't as interesting as I thought it would be. A few times I got halfway through a POV of a scene I was struggling on and decided to switch POV's, which will change up the outline for a chapter every now and then.
Which is why I don't write incredibly detailed outlines and try to keep it vague until I actually get to that chapter. It's a lot less daunting to rewrite a chapter outline than it is to rewrite the entire outline.
Fic outlines and Chapter outlines look a lot alike.
This is what I said in the other ask, but I didn't elaborate on it all the way.
I make a list just like that, and then I try to put it in chronological order/in an order that makes sense. I keep the Fic outline vague by writing down "Goals" for a chapter rather than scenes. But I also keep notes to myself if I really think something is important. The more important I think a scene needs to be, the more details I write down to make sure my future self recalls what I had in mind when I thought it up.
Really simple example:
Chap 1 Goal: Peter gets to Gotham and meets Babs while running around. Meet Nightwing too? Get shelter.
Chapter 2 Goal: Bats are like "???" about Peter. Batfam dynamic important... Peter stalking Batfam back? Peter meet Batman >:)
When I get to a chapter, that's when I make a far more detailed list of wants/needs/goals. It's the Step 2 from the Step 1. Here are some examples from Chapter 5:
Needed to have:
More POV's from universe 1299 (Peter's home universe)
Tony's POV more specifically, how he's doing/feeling, what he's figured out
What they've figured out on 1299 side vs what's going on in 1300 (Gotham)
Explaining more about Peter's trauma/his past
Dick learning more about Peter, and vise versa
Wanted to have:
Ned being a more central character
Natasha :)
Loki being a little shit
Tony and Cap bickering
Peter talking to Nightwing again
The last name Grayson
Gymnastics!!
(This is the shortened list, because the chapters are so long)
When I looked at this list before writing my outline, I had to figure out how I could incorporate everything. If I needed more 1299 POV's, and I wanted Ned, Natasha, and Loki, there's one scene accounted for. I had to get their side of things and wanted that trio together. I needed a Tony POV, and I wanted Tony and Cap bickering, so those went together, plus I got 1299's POV of Ohnn and his plans explained.
I needed to have Peter explaining more about his trauma, and Dick and Peter to talk/get closer. I wanted a Nightwing POV, to have Peter say his last name, and them doing gymnastics. I knew Peter wouldn't willingly talk about that, so I had him have a nightmare. Not only did it give readers perspective but it made Peter more susceptible to talking to Nightwing because he was more emotionally vulnerable/lonely, and that's how that scene came together.
That's when I would write down the chronological order of these events by writing out "Scene Blocks." (This is what I wrote down but my handwriting was so bad I can't subject y'all to it):
scene 1- Ned talking to Loki. Natasha should be nearby and observing Loki's behavior. They are not on friendly terms. Ned is more worried about Peter than he is as to what Loki could be up to, so Natasha takes on that role.
scene 2- Tony is freaking out about Peter being in an alt dimension. He should attack Ohnn when he's not prepared for it. Beat his ass? Beat his ass. Cap there too.
scene 3- Peter's nightmare. "Ben, where do you go when you die?" "Where do you think?" "With you. Where you went."
scene 4- Nightwing and Peter.
Of course, things come to attention when writing. Like originally, Tony and Cap were arguing in the Tower. But it was a little too much like his and Natasha's argument, and I kept in mind that Tony is smart. Sometimes I forget that the characters are smarter than I am, so I have to account for what they would figure out. So Tony would have picked up the puzzle pieces and come to more conclusions than I originally thought about, and I figured he'd be way more proactive about it than just. Being in the Tower and waiting.
Which means that that scene ended up being as listed above: having a squabble with Cap, learning more about Peter's dynamic with the Avengers in this universe, and seeing how Tony is reacting to it by throwing himself head first into trying to capture Ohnn.
I'll realize I need something else to be mentioned or put in and I'll have to shimmy things around, but that's basically how it goes.
As for other forms of organization:
Keeping a timeline is so important because it tells you a lot about the environment your characters are in. It's also important to remember what a character has on them, what money they've spent, who they've met/who you have mentioned, every alias that is being used, to read your work and write down edits you want to make before you make them, to write down ideas beforehand of situations you can use, and, most importantly: MAKE A MAP!! This has saved me so many times. Sometimes your brain WILL trick you or make it harder on you to envision a scene. Make a map of where your characters are physically!! It will save you too!!
As for foreshadowing and plot points, I'll let you in on yet another secret:
Your subconscious is doing a lot more than you think it is.
Sometimes when I foreshadow something, I didn't even know I was until I got to it. I very often go back to read chapters that came before this to see what I've mentioned and what I haven't, and when I do, I'll see something and go "I have to bring this back" or "I almost forgot about that!"
Other times, I am very aware of what I'm foreshadowing, and that's because I follow a mystery plot formula. You have to keep in mind everyone's intentions, all the time. How are they feeling? What are their motivations? And: what are they doing right now, while this character is doing this?
Like Beck and Ohnn. From the very beginning, I knew I had to make sure that it was obvious Ohnn wasn't working alone. From there, I had to weave through the story and slowly build him up as someone who's working behind the scenes. Even from Ned's first POV, I made sure to mention that this person knows Tony and is tech savvy.
My biggest tip is to make sure you reread your work or at least skip through it, because sometimes you don't even know that you placed something there.
And sometimes, it's very purposeful. :)
I hope this helped! I really tried to keep it short but I am insane and the process is sooooo long. It sounds complicated but it really is simple when you're actually doing it I swear
#erinwantstowrite#ao3#ao3 fanfic#leap of faith ao3#leap of faith catch me if you can#leap of faith#peter parker#thank you for the ask!#creative writing#writing#writing advice#writing outlines#outline#story outline#writers on tumblr#dc fanfic#peter parker in gotham#spider-man in gotham#fanfic#fanfiction#ao3fic#fic
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Directions: Fill each prompt ON or After each day listed (the 1st-15th of October, then again on the 31st for our bonus day), then post it on your desired social media platform using tag #suptober23. Be sure to include which prompt you're fulfilling in each post. You can write, you can make art. You can do both! You decide. Rules: All posts must be Supernatural-themed. Like, comment, and reblog others' posts. No hate will be tolerated, including actor hate. NO AI. Do not throw a photo in a Photoshop filter and post it as art. Challenge yourself to create. Noncon, incest, and hate will not be reblogged.
To include your work in the Suptober 2023 archive, you must ALSO post it to the collection in Ao3!
In previous years, I've worked diligently to reblog each and every post listed in the tag to include in an archive on tumblr. However, more than a few things have changed in the past six years, including my earlier creeping bedtime. This year, I'd like to move the archive to Ao3 for something more inclusive. That means this year, it's up to you to get your work in there! Authors: be sure to use tags so your stories are searchable! * Artists: mind ao3's rules for images. You may choose to include a clickable link instead of the art itself.
Posting starts October 1st, 2023.
Special thank you to my friends over on Patreon for their help with this year's list! Truly without them, this would not be happening. Consider joining to help support more events like this! For a text copy of the prompts go here! Join the Discord
FAQ's
Why aren't there 31 prompts this year? Because I'm changing it up to something a little less overwhelming for you and me. Fill all the days, and if you're still hungry for more, send me a message and let me know it wasn't enough so I can take that into account for next year!
I posted my work and you haven't reblogged it. What did I do wrong? Probably nothing. I may have just missed it, which will happen. The good news is, it's up to you to include your work in an archive this year, so be sure to do that! Also be sure to tag it correctly using #suptober23, and the day you're fulfilling.
I'm really busy in October, can I post it later? Yes! The collection won't close.
I can't write or draw, is there another way I can participate? Yes, you can support all the creators by liking, commenting, and reblogging their work. It's just as important as the things being posted. Also, I bet you'll soon realize you absolute can make art and write too! There's no skill level required to have fun.
How long do the stories need to be? There's no word length just be sure to make a good effort, and challenge yourself.
Can I include multiple days in one fic? Sure, but don't post early, and be sure to tag for each day both here on tumblr (if you're posting to tumblr) and on Ao3. In the past, people have used each prompt as a new chapter, and that works great for a cohesive project!
Can I repost the prompt list with my posts? Yep. Go ham. Use at will.
More questions for me? Send me an ask!
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