#Synthesis And Design Help

[bogleech]

All the science fiction I grew up on told me some day there would be adorable quirky robots in every home and business that could hold at least a passably realistic conversation with you and help you out with little tasks and kid-me daydreamed endlessly about what that whimsical utopian life might be like. I even had an ongoing little kid daydream about being in the robot biz designing them my own way, maybe having a weird house full of my wacky machine creature family.

Now we have chatbots convincing enough that people get as hooked on interacting with them as they can any real person, we have near perfect voice synthesis and visual recognition software, we have actual robots that can jump around and dance with better balance than a human, we are RIGHT on the edge of little robot buddy world.

But absolutely none of that fiction framed robots as a heartless corporate product that would really just take opportunities from poor people and gather your data for advertising algorithms. Anyone who did not like the robots was supposed to just be mean and quite often a stand in for a *racist.*

Now that it's likely going to happen in the next 20 years I'm just ready to be one of those villains. If you send me a real functioning C-3p0 or Johnny 5 or Data and I see a Tesla or Google logo I am going to gouge out his eyes with a claw hammer and drink his microplastic blood.

This is probably a lie and at best I'd be crying the entire time but I hope you understand the sentiment behind the hyperbole

[ssa-dado]

5 - Antithesis

Aaron Hotchner x bau!fem!reader

Genre: angst, slowest burn in history

Summary: The BAU tackles a complex case involving international victims and cryptic messages. Hotch’s growing insecurity intensifies as an agent returns from an undercover operation, revealing his close past with you. At the hotel, you and Hotch have a heated argument, exposing hidden vulnerabilities and unspoken boundaries between you two. Hotch struggles with his feelings of being just a replacement and questions his connection with you. Rossi confronts Hotch, encouraging him to be the partner you truly need.

Warnings: Usual CM case stuff, grooming (it feels to me, at least. To someone wouldn’t but idc), angst

Word Count: 6.1k

Dado's Corner: the dreaded chapter, I've been working on it for a week and still I'm not completely satisfied yet. I had to use another OC character, I'm sorry if you're bothered with that, but even if I hate him with all my heart he will be helpful in the future to narrate Y/N's backstory. If this broke your heart, synthesis might even more

previous part ; masterlist

Hotch’s gaze dropped, the weight of your accusations settling on him. “I thought that’s what was best,” he murmured, the admission almost painful. “I thought… I thought it was enough.”

●

It was yet another early morning at the BAU, and as usual, you walked into the office to find Hotch already at his desk, a cup of black coffee in hand, looking as composed and sharp as ever. No matter how early you tried to get in, Hotch always seemed to be one step ahead and especially today, you couldn’t help but comment on it.

“You know, Hotch, that’s 76 coffees you owe me now,” you said, dropping your bag on your chair and crossing your arms, pretending to be stern. “Maybe it’s time to rethink your strategy. You could try showing up late, just once. Shake things up.”

Hotch glanced up, an amused smirk tugging at the corner of his mouth. “I could, but where’s the fun in that? Besides, I have to keep beating you just to remind you of your constant failure.”

You rolled your eyes, leaning against the side of his desk. “Wow, Hotch, who knew you were this petty? I bet you’d stay up all night just to make sure you’d beat me here.”

He chuckled softly, not denying it. “Well, someone has to keep you grounded. Can’t have you thinking you’re invincible, partner.”

In the past couple of months, the term “Partner” had become a running joke between you two. Whether by design or coincidence, Gideon and Rossi kept pairing you together on cases, and even when they didn’t, you’d find yourselves seeking each other’s opinions anyway – you were desk mates after all, it was impossible not to rely on each other’s expertise. Yet the nickname stuck, a testimony that had made working together more natural than either of you could have ever predicted.

Your familiarity with Hotch’s desk arrangement had grown, too. You knew his precise system of organizing case files, the way he stacked them according to urgency, but today, something was different. As you glanced at his desk, your brows furrowed in confusion: the stack of case files was unusually tall, casting an odd shadow that didn’t quite match its usual shape. It looked as if something bulky was hiding underneath.

“Hotch, what’s with the fortress of case files?” you asked, pointing at the strange shadow. “Are you hiding something under there?”

Hotch hesitated for a moment, as if he didn’t expect to be caught in the act. With a slight, amused shrug, he grabbed the files and lifted them off the hidden unknown object – or the unob - revealing a thick book on architecture history.

You raised an eyebrow, genuinely surprised. “A World History of Architecture?! Didn’t take you for the type, I’m surprised.”

Hotch looked down at the book, his expression a mix of embarrassment and pride. “I picked it up after the Frank Lloyd Wright case,” he admitted, almost shyly. “That night we spent going over his designs at the library, I don’t know why but something about it stuck. I guess I wanted to know more. So I’ve been reading this during my ‘waiting for you to show up’ time.”

You smirked, leaning in to examine the book. “SSA Aaron Hotchner, secretly an architecture buff. Who would’ve thought? Next thing I know, you’ll leave the Bureau and go to architecture school, you would still owe me 76 coffees though.”

He scoffed playfully, closing the book and setting it aside. “I don’t think I’m quite ready to go that far. But it’s been... nice. You know - learning something just because I want to, not because I have to.”

You gave him a teasing nudge. “Hey, don’t underestimate yourself, partner - maybe one day you’ll be the next Frank Lloyd Wright of the FBI. Designing prisons, interrogation rooms, you name it.”

He chuckled, shaking his head. “I think I’ll stick to profiling, but thanks for the vote of confidence.”

Just as you were about to tell him your kitchen needed some renovation – so he could start with something easy – an unexpected way-too-familiar voice interrupted from behind.

“Y/N!”

You turned around, and there was SSA Peter Rogers - one of your closest friends you ever had since you were fifteen - standing in the bullpen with his easy smile and that overly confident stance of his, just as you remembered him.

“Pete!” you exclaimed, a genuine smile spreading across your face as you rushed to hug him, the familiar warmth on your body you missed so much made you hold on to him a little longer. “What are you doing back so soon? I thought you were still overseas.”

Peter shrugged with a modest grin. “Operation wrapped up early. Figured I’d come back and see what kind of trouble you’ve been causing around here.”. That smile of his had the ability not to change one bit since the first time you saw each other, causing you to travel six years back in time.

▪︎

It was the first day of your mother’s Italian Literature class at the university. You were just fifteen, juggling between high school and university courses, your hunger for knowledge insatiable as a shield from what was daily happening between the walls of your own house. You always sat in the front row, scribbling notes furiously, letting your brain disconnect from reality in order to lose yourself in the lyrical beauty of Leopardi’s poetry.

Peter had been sitting a few rows back, finishing his degree in linguistics. He’d noticed you immediately, you were quite easy to spot as you were visibly way too young to sit in that room – and if it wasn’t enough, you made sure to ask at least a question to the professor, at least once in the lesson, always being deeply engaged with the material. Hence why after that particular class, he approached you with curiosity.

“Hey, you’re not the typical student, are you?” Peter asked, leaning against the desk beside you. “You’re taking university classes while still in high school? That’s quite impressive.”

You looked up, a little taken aback by his easy confidence but not put off. “Yeah, I’m kind of…double-booked,” you replied with a shy smile. “I just really love literature. My mom’s a professor here, so she lets me sit in when I can.”

Peter nodded, intrigued. “I’m Peter, by the way. Linguistics major. So you must be some kind of prodigy, huh?”

You laughed. “No, not a prodigy. Just…curious. I love philosophy, languages, psychology, all of it.”

The two of you clicked instantly, and since that encounter both of you would always exchange notes, in order to make sure none of you ever lost a word said in the class. Peter became a sort of unofficial mentor, “Have you ever thought about profiling? It’s all about understanding people, their languages, their motives. With your skills, you’d be amazing at it.” He asked one day after class.

That was the very day you learnt what a profiler was.

▪︎

Peter greeted Hotch with the same familiarity. “Hotch! Good to see you again, man. I missed having my desk buddy around.”

Hotch stood up, shaking Peter’s hand with a polite but reserved smile. “Welcome back, Peter. I heard about the undercover operation. You handled it exceptionally well, no one expected for you to come back so soon.”

Peter shrugged, his usual modesty in place. “Thanks, Hotch. It was a tough one, but we got the job done.” He immediately turned his gaze towards you “Y/N, who knew you would have stolen my desk too”

Hotch raised an eyebrow, glancing at the two of you briefly. That “too” echoed in his mind, the sudden realization just hit that there was more history between you and Peter than he’d previously understood, founding himself feeling like an outsider.

Peter, ever observant, caught the flicker of something in Hotch’s expression. “So you know Y/N? She’s one hell of a smart cookie,” he said, looking between you and Hotch with a teasing smile.

You rolled your eyes playfully, brushing off the compliment. “Oh, please Pete let’s not start with this just yet”

Peter laughed, leaning closer to Hotch as if about to reveal a secret. “Did she ever tell you she can sing? Like, really sing. She’s incredible. I’ve heard her at a few college events back in the day.”

Hotch looked at you, surprised, taking in this new piece of your past. “No, she never mentioned that.

You felt your cheeks heat up, flustered by Peter’s unexpected praise – especially because you were both standing in your workplace. “That’s because it’s not important,” you said, trying to steer the conversation back to safer territory. “Besides, Peter’s just exaggerating. I’ve only been in the field twice with Hotch anyway, so there’s not that much to tell, most of my work has been here at the office.”

▪︎

A year ago, you attended a conference at the FBI Academy, and Peter was there as a speaker, discussing linguistic analysis in criminal profiling. It was the first time you’d seen each other in years, and the connection was immediate, even stronger than your days together at the university.

‘’Y/N is that really you?! You’ve grown so much you’re making me feel kind of old” Little did you knew that you would spend the entire evening catching up, sharing stories of your separate journeys still having in common your mutual love for the complexities of language and behavior.

“You’re exactly where you’re meant to be,” Peter told you as the two of you sat at a table, away from the noise of the main event. “I knew it from the moment I met you. You’ve got the mind for this work.”

You’d been touched by his confidence in you, feeling like the teenage girl he’d mentored all over again. “Thanks, Pete. But you’ve always been the one pushing me forward, I don’t know if I’d have chosen this path without your nudging.”

Peter’s smile was genuine, warm. “You would’ve found your way, Y/N. You always do.”

▪︎

The more Hotch listened to the two of you catching up, the more he felt that gap, as if Peter was pulling you back into a shared history that he hadn’t been part of.

Peter grinned, nudging you playfully. “Always aiming for perfection, huh?

You tried to brush it off, cheeks warming under their combined scrutiny. “Oh, please. That was a long time ago.”

Peter shrugged, turning back to Hotch. “But she hasn’t changed. I can see it in your eyes, you know?! Same drive, same brilliance. So, how’s she been doing? What cases has she solved?”

Hotch took a moment, his expression unreadable as he considered Peter’s question. “She’s been doing great,” Hotch said finally, his voice measured. “We’ve worked on a few tough cases together, a few high-profile cases. She’s brilliant, as you know, we’ve had our hands full. But it’s good to have you back - we can always use the extra help”

Peter nodded, his enthusiasm palpable. “Looking forward to jumping back in”

Before anyone could say more, Rossi approached, cutting through the atmosphere with his usual flair. “Well, looks like we’ve got our team for the day. Gideon’s out, so Peter, you’re coming with us. We’ve got a complicated case ahead, and I’d rather have all hands-on deck, we might be in desperate be of two linguists on this one”

Peter’s eyes flicked to you, then to Hotch, his smile never wavering. “Wouldn’t have it any other way.”

The team’s arrival at the police station was met with a wave of unease that hung heavy in the air. The case they were stepping into was far from simple. Multiple international tourists had been brutally murdered, each crime scene marked by cryptic messages in different languages. This was a killer who thrived on complexity, and with every new clue, the puzzle seemed to grow more intricate.

Rossi led the team inside with his usual calm authority, his eyes scanning the room with the practiced ease of someone who had seen too many crime scenes in his career. Peter and Hotch moved in tandem, flanking him on either side as they entered the station. The moment they stepped inside, the chaos enveloped them like a wave crashing on the shore.

The police station was a flurry of frantic movement and tension. Officers darted between desks, paperwork scattered in their wake, and phones rang incessantly, demanding attention that no one seemed able to fully give. The space, clearly not designed to handle the intensity of a high-profile investigation, felt claustrophobic and stifling, the walls closing in under the pressure of a case spiraling beyond control.

The air was thick, not just with the stress that permeated the station but with the unmistakable grit of dust being churned by the old, neglected air conditioning unit overhead, blowing more dirt than relief, only adding to the oppressive atmosphere. Everyone was on edge, their nerves stretched thin by the weight of a situation they were ill-equipped to handle. Rossi could almost taste the desperation in the room, a palpable sense of urgency that clung to every officer as they hustled to keep up with demands they were never trained to meet.

Rossi exchanged a knowing look with Hotch, both of them wordlessly acknowledging the uphill battle they were about to face - not just against the unsub but against the limitations of a team clearly overwhelmed.

The lead detective, a grizzled man with a permanent scowl, approached Rossi, barely acknowledging the rest of the team. “Agent Rossi, we appreciate the Bureau’s help, but I hope you realize this is a time-sensitive situation. We’ve got international press breathing down our necks, and the mayor’s about ready to pull his hair out.”

Rossi nodded calmly, his authoritative presence immediately establishing control. “We’re here to provide a profile and assist in any way we can. What can you tell us about the latest victim?”

The detective began briefing but his eyes kept darting towards you, flickering with something between doubt and annoyance. Finally, he couldn’t hold back any longer. “I’m sorry, but are you sure you brought the right team? She looks like she should be at a college lecture, not a crime scene.”

The comment hit like a slap, and you felt the familiar burn of frustration flare up. You’d been here before, countless times, actually. You were used to your youthful appearance and academic background drawing skepticism, but that still didn’t make it any easier to swallow, especially in that particular case. Before you could respond, Peter jumped in, his voice carrying a mix of defense and pride.

“Detective, she’s not just some college student. Y/N’s one of the best linguists you’ll ever meet, and she’s cracked more complex cases than most agents twice her age. I’d trust her instincts over anyone else’s, any day.”

There was a quiet confidence in Peter’s words that seemed to force the detective to take a second look, though his skepticism remained stubbornly in place. Hotch, noticing the tension, stepped forward, his expression firm. “Agent Y/L/N’s skills are exactly what we need for this case. If anyone can figure out what the unsub is communicating, it’s her.”

The detective hesitated, then gave a reluctant nod. “Fine, but we don’t have time for trial and error. Every minute we waste is another chance for him to strike again.”

“We’re all already aware of this, Detective. I’m sure you know that making my work any more difficult than it already is isn’t going to benefit any of us.” You finally had the courage to bite back.

As you settled into the briefing room, you felt Peter’s hand gently squeeze your shoulder, a silent but reassuring gesture as he said, “Don’t let it get to you.” You glanced at him, grateful for his unwavering support, and gave a small, determined smile in return. You were here to do a job, and you weren’t going to let some old-school cop’s doubts throw you off your game.

Once inside, the team gathered around the evidence board, covered in photos, maps, and printed copies of the unsub’s cryptic messages. Hotch and Rossi started dissecting the behavioral aspects, but your eyes were immediately drawn to the linguistic patterns.

Peter set up next to you, and the two of you fell into an easy rhythm, just like old times. “This one’s in German,” Peter pointed out, highlighting one of the messages. “It’s a proverb that loosely translates to ‘The apple doesn’t fall far from the tree,’ but it’s the context that’s strange. He’s placing blame close to home.”

You nodded, your mind already racing through the implications. “And this one in French, ‘Nul n’est prophète en son pays’ - ‘No one is a prophet in their own land.’ He’s building a narrative where he’s the misunderstood hero, vilifying his victims in the process.”

Hotch watched from the corner of his eye, noting the seamless back-and-forth between you and Peter. It was clear that you two shared a deep understanding of each other’s thought processes, effortlessly piecing together the unsub’s motives and the cultural implications behind each message.

Rossi leaned over to Hotch, his voice low. “They’ve got something, don’t they?”

Hotch nodded, keeping his expression neutral even as a flicker of something uncomfortably familiar passed through him. “Yeah. They do.”

As you and Peter continued to dissect the messages, the detective returned with another dose of skepticism. “So, what’s the point of all this? We know he’s targeting tourists, but what’s the endgame?”

You hesitated, feeling the weight of his judgment holding yourself to punch him in the face, but Peter jumped in, his confidence never wavering. “The messages aren’t just random: they’re statements about identity, belonging, and betrayal. He’s targeting people who represent something he feels threatened by, probably linked to his own experiences.”

The detective was confused by the complexity of the message Peter was trying to communicate but at least he seemed less doubtful. Hotch and Rossi exchanged another look, Peter’s ability to not only support but elevate you was undeniable, and it left a lingering question in Hotch’s mind that he couldn’t quite shake, an unresolved history between you and Peter that was palpable to everyone in the room, even if no one dared to say it aloud. As the team continued to piece together the unsub’s twisted narrative, it became increasingly clear that the linguistic clues were the key to unlocking his motive.

“Here’s the first message,” Peter said, pointing at a wall covered in scrawled Italian text. “‘Chi semina vento, raccoglie tempesta.’ He’s quoting an old Italian proverb. It translates to ‘He who sows the wind shall reap the storm.’ Classic justification tactic. He’s blaming his victims for their own deaths.”

You nodded, running your fingers along the paper. “He’s using cultural proverbs to deflect responsibility. It’s not just about justifying his actions; he’s making a statement that he’s in the right, that the victims somehow deserved this.”

Peter smirked, recalling your sharpness from years ago. “You know, you’ve always had this annoying habit of being right. Remember that time back in your mom’s class? You corrected Professor Ricci about Dante’s theological influences.”

You laughed, half-embarrassed. “Oh, God, don’t remind me. I just couldn’t let it go.”

Peter turned to the others, Rossi didn't throw away his shot. "Remind us, Peter. I'm not going to let an opportunity like this slip from my fingers"

Peter jokingly cleared his throat. “Y/N stopped the guest professor right in the middle of the lecture and said,”

He made sure to pitch his tone up in order to mimic yours “While Dante’s work is often linked to the influence of Saint Augustine, we also need to remember that his beliefs were also shaped by the dominant philosophy of his time: Platonism, especially the Neoplatonists and Plotinus.’ The whole room was stunned, and Professor Ricci just stood there.”

Hotch couldn’t help but smile, picturing a younger version of you challenging a university professor with such confidence. Yet there was something more bubbling up in his blood, this was another glimpse into a part of your life he hadn’t seen, hadn’t known. It made him feel strangely out of the loop, like an outsider looking in.

Peter continued, still caught up in the memory. “You finished him when you also provided proof to support your thesis”

“Of course, how else was I supposed to-“

He immediately cut you off. “Early Christian thinkers adapted Greek philosophical ideas, particularly Plato’s concept of eternal forms from which the material world originated. This was quite convenient for the Christian theologians of that time, indeed this philosophical influence is evident in the biblical phrase - and the Word became flesh and dwelt among us.' You had everyone in the room, including the professor, rethinking what they knew about Dante.”

You shrugged modestly, glancing at Hotch, who seemed both amused and thoughtful. “I wasn’t trying to show off. It just… bothered me that no one pointed it out – and because of that my mom forbid me to attend her class for two weeks straight. Pete, I’m still thankful for your notes.”

Hotch chuckled softly, meeting your eyes. “Some things never change.”

The team continued working for hours straight, but the frustration began to mount. Despite your and Peter’s best efforts, the linguistic puzzles refused to crack completely. The police officers were growing visibly impatient, and you could feel their skeptical glances as they hovered around the room.

One officer, who had been particularly dismissive, sneered as he walked by. “So, this is the genius team the FBI sent us? Still no answers?”

The comment hit harder than it should have, and for a moment, you felt the sting of self-doubt. Peter, noticing your silence, shot the officer a glare. “We’re not here to waste time, Detective. We’re here to solve this.”

Peter leaned closer to you, his hands grabbing your shoulders, speaking softly so only you could hear. “Don’t listen to them. We’ll get it, like we always do.”

You nodded, trying to focus on his words rather than the creeping sense of inadequacy. Hotch watched the exchange, noting the way Peter seemed to know exactly how to lift you up when you needed it most. He wanted to say something reassuring himself, but the moment passed, leaving him feeling strangely sidelined.

The hours dragged on, and eventually, the team left the station to get some rest. At the hotel, Rossi and Hotch were assigned to share a room, while you and Peter were given the one next door. As you walked down the hallway, Rossi turned to Hotch with a pointed look.

“You know, Aaron,” Rossi said with a grin, “if I catch you working tonight, we’re gonna have words. You need sleep just as much as the rest of us. I’m serious when I say I’m a light sleeper, so I swear, if you keep me up with that damned desk light, you’re a dead man.”

Hotch gave a tight-lipped smile, appreciating Rossi’s concern – even if he expressed it in his own unique way - although he knew he’d never be able to turn his mind off. “Don’t worry, Dave. I’ll try my best.”

On the other hand, in your room, you and Peter settled in, and immediately surrounded yourselves by case files and coffee cups. You tried to solely focus on the work, but as the night wore on, the conversation drifted, after all it had been over six months since you’d seen each other, and there was a lot to catch up on. Peter leaned back, studying you with an easy smile.

“You’ve changed, Y/N,” he said, his tone light but sincere. “You’re still that perfectionist who can’t let a puzzle go unsolved, but… there’s something different.”

You glanced at him, surprised. “I don’t know about that. I’m just… trying to keep up, I guess.”

Peter reached out, brushing a loose strand of hair behind your ear in a gesture that was both familiar and affectionate. “You’ve always been better than just keeping up. Don’t forget that.”

You found yourself caught between the comfort of Peter’s presence and the tug of unresolved emotions that you hadn’t quite figured out.

“Let’s go to sleep, shall we? I think we’ve done enough work for today” He winked at you as he placed his hand on the small of your back guiding you towards the bed.

“Oh don’t worry, you should sleep though. I think I might go down the lobby to clear my head for a bit.” You lied to him, but you couldn’t ignore your gut feeling telling you that there was something else you hadn’t considered yet.

Similarly, just across the corridor, the case weighed heavily on Hotch’s mind, and despite Rossi’s threat, he knew he wouldn’t rest until he’d figured out what was missing. Hours passed with Hotch lying in the dark, the puzzle pieces of the case refusing to align, finally, at nearly two in the morning, he couldn’t take it any longer. Careful not to wake Rossi, he grabbed his files and slipped quietly out of the room, making his way to the lobby to continue working.

To his surprise, he found you there too, hunched over a table with notes sprawled out, lost in concentration. You looked up when you heard him approach, unable to hide your surprise.

“Partner,” you said with a grin, noting his rare appearance in his white t-shirt, checkered blue pants pajamas, with the slippers provided by the hotel at his feet. “I’ve got to admit, this is new. Did Rossi finally threaten you into losing the suit?”

Hotch smirked, taking the seat across from you. “He did, actually. But desperate times, right? I didn’t think anyone else would be up.”

You chuckled, enjoying the casualness of the moment despite the late hour. Hotch spread out his files, his brow furrowing as he glanced over them. “I think there’s something we’ve been missing, there’s a pattern in the language choices. It’s not random. He’s escalating with each message.”

You leaned closer, your fingers tracing the messages. “You’re right. It’s chronological. He’s building something: a timeline, like each phrase is a step toward his endgame. It’s not just blame; it’s justification.”

Hotch nodded, grateful for the way your mind seemed to work so fluidly alongside his, especially in the late hours of the night. But as you continued to dissect the sequence, Hotch’s thoughts drifted back to earlier, watching you and Peter work so seamlessly together. The old familiarity, the easy way you bounced ideas off each other, it had been hard to ignore. And now, in the quiet of the night every sensation was amplified, especially the ones he’s been trying to brush off for the entire day, they stung a little more than he wanted to admit.

The ease of the moment was shattered when Hotch suddenly broke the flow of your thoughts with a wry comment. “You know, I’m surprised you’re even here working. I figured you’d be busy... catching up with Peter. He’s been flirting with you nonstop since he came back.”

You froze, your jaw tightening as his words sank in. The casual, almost careless tone hit a nerve, and you could feel a flicker of anger flare up inside you. “What’s that supposed to mean, Hotch?”

Hotch leaned back, crossing his arms, trying to mask the hint of frustration that was seeping through. “Nothing. Just an observation. It’s not like you haven’t been a little distracted since he got back.”

You stared at him, incredulous. The casual arrogance in his words struck a nerve, and before you could stop yourself, the frustration that had been building all day came spilling out. “You really think you know everything about me, don’t you? Just because we work together, you think you’ve got me all figured out.”

Hotch’s expression tightened, caught off guard by the sudden burst of anger. “That’s not—”

“No, let me finish,” you said sharply, your voice steady but laced with a quiet intensity. “You don’t know me, Hotch. You have no idea what I’ve been through or what I’m dealing with. You’ve worked beside me for months, calling me partner, acting like you’ve got me all figured out, but you don’t. You don’t know the first thing about who I am or what’s going on beneath the surface.”

Hotch opened his mouth to respond, but the sting of your words left him speechless. You were relentless, every word cutting through his composure. “You think just because we’ve been working together constantly, you’re entitled to know me? To judge me? But you know what, Hotch? You’re wrong. You don’t know a damn thing.”

Hotch’s jaw clenched, the carefully maintained façade he wore slipping for just a moment. “I’m not judging you,” he said, his voice low but strained. “I’m just trying to figure this out, okay?”

“Figure what out?” you shot back, your frustration boiling over. “The fact that you’ve been constantly analyzing everyone around you while keeping yourself locked away? You think that you’re the only one capable of reading people like an open book? You act like you’re open and honest, but you’re not. You insist on wanting to be called ‘Hotch’ on the job by everyone, and you think I wouldn’t catch onto that? You do that because ‘Aaron’ is too personal and ‘Hotchner’ is too formal. You straddle the line because you’re scared to be either. You’re terrified of being too close to anyone, yet you don’t want to seem too distant. It’s like you don’t even know who you are.”

Hotch stared at you, your words hitting deeper than you knew. You had seen right through him, through the carefully constructed barriers he put up to keep everyone at a manageable distance. He didn’t know how to respond because, for once, someone had called him out on the one thing he feared the most: his own inability to truly connect.

“I keep things professional because it’s easier,” Hotch admitted, his voice tinged with frustration and a hint of vulnerability. “Because it’s safe.”

You scoffed, shaking your head in disbelief. “Safe? You call this safe? You’re so busy keeping people out that you don’t even realize how much you’re missing. We’ve been partners at work, sure, but that’s all it’s ever been, right? Professional, compartmentalized, no mess, no feelings. That’s how you want it.”

Hotch’s gaze dropped, the weight of your accusations settling on him. “I thought that’s what was best,” he murmured, the admission almost painful. “I thought… I thought it was enough.”

You sighed, your anger waning but the hurt still fresh. “You don’t have to figure out anything, you said that yourself – I thought - It’s not enough for you Hotch, and not even for me.”

There was a long, heavy silence between you, both of you staring at the scattered papers on the table, as if the answers you sought could be found in the scrawled handwriting and cryptic messages. But this wasn’t something that could be solved with profiling or deduction. It was messier, more personal, and neither of you were sure how to navigate it.

“I’m sorry,” Hotch said finally, his voice barely above a whisper. “For making you feel like you’re just another piece of the job.”

You nodded, the tension easing but not entirely gone. “I appreciate your apologies but if you really want to change things up all you have to do is to agree to be vulnerable with me, that’s all.”

You turned your attention back to the case, pushing through the lingering discomfort to focus on what you could control. You worked in silence, each of you lost in thought, both aware that this argument had pulled something to the surface that couldn’t be ignored.

By the time you finally cracked the pattern in the unsub’s messages, the sun was beginning to rise.

As Hotch made his way back to the room at nearly 4 a.m., he was trying to be as quiet as possible, mindful not to wake Rossi. But as he slipped inside, he was met with the sight of Rossi already awake, leaning against the edge of his bed, arms crossed, his expression a mixture of amusement and disapproval.

“Couldn’t resist, could you?” Rossi’s voice was low but carried a playful edge, tinged with the knowing tone of someone who had seen this behavior from Hotch too many times before.

Hotch tried to hide his fatigue, rubbing a hand over his face as he set the files down on the desk. “It was important. I found something we missed. Had to double-check.”

Rossi’s smirk didn’t waver. “You found something, huh? Or did you just need an excuse to get out of this room and clear your head?”

Hotch stiffened, but he knew there was no point in denying it. “We figured out the sequence, the messages weren’t just random. They were chronological, like a timeline leading to his next target. We were close, but we couldn’t afford to miss it.”

Rossi nodded, his expression softening just a little. He knew Hotch was right; they were on a tight timeline with no room for errors. Still, he couldn’t resist teasing his friend. “You could have figured that out in the morning, Aaron. You can’t solve every problem by burning the candle at both ends.”

Hotch sat down on his bed, glancing at the clock, Rossi’s words lingered, cutting through the tension Hotch had been carrying all day. “I know. But you said it yourself—we can’t miss anything.

Rossi studied Hotch for a moment, his voice dropping to a softer, more serious tone. “You’ve been different since Peter came back,” Rossi said, watching Hotch’s reaction closely. “It’s like you’re working twice as hard, pushing yourself even more than usual. What’s going on?”

Hotch’s expression tightened, his usual stoic demeanor wavering under Rossi’s probing gaze. He knew exactly Rossi could read from his face what had just happened between the two of you. “I just… wanted to make sure we didn’t miss anything,” he repeated, his tone defensive.

Rossi wasn’t buying it. He moved closer, sitting on the edge of his own bed, facing Hotch directly. “You’re not fooling me, Aaron. I’ve seen this before. You’re not just worried about the case. This is about Y/N, isn’t it?”

Hotch looked away, pretending to be preoccupied with the files on his lap. But Rossi’s words hit too close to home, and he couldn’t ignore the knot of emotions that had been building inside him since Peter’s return. “It’s not what you think,” Hotch said quietly, though even to him, it sounded unconvincing.

Rossi leaned back, giving Hotch a knowing look. “Look, it’s natural. You and Y/N have been working closely, you’ve got this rhythm. Peter comes back, and suddenly you’re reminded that you’re not the only one who clicks with her. But it’s not a competition, Aaron. You’re more to this team, and I’m sure you are to her as well, than a stand-in.”

Hotch’s jaw tightened. He had spent the last few months building a partnership with you, appreciating your insights and the way you challenged him. But Peter’s return had stirred up insecurities he hadn’t even realized he had.

“It’s not that,” Hotch said finally, though the weight in his voice suggested otherwise. “I just want to make sure we get this right. Peter’s good at what he does. It’s just… different.”

Rossi gave him a pointed look. “Different isn’t bad, Hotch. And you’re still you. You don’t have to prove anything: to her, to Peter, or to anyone else.”

Hotch nodded, though Rossi’s words did little to ease the knot in his chest. “Thanks, Dave. I know.”

Rossi watched him for another moment before standing up, his tone lightening as he made his way back to his bed. “Just remember, she was never looking for a replacement for him while he was gone. She’s looking for a partner. And you’ve already proven you can be that.”

Hotch lay back on his bed, staring at the ceiling. Rossi’s words echoed in his mind, he knew he needed to get some sleep, but his thoughts were restless. It wasn’t just about the case anymore, it was about finding his place, about understanding what you truly meant to him beyond the walls of the BAU. As he finally drifted off, he promised himself that whatever happened next, he wouldn’t let his insecurities cloud his judgment. He’d be the partner you needed, and maybe, just maybe, he’d find a way to fit into your life outside of work, too. If you ever let him after today.

[sandplague]

pathologic 3 save & sound 2024 presentation

this is a quick attempt at a transcript of the presentation. I think I got most of it but there are some words I was unable to hear, I can't say I have a lot of practice doing this and that's on me so if any of you guys can help me I'll edit it asap

Ressa Schwarzwald: I'm Ressa from Gameowdio. Our team has been working on Pathologic 3 with Vasily Kashnikov and his apprentice Nikolai. This video will feature some of the audio stuff we've made together.

Our goal regarding audio direction was to give the real experience of being in the epicenter of an epidemic. Fully realistic, no bullshit. So we are obviously shooting this video in The Town. We realized pretty early that the game was quite different from the original Pathologic 2 because of the time travel mechanics. So for the prototype we built a time travel machine [the date November 1924 shows on screen], which appeared to be quite useful to record some source sounds, and [date changes to November 3024] make this video in just half a second using existing technology.

Let's start with the music.

Vasily Kashnikov: Hi, I'm Vasily Kashnikov, audio director of Pathologic 3 project. I'll tell you how our music is structured. We were already thinking about how the Bachelor's game would sound when we were working on Patholgic 2 and writing music for Haruspex. In Pathologic 2, the music had more ethnic and real motives (motifs?) and instruments. Since the city and its customs are familiar with Haruspex since he was a child, he is involved in the traditional way of life. In the case of Pathologic 3, this is the view of an outsider who evaluates everything from the point of view of rationality and science. Therefore, we are trying to make the Pathologic 3 soundtrack colder and more detached from the steppes and ethnicity in character. There is more synthesis, guitars at the same time, the Bachelor communicates with those in power so the soundtrack contains a large share of minimalist so-called furniture music that could sound in the beginning of the last century. Piano etudes and references to composers of that time: Satie, Debussy, etc. The soundtrack is a rather eclectic mix of dreampop, downtempo, and (?) minimalism.

In the city when the Bachelor is alone with himself, we emphasize the cold mind of the rhythm section: less emotional harmony, and sometimes electronic timbres. In the rooms where we need to separate the main character from those he interacts with, we use more expressive harmonies and more classical instruments: piano and guitar passages.

When we designed the interactive music system, we assumed that time is finite, and the music had to change depending on the amount of time the Bachelor had left. However, we later abandoned this system and now the music changes depending on the state of the Bachelor himself, who can fall into apathy or psychosis. To emphasize these states, we apply filters and effects to different layers of our tracks and get a slower, muffled sound in the case of apathy, and wired (?) nervous, glitchy in the case of psychosis. In the infected quarters, there are interactive systems that... [screen begins to distort] oh my god, Nataliya! Please stop this!

Nataliya Radina: Whoops, hehe, sorry. But yeah, basically the other system we created reflects everything you hear in the game. Such as... If we use our gun when dealing with the local thugs, the longer we aim the weapon at the people, the less sounds of the outside world we hear and the louder becomes the heartbeat. To add to the intensity, sharper tone was used along with a high pitch tinnitus sound. If the psychosis level goes to the maximum, it starts to damage Bachelor's health, which is accompanied by flashes on the screen, as well as low heartbeat and short breathing sounds.

Vasily Kashnikov: In the infected and rebel's quarters, there are also interactive systems that change the character of the music by adding or disabling instrument layers depending on the state of the world or the Bachelor's equipment to fight the plague. As a result, we have 12 tracks for each day spent in the city. they can freely switch between each other and several dozen themes for locations and characters, and all the music is subject to change depending on the state of the Bachelor.

Nataliya Radina: Since the game has a weather changing system, we also wanted to reflect that in our audio feedback as well. The game has global wetness parameter that shows how intense the rain is. The more it rains, the more squishy and muddy are the steps of the outside surfaces. Moreover, if you come closer to the window, you can hear the rain pondering on the glass. Even in the middle of the plague, we always have room for cozy moments, right? My favorite part of that system is involving cows. [cow moo]. So, when it's raining, you can actually hear very very soft sound of raindrops dropping on those bovine butts. And I personally think it's beautiful.

Artur Ramanouski: Hi, my name is Artur, and I was also involved in creating some sound assets for the game.

Probably the hardest thing to record were the footsteps. I had everything planned out: bought the equipment, got every type of surface, but...there was one small thing I overlooked: I live in a city with over 12 million people. Noise everywhere. The solution was simple and ingenious: I recorded everything on a Sunday, because in Buenos Ares, Sunday is the one day when no one does anything.

Nataliya Radina: One of the most important places in the game is the cathedral. There we have a system of ladders that control the speed and direction of time. Direction wise, we can have it flow normally, or reversed. [entire presentation is rewound very quickly so it's back to Ressa]

Ressa Schwarzwald: She is super professional.

Nataliya Radina: As for the speed, we can make it stand still, go twice as fast, or half normal speed. We created an audio system that has to (?) understand what is actually happening around (inaudible). When we reverse time, spatial effects are added to the surrounding sounds. Ambience, steps, and the mechanism itself. When time stands still, we increase the low frequencies in the ambience, and all the other sounds are muted to zero. Now lastly, when the time goes twice as fast, or half the original speed, the pitch of the surrounding sound changes accordingly.

The coolest part of this system is that it's been actually implemented into the game engine using only one parameter.

Ressa Schwarzwald: Thank you for watching. See you here, later!

[keuwibloom]

Finally, we have the Parasynth designs for Nightmare and the rest of the gang!

And of course, to add to that--

Parallel Synthesis Info Dump: Nightmare's Gang Edition!

As mentioned in the star sanses info dump, the gang usually go on less missions. This is because they really only have one goal when they travel on official business: spread negativity. This means Nightmare will send the gang out to either maintain the bad vibes in an already negative AU, or cause chaos in AUs leaning more positive.

Nightmare will sometimes personally come on group missions, but he prefers to oversee or go on small but frequent solo missions (for reconaissance purposes mainly). The gang gets to handle the larger-scale ones.

Since a truce was established and both groups are on relatively good terms, these missions go on until the negativity balances out any excess positivity. In their earlier days the gang used to be a lot more brutal, but they currently try to avoid taking lives as much as possible.

As for how the Multiverse Balance itself works, think of it like a computer; Creation and Destruction are the hardware, the physical parts that make up the multiverse. While Negativity and Positivity are the software, the data that flows through the multiverse that helps to keep it running. When there's too much positivity being processed at once, the multiverse is at risk of "overheating". That's why its important to do negativity "maintenance" every now and then.

Positivity spreads faster, but negativity lingers longer. It's a similar principle to unstoppable force VS immovable object.

This is mostly general info-- I'll probs have another post for the gang's actual group dynamic!

Nightmare belongs to Jokublog

Cross belongs to Jakei95

Killer belongs to Rahafwabas

Dust belongs to Ask-Dusttale

[diaphonizeddoll]

LIMBUS SINNER TAROT ANALYSIS

III. Don Quixote– The Empress

"The Daughter of the Mighty Ones."

That is the "ESOTERIC TITLE" of The Empress according to Wang's Qabalistic Tarot. Every Major Arcana has one, and there is also the "DOUBLE-LETTER", a duality of two concepts. The empress--and Don Quixote by extension--is "Wisdom-Folly."

Don quixote is highly peculiar... She is a woman of dualities. This is by design, as we're introduced to two different states of being-- a human and a Bloodfiend.

For these wondering, Yi-Sang's DOUBLE-LETTER was "Life-Death", and Faust's was "Peace-War." Faust's I think foreshadows a conflict of the Fausts, across mirror worlds. Peace and War both being statuses of a relationship between world entities. A mental "Disunion" of Faust's component minds.

Don Quixote's character juxtaposes wisdom and folly. She shows in both separate states and the synthesis of them, a wisdom in how she views life. She encourages the sinners with ideals of chivalry and justice.

"A true adventure is not without its hardships... Yet... even the most exalted of heroes cannot venture without respite", says amnesiac Don.

Don's speech is genuinely insightful even as it seems foolish.

"The Fourteenth Path [The Empress] is the Illuminating Intelligence, and is so called because it is that Brilliant One which is the founder of the concealed and fundamental ideas of holiness and of their stages of preperation"

Says Wang.

Rider-Waite and the Inversion Tarot offer other themes with interesting connections to Donqui's character; "initiative" and "action", "doubt" and "ignorance", followed by "the unraveling of involved matters". (dis)Connection to "nature" and "(in)fertility".

So, I see that a lot of the themes of The Empress match Don to varying degrees. She is among the most action-oriented sinners, to the end of her overzealousness leading the group into several snafus (the border incident, the christmas incident) before her awakening. I also see her method of helping Sinclair when he was clairing out as a good example of this.

Doubt and ignorance fit properly the duality of wisdom and folly in Don's character. Remarks of fertility and nature, as well as the card's underline of matriarchy, relate to Don's life both as Sancho and as a sinner.

As Sancho, Don gives in to her Bloodfiend nature yet declines to sire any laManchlings. Blood is interwoven with fertility as a theme, I will mention too.

Suppressing her Bloodfiend nature via Rocinante, LCB Don perhaps fills a "group mom" role at times, through pep talks, calling everyone else young, being close to sinclair.

THAANK YOUUU FOR READINGGGG!

Hi! This is the post script. I had this like half way written a month ago and then got distracted. The past month (months?) have blurred together in my mind.theres been a lot of time spent going back and forth with the voices in my head (faust kin). I didn't really have the energy to write a conclusion also. here's hoping I get around to ryoshu soon! I've got my tarot pdfs open at least.

[sasukekys]

the fundamental difference between katniss and gale.

katniss contrasts the people from the seam and the merchants, because she knows the former have it rougher, but she not only knows the anger towards the merchants would be misdirected, but she also learns that peeta, who had it easier than her, isn’t as wealthy as she imagined, that his family, despite not battling starvation, only eats the leftovers because they can’t afford fresh food. her only friend at school is the mayor’s daughter, someone gale resents.

so the problem must be with the other people in the districts. but it’s not, and katniss knows the capitol tries to keep the districts alienated from each other to fuel the feeling of distrust and discourage their union. she learns from rue that people in district 11, for example, also struggle to put food on the table, despite its economy being agriculture, workers there can’t eat what they harvest.

would the problem be the careers, who eat better and train their whole lives to win the games and get the glory? but they are children as much as any other tribute. she can’t bring herself to hate marvel. despite him killing rue, he also appeared vulnerable in his death. cato’s death is much crueler, and after katniss’ act of mercy, both her and peeta feel hollow at his death. the problem isn’t with the other tributes too. meanwhile gale compares killing other tributes to killing animals.

so it has to be the capitol citizens… but she still can’t bring herself to hate them, because not only katniss understands they have different upbringings, and she herself wonders how different she would be if she was raised in their environment, but she learns that, despite being sometimes alienated to the point of acting insensitive, most of them are willing to help, they cry for her for having to return to the games and they respect and are nice to her mother. katniss doesn’t want her team to be tortured at district 13, because she knows it’s wrong, something gale can’t bring himself to comprehend, simply because they are from the capitol.

katniss’ anger isn’t misdirected, she remembers who the real enemy is, which would be snow, but also coin, the political leaders that put the people in those positions for their own interest and safety. i don’t believe gale would kill children wholeheartedly, but he does believe in “necessary evils”, like taking the easier solution with the nut, the one that would have more casualties, and he designed the bombs that killed children and healers and sisters. so where do you exactly draw the line when it’s all extremism?

gale and katniss have the same upbringing, have gone through similar experiences, losing their fathers on the same accident, signing up for the tesserae, battling against starvation, getting their district bombed, but they go on opposite directions. gale falls into extremism because he sees human life as expendable. katniss extends her compassion, because rebellion comes from loving humanity and believing a better life is possible. fire can’t burn enough to turn everything into ashes. the last chapter or the epilogue isn’t a surprise, it’s just a synthesis of what has been going for three books.

[violent138]

Thinking about a challenge that Batman faces, but struggles to do anything about is dealing with the exploitation of rogues once in Arkham/prison/formally released by the government, or the evidence gathered after an arrest, such as

Corporations trying to use some derivative of Poison Ivy's toxin to grow agricultural monocultures (would drive her crazier)

Attempts to use Victor Freeze's work for organ preservation technologies (mild benefits, but danger in the form of his gun's design getting copied)

Hatter getting exploited to help with military applications of brainwashing

Bioweapon synthesis based on the creations of various rogues and their work

[daytaker]

Sins, Virtues, and Motivations: A Critical Analysis of Characters in Shall We Date?: Obey Me!

In this essay, I will argue that each demon brother some of the demon brothers can be associated with a sin (no duh), a virtue, and a core motivation--and that this motivation is best pursued through a synthesis of that sin and that virtue. Hegel would be very proud. Yes, this is critical media analysis. No, I will not try to explain the twisted, broken path that led me to this point in my life.

I will be looking at Lucifer, Mammon, and Levi in this study. Their core sins are obvious - Pride, Greed, and Envy. Their accompanying Virtues and Motivations are listed below.

I used the Seven Heavenly Virtues for this little game. These are Prudence, Justice, Fortitude, Temperance, Faith, Hope, and Charity.

They should not be confused with the Seven Capital Virtues, which are inversions of the Seven Deadly Sins. These are Humility, Charity, Kindness, Patience, Chastity, Temperance, and Diligence. I tried these first and damn were none of them easy to match up. Tell me, fandom for this mobile game designed for players to lust over hot demon men, which brother should have the "chastity" virtue?

Lucifer

Core Sin: Pride. Core Virtue: Fortitude. Core Motivation: To protect his family.

Lucifer's core motivation is to protect his brothers. He looks at this as a sort of penance for the outcome of the Great Celestial War. He knows that he's the reason they rebelled, and he feels responsible for their wellbeing. He is able to endure the relentless pressure of the responsibilities he puts on himself thanks to his core virtue, fortitude.

Fortitude is strongly associated with courage. Specifically, it is courage in the face of pain and adversity. We see him displaying this trait any time those he cares for are in jeopardy, and it often helps him make difficult decisions where neither outcome is ideal. Lucifer is decisive, canny, and accepts the consequences of his choices, good or bad.

His driving motivation is also bolstered by his core sin: pride. He views himself as ultra-competent, while his brothers consistently make mistakes; beyond that, it's only natural that he take responsibility for the choices of his brothers (like the choice to join him in rebelling) because he is so significant an influence as to virtually rob them of their autonomy.

This has led to Lucifer having a somewhat toxic relationship with his brothers. Lucifer often acts as a parental figure rather than a peer, while the rest of them are all in arrested development of some sort, often acting more like kids than the adults they insist they are.

Lucifer either doesn't recognize that by doing everything for the family on his own, he's stemming their ability to grow and learn, or he does know the consequences of what he's doing and he feels conflicted about it. He ultimately blames himself for the fact that they're all in the Devildom in the first place, living as avatars of sins to the extent that they struggle to function as independent adults.

So, while fortitude and pride allow Lucifer to simulate the act of protecting his family, it's a matter of perspective whether controlling every element of their lives is protection or harmful coddling.

Mammon

Core Sin: Greed. Core Virtue: Charity. Core Motivation: To be valued and valuable.

Mammon is simultaneously a vessel of greed and its inverse, charity. This is because his core motivation is twofold, and those are the rewards of greed and charity; to be valued - to fulfill a want, to be desired, to look flippin' cool - and to be valuable - to fulfill a need, to have inherent worth, to serve a purpose.

Setting aside his unhealthy relationship with money, let's examine how Mammon behaves and what his deeper interpersonal motivations tend to be. He clearly places a high value on his brothers and MC, and he has shown on multiple occasions that he is willing to put himself at risk to help or protect them. Early on in both the original game and in NightBringer, Mammon attempts to heroically rescue MC (and his younger brothers, in NightBringer). In both cases, though, Lucifer shows up and does it for him. Mammon's pursuit of his core motivation clashes with Lucifer's quest for his, and Lucifer is strong enough to simply take it from him. Although in NightBringer he and his brothers do earn the not-insubstantial reward of the title "Lords of the Underworld" after Lucifer's rescue, he appeared so dejected by Lucifer's oneupmanship that he spent a good portion of the next day sulking. In the original game, Mammon wants MC to promise that they won't be saved by anyone else besides him in the future. It appears that his greed for an improved status in his interpersonal relationships is left unfulfilled.

Mammon wants to be heroic - to be valuable - and he wants to be admired for it - to be valued. The cognitive dissonance that accompanies motivations like these is all that sustains a person with such a diminished sense of self-worth.

Speaking of a diminished sense of self worth...

Leviathan

Core Sin: Envy. Core Virtue: Hope. Core Motivation: To find joy in the things that give him joy.

Confusing motivation? Yes it is. But envy is a confusing sin. All the other sins--pride, greed, wrath, lust, gluttony, and sloth--are enjoyable to indulge on some level. Losing your temper when you feel you've been wronged, or eating a bunch of delicious food, or sleeping through the snooze alarm: We know why we do those things. We might regret them later, but we indulge them in the moment because of the enjoyable side.

There is nothing enjoyable about envy. Wanting something that isn't yours, that belongs to someone else, be it tangible goods, talents, a partner, a job... is nauseating. And it makes you feel like a bad person, and it drains the joy out of things that you used to love. Speaking from personal experience for a second, when I was a teenager, I played music in a company with a much younger musician who was incredibly talented, and I was deeply envious of her. I wanted her talent; I wanted the praise she received; I wanted to impress people; I wanted what she had. But there was nothing I could do. I hated feeling that way, but I couldn't shake it. And it ate away at my desire to play music. It took the joy out of something that once gave me joy.

You see the connection?

Levi struggles to find pleasure in anything he does, despite how many interests he has, because, in spite of his blustering dismissal of all things "normie", he is deeply envious of those he perceives as his social superiors. Now, I am not in any way saying that Levi is or would be an inc3l, but there's an element of his character that has a strong parallel to inc3l culture. The idea that there is something fundamentally wrong with him that prevents him from achieving what he wants socially and that the only way he can protect himself from those who would ridicule him is with a defensive contempt for the group that rejects him... Does any of that sound familiar?

But Levi is not an inc3l. No, not because you're willing to **** him and his two *****, though I'm sure that helps. It's because he has his core virtue: hope.

Have you ever heard of the black pill? It's kind of like the final stage of inc3l culture, where you accept that you're not an alpha male, you'll never be one, you'll never be accepted by a woman, you're ugly and unloveable, and you might as well just stop existing. It is sheer despair.

Levi maintains hope for the future, even if he prefers not to admit it out of fear of jinxing himself. He is able to form a deep bond with MC, who he views as a "normie", without renouncing his hobbies or being mocked for them. In fact, I would argue that the anxiety Levi sometimes displays over the possibility of being made fun of (for example, in NightBringer when he considers trying out cosplay) is emblematic of the hope he has that he can be accepted.

"But wait, daytaker," you say. "That doesn't sound like he's making progress towards his core motivation of getting joy out of the things that bring him joy! Being self conscious is not joyful!" Well, you're right. What Levi needs is to somehow find the right balance between enjoying his hobbies and allowing himself to enjoy other people as well. As we can see from his effusive excitement in sharing his favorite games and stories with MC and his brothers, the social component of media consumption is a major component in making it enjoyable. If Levi loses hope, he loses that connection to the world offline, and if he loses that connection, he loses the joy.

@blackstqr (I did it.)

[inthegardenofprayers]

"It is not possible to walk away from such things unscarred, to keep living when the universe dies around you..." it's my single favorite quote from Sion and I think it's because it made me realize the motif of trauma. Most major characters in KOTOR II experience an extremely traumatic event in their lifetime. Hanharr can't handle owing a lifedebt to Mira and goes insane. Bao-Dur still feels immense guilt over his activation of the Mass Shadow Generator. Same with Atton and his guilt over being an assassin. Sion was defeated in battle, literally dying. Visas had her planet destroyed by Nihilus, who in turn was murdered by the Mass Shadow Generator. Kreia was exiled and eventually betrayed by her sith apprentices. Even though G0-T0 is a droid, his purpose is to fix the mass trauma of an entire civilization. Lastly, Meetra Surik (or just the exile) cut off from the force to survive the stress of the Mass Shadow Generator. As an exception, I'd say Disciple and Handmaiden don't necessarily have personal trauma but this is because they are introduced to the exile as a novice and will grow alongside you and reflect your decisions. The entire galaxy underwent trauma in the Mandalorian wars, and the story of KOTOR II is how react to your own trauma, the trauma of your companions, and ultimately the trauma of the republic.

|

I see the light side and dark side choices in game as the way you dealt with your trauma and how you help others through theirs, rather than explicit rejections or embraces of Jedi/Sith teachings. After all, you aren't even a member of the Jedi Order anymore and you left a long time ago because you didn't agree with them. Think about it like the restoration project on Telos, but with the emotional and mental health of every character in the game. When Sion tells you that nobody could walk away from such things "unscarred" its up to you whether or not that's even true. Do you walk the path of the light side and find redemption/healing through community, altruism, and self sacrifice? Or do you walk the path of the dark side: hardening yourself for protection and seeking power at the expense of others' wellbeing? Sion and Nihilus chose the latter and take take the idea to its apex. Neither can survive without the force and they are restricted by their relationship to it. Kreia makes a point to say that Nihilus does not know true power as he cannot control himself, or his abilities. He is completely beholden to a primal urge to feed. Sion loses to you in the very clip because you have the stronger will. While they survived their trauma, they are weaker because they never healed. They are "scarred" as Sion says.

|

Kreia offers a third way, based off your own survival at Malachor. Reliance upon the self, upon willpower and strength of mind is the only way to survive. After all, you did survive Malachor not because of your connection to the force, but because you were strong without it. It is the synthesis of Sith and Jedi ideas, which she combined after spending time as a great master of both orders. But is this a true way to heal from trauma? It may never be possible to heal from trauma, but look at how far your companions come and only after YOU took the time to influence them. They are strong on their own, surviving years on dangerous planets or designing weapons that bring armies to their knees, but through their connection to YOU, to a community, they unlock their true potential.

(I added more in the comments of what he said)

[satoshi-mochida]

Atelier Yumia: The Alchemist of Memories & the Envisioned Land launches March 21, 2025 - Gematsu

Atelier Yumia: The Alchemist of Memories & the Envisioned Land will launch for PlayStation 5, Xbox Series, PlayStation 4, Xbox One, Switch, and PC via Steam on March 21, 2025 worldwide, publisher Koei Tecmo and developer Gust announced.

In Japan, the PlayStation 5, Xbox Series, and PC versions will cost 9,680 yen, while the PlayStation 4, Xbox One, and Switch versions will cost 8,580 yen. The Xbox Series, Xbox One, and PC versions are digital-only. The “Premium Box” special edition will cost 13,500 yen for PlayStation 5 and PC, and 12,400 yen for PlayStation 4 and Switch. The “Special Collection Box” will cost 23,700 yen for PlayStation 5 and PC, and 22,600 yen for PlayStation 4 and Switch.

Get the first details below.

■ About

In a world where alchemy has become taboo and is considered evil, Atelier Yumia: The Alchemist of Memories & the Envisioned Land follows the adventures of Yumia Liessfeldt and her companions as they seek to uncover the truth behind the fall of the Aladissian Empire—which once thrived with alchemy—and the memories of its lost history. Yumia’s quest will take her across a ruined continent, and despite the uncertainties of confronting her past, she will need to create her own path if she hopes to unravel the mysteries behind the cataclysm that destroyed Aladiss. Atelier Yumia: The Alchemist of Memories & the Envisioned Land takes players on a journey exploring the theme of memory. Playing as Yumia Liessfeldt, a young alchemist who lost her mother in an accident when she was young, players set out to uncover the forbidden art of alchemy while also learning the true intentions of Yumia’s mother who hid her identity as an alchemist. Along the way, Yumia joins the Aladiss Research Team where she meets Vikto von Duerer and his younger sister, Isla von Duerer. There, they are also joined by an assorted cast of characters including a mysterious woman, a timid demi-human, and a former adventurer with spectacular experiences. Together, Yumia and her companions will travel across the vast continent that was once the Aladissian Empire, where all civilization has perished. Players will have a wide range of actions and items at their disposal throughout the adventure, allowing them to explore a vast open world made up of different biomes as they make their way through these unknown lands gathering materials that can be used to synthesize and craft new items for use in their quest—both during exploration and combat. Not only will fans be able to craft items without having to return to their base thanks to the “Simple Synthesis” feature, but for the first time in the series, fans will be also able to build, furnish, and decorate their own base with the all-new “Building” feature! To help make Atelier Yumia: The Alchemist of Memories & the Envisioned Land come alive, Koei Tecmo and developer Gust have teamed up with the brilliant artist Benitama to create the main visual and all of the character designs. Specializing in creating illustrations and character designs for various fantasy game titles, Benitama incorporates references to paintings and reliefs in his work while striving to balance both persuasive depth and cuteness. His design, characterized by a monochrome based style, give a cool impression while bringing out the charm of the Atelier series.

■ Story

Weaving memories and tracing emotions. For the truth that lies ahead. The Aladissian Empire. It once thrived on a certain continent, having achieved remarkable development through alchemy that kept other nations at bay. However, it met its end due to a sudden and mysterious cataclysm. Time progressed, and several centuries later—. Alchemy became known as a “dangerous art that brings destruction,” and considered “evil” and “taboo” in this new era. In this now forbidden and perilous land, a lone alchemist sets foot. Her name is Yumia Liessfeldt. After losing her mother in an accident three years ago, Yumia discovered that she was from a family of alchemists and began to question many things. Why did Aladiss fall? Why did alchemy become “taboo”?… Is alchemy truly “evil”? Believing that all truths lie within the continent, Yumia embarks on a journey to uncover its lost history.

■ Characters

Yumia Liessfeldt (voiced by Wakana Kuramochi)

“I want to push forward. Push forward because I beleive every memory is part of alchemy.”

On a journey to trace memories and uncover lost truths. Due to an accident in her childhood, she lost her mother and learned that she was an alchemist. To uncover the truth behind her mother’s intentions and the forbidden art of alchemy, she joins the Aladiss Research Team. She cherishes her mother’s words: “Learn how to judge what is right by yourself.

Viktor von Duerer (voiced by Makoto Furukawa)

“I won’t waver either. I decided that the moment I saw the chief rush in that day, and I’m sticking to it.”

With his iron stake, he upholds justice. A member of the Aladiss Research Team, he joined the investigation as Yumia’s supervisor. He comes from the influential Duerer family and is also a member of the Order of Eustella. Although he has a strong sense of justice and an honest personality, he can be inflexible. Three years ago, his family fell into ruin due to a massive mana disaster in his family’s domain.

Isla von Duerer (voiced by Kaori Maeda)

“I’ve had enough with losing friends.”

Uncompromising feelings for both fashion and revenge. A member of the Aladiss Research Team and Viktor’s younger sister. She is bright, with high energy and communication skills, and is stylish at heart, never forgetting to be fashionable even during investigations. Her thoughtful nature helps her support her brother with things he can’t handle.

Nina Friede (voiced by Mikako Komatsu)

“Hehe, hehehe… Well then, don’t mind if I do…”

Unquestionable skill and a unique sense. A member of the Aladiss Research Team with a mysterious aura. She always seems to be relaxed, but sometimes it’s unclear what she’s thinking. She has mercenary experience and possesses the skill to conduct investigations alone.

Lenja (voiced by Yoshino Aoyama)

“I wanted to prove myself. I wanted to show that I can be useful.”

The greatest enemy is her own timid self. The only Welleks demihuman in the investigation team. She possesses high physical abilities and mana aptitude. However, she is timid with low self-confidence and frequently apologizes for everything. Welleks live in Aladiss in large numbers, having contributed to its development by producing many alchemists.

Rutger Arendt (voiced by Jun Fukuyama)

“It’s easier for me to act on my own. I’m gettin’ plenty results, so what’s the problem?”

An adventurer who laughs at adversity and forges his own path. A member of the Aladiss Research Team and a seasoned adventurer who loves valuable items. An orphan with no family, he survived by taking on shady jobs in the slums. Having experienced intense hardships, he is not bound to others but lives according to his own aesthetics.

■ World

Embark on a dramatic adventure across a vast land of endless fun and scenery.

■ System

Collect, combat, create—the journey with your companions will be filled with various “experiences.”

Synthesis: Create Items Interwoven with “Mana“

Manipulate the “mana” residing in materials to create new items based on recipes. The items you craft will exhibit powerful effects in various situations, such as exploration and combat. The strength of an item’s power depends on the materials used in synthesis, so select your materials carefully while assessing the power of the embedded mana.

Battle: A Captivating Variety of Actions with “Range” and “Items”

In real-time combat, you’ll be tested on your ability to make split-second decisions. Utilize two types of attack ranges (“range”) and switch between skills to fight strategically. Additionally, synthesized items can transform into shapes such as swords or spears, which can be used to attack. Since these items are reusable, don’t hesitate to deploy them and drive away enemies that stand in your way.

Watch the trailer and 10 minutes of gameplay below. View a new set of screenshots at the gallery.

First Trailer

English

Japanese

Gameplay First Look

English

Atelier Yumia: The Alchemist of Memories & the Envisioned Land Announcement Special Program

[notational]

Processing Wobbulator Demo 1 mov.  Inspired by my pals associated with Signal Culture, particularly Jason and Debora Bernagozzi and Eric Souther,  I became fascinated with developing Video Synth Tools. They've used MaxMSP and now Eric is working with Touch Designer. Whenever I suggested that I wanted to do something similar with Processing I was met with some skepticism. Video synthesis can be rather graphic intensive. I've added GLSL shaders to my repertoire to help with that but lately I'm surprised how much I can accomplish without Shaders too. This is one example inspired by the historical lineage of Nam Jun Paik and Shuya Abe and their tool the Video Wobbulator. All controls are currently using a keyboard interface. The Heads Up Display (HUD) can be toggled on or off with the h key for instance. By the end of this week I will offer Patreon memberships at 3 levels. Starting at the middle tier  (maybe $10) all members will receive one tool each month along these lines. First tier(maybe $5) will have access to simpler code and assets, Top tier (maybe $20) will include monthly one on one mentoring sessions with me. For people that are into the very niche area of media art that I play in I really want to offer good value.  Still considering what kind of pricing I'll use. Curious if anyone might be interested.

[eclipsedsounds]

Clarification on Eclipsed Sounds Voice Database Licenses With Regards to Voice-Changing Algorithms

Thank you for your ongoing support of Eclipsed Sounds voice databases. Due to increased inquiries over the last few weeks, we wanted to re-clarify the license agreement for Eclipsed Sounds Synthesizer V Studio voice databases with regards to voice changing algorithms.

Voice conversion algorithms may be used to change the output of Eclipsed Sounds vocals. However, this is only allowed when the voices you are converting to are in the following categories:

Your own voice

Voice samples or voice conversion databases with explicit permission for conversion

A licensed voice conversion database

You may only use audio from Eclipsed Sounds voices of which you are a licensed user in this way.

You may not use the output of Eclipsed Sounds vocals as part of creating voice changing models. Meaning, we prohibit any voice conversion usage that converts audio "to" the sound of our voices, even if combined with other voices. This does not include Voice-to-MIDI conversion.

When using voice conversion algorithms with Eclipsed Sounds voices, our voice databases as well as the voice used in the conversion should be credited explicitly in some manner on social media or website-based releases outside of streaming services to avoid misleading conversions. 

Eclipsed Sounds voices or audio released by Eclipsed Sounds also may not be used in the creation of other vocal synthesizers, such as text-to-speech vocals. Existing misuse before this notice was released will not be actively pursued unless re-uploaded after this release. Please consider removing instances of misuse if this applies to you. We want to keep ethical usage completely open for users, so please note that all algorithms not designed to mimic the timbre or pitch of other voices - including effects like vocoders, filters, etc., and editing software like Melodyne and VocalShifter - are still completely acceptable based on our license and are not prohibited in this message.

Please understand that these clarifications are to prevent misuse and impersonation, as well as to encourage ethical usage of voice changers. Please help us ensure an ethical future in vocal synthesis, as well as the protection of our voice providers’ vocals, by collaborating with us in ensuring compliance with these terms.

Thank you for your support and understanding in this matter.

[keuwibloom]

Ink and Dream's designs for Parallel Synthesis!

Also including some doodles of the Star Sanses in this AU-- some of them explained further below!

Parallel Synthesis Info Dump: Star Sanses Edition!

As the only mortal of the group, Blue serves as the "heart" and moral compass, and keeps the other two grounded.

Dream is the moral compass in a more figurative sense; his role as the Guardian of Positivity lets him naturally be kind and helpful and do the right thing, but often it's doing good for good's sake. He is prone to overworking and overextending himself because of this.

Dream sometimes still sees things from a more "black and white" perspective (Nightmare too but he's had 400+ years of experience over his brother AND lives with way more mortals). It's Blue who has to remind Dream that being selfish and choosing yourself isn't necessarily a bad thing, and that not everything is "black and white".

Ink proposed the team idea. He invited Dream, and later on Blue, under the condition that Blue would still return and play his part in his AU. Blue, of course, agreed.

Ink and Blue tend to bounce off of each other's energy; when one is hype the other gets hype as well. Ink is easily excitable and Blue likes to match the energy of who he's with.

Ink and Blue both prefer to be straightforward, whether it be with their feelings or with how they approach others. When Ink has issues with his emotions, Blue would help him process them through simple explanations and blunt but kind words.

Their main goal is to keep the peace in the AUs. Their missions can vary from keeping the AUs safe (from danger outside of the script) and fighting Nightmare's gang (though with less animosity after the truce), to mundane things like general community service and answering calls of help from people who know of them. Because of this, they get a lot busier than the gang, who go on missions usually more for personal gain.

Dream belongs to Jokublog

Ink belongs to Comyet

Swap/Blue belongs to the AU Community

[streets-in-paradise]

Why were Achilles and Briseis written the way they were?

The following meta is a contextual analysis of the movie, not necesarily a ship defense post.

In this opportunity i am going to present my personal interpretation on a few factors that I believe can help explain what remains to this day the most controversial point of the film: the romance of Achilles and Briseis. Keeping it short and simple, my arguments here will be mostly linked to the conventionalities of the film genre and the specific time period in which the movie was created.

In this case, not to simply shrug shoulders and confortably claim " those were other times" and dismiss the problematic aspect, but to list a few sensical reasons I find behind the choice regardless of how potentially problematic it was.

The purpose of this analysis is understanding the movie in context, not changing anybody's mind in what comes to the moral sanction in its reception. The reader's approbal or dissaprobal of the film doesn't affect it, because the intention is to merely provide a contextualized explanation.

That being said, let's begin:

-The historical/epic films that served as inspiration for Troy often include a precise formula that the pairing emulates in a synthetical way.

As pointed out before, the list of epic films inspiring Troy (2004) is endless. From subtle references in the scenery and costume design to direct copy in the use of tropes or character archetypes, this movie is like a summary of the whole genre. However, the particular historical context in its release made three particular titles the core influencies of the film.

These are Gladiator, Braveheart and the Lord of the Rings trilogy. Listing every single aspect in which Troy nurtured trying to replicate their success is worthy of an entire different meta, but here I will take one precise element to examinate.

In all cases, there is a warrior lead hero and a woman of nobility that find themselves tangled in political intrigue/war and have (or have had) some form of forbbiden love. Both Lucilla and Isabella find themselves contextually in between the movie's hero and villian, walking the thin lines of negociation while wishing for the insane emperor/asshole king's demise.

In Gladiator it's mostly a political alliance with a mere romantic undertone that comes from the fact that they had a past together, while in Braveheart the meeting through political matters is a gateway for romance. In contrast, Arwen's conflict comes from having to choose between her family and Aragorn in the middle of a war that has her kind leaving Middle Earth.

The Briseis of Troy is like an abreviated and more simplified synthesis for all of these. Outside conflict begins as soon as she is in the middle of Achilles and Agamemnon, the fighter-hero and ruler-villian that she equally challenges through their argument scene. Later, her inner conflict comes from having to choose between her family in Troy and her growing feelings for Achilles.

So subtle, yet so powerfull, the influence is so evident that we can even see a gender reverse of the Evenstar necklace moment.

The seashell necklace is a gift of his mother, who is rumoured to be a goddess. It's purpose on this scene is slightly similar yet very different as in lotr. Achilles is giving to Briseis a gift of possibly godly origins that represents him as he tries to compensate her for the pain that his vengeance has caused her. It's also an act of love, the last one they can share because he is allowing her to choose her family and leave to be with them.

This simple example ilustrates too well how far the similarities went in the strange mashup of formulas.

At the same time, one can point out that the principal deviation Troy took was having Briseis as the only woman arround. In both Gladiator and Braveheart a dead wife haunts the narrative and motivates the hero to seek revenge against the cruel ruler. In the case of lotr, the side love interest is the one that the context encourages in contrast to the one forbidden for the hero. The men of Rohan already respect Aragorn and Theoden shows himself supportive of a possible union between him and the obviously infatuated Eowyn.

Instead of a hero that oscilates between two women, the dead wife and the princess or the adequated love vs the impossible one, Troy presents the enemies to lovers dynamic product of Briseis' war captive status making her conflcted feelings oscilate through the story.

-The Sheik meets Titanic: iconic romances and sex symbols.

The casting of Brad Pitt in the role of Achilles was definitely an influence for the tone the romance adquired. If I had to describe the Achilles x Briseis romance without listing the influences I mentioned before, I would say " it's a bit like The Sheik with a Titanic ending" and I feel this is not entirely casual.

( Most evident paralel that can be made is that the Josh Groban song " Remember" feels pretty much like reverse" My Heart Will Go On". James Horner worked on both films, so maybe that played a part in this particular aspect but I am merely speculating.)

Valentino and Di Caprio were iconic in their romance performances, they made history in their roles, and both shared with Pitt the fame of being actors super popular with female audiences. I can't blame Troy for wanting to evoke a bit of that magic when the man doing the job is Brad Pitt. Back in the day, people used to popularly claim he was the most handsome guy in the world. His name is a synonym of male beauty.

I feel his Achilles does a good job balancing two contradictory goals the movie has for him: being the embodiment of an epic hero and seducing the audience through the romance scenes. In this point I want to add that the basic structure on the dynamic for the abduction romance is very similar to the one in The Sheik: civilized and outspoken lady that represents modern viewpoints gets kidnapped by a seductive man of savage ways. In a good kidnapper/bad kidnapper game with the antagonist, she discovers that she has fallen in love. In Troy it works as a sort of reactualization for this basic premise adquiring a different flavor when mixed with other elements of the film.

And here is when the most iconic moment makes so much sense:

This was the one part of the movie that made history. Not only the quote is beautifull, here is also where you get the distinctive flavor that is also a byproduct of the general themes in the film permeating the romance. Achilles proves himself to her above the mere act of rescuing her from someone worse.

While this is the response of Briseis.

She keeps challenging him because she was made aware that he can do better. Sure, she later sleeps with him anyways because that's almost an ineludible part of the charm in that scenario. In both cases, it is used as a sort of indulgent fantasy for the eyes of a (straight) fem audience expected to go crazy for the actor. Unlike in the 1920's, by the time troy came out spicy scenes are already a standard and I can distinctively point out those tend to be particularly prevalent on media about ancient greece and rome.

For tumblr censorship reasons I won't show a picture for the following claim, but the scene itself doesn't expose her as much as him. It's all focused on the beauty of Brad Pitt, in his seductive ways and how the girl slowly gives in to him. His naked body covers her from the camera, all we see its a glimpse of her legs and stomach as the lense follows the way of his hands undressing her. It's the same dangerous seduction feeling that turns the strong woman defenseless applied in an film age where you can show it on a love making scene.

Despite sticking to the basics, that oldass concept adquires a more unique modern feeling.

-For Plot Reasons: they work as a parallel with Helen x Paris.

From the beggining of the film, forbbiden love is the big topic of the film when it comes to romance. I know I have written in previous analysis that Achilles and Paris, through their selfish and romantic driven choices, become a parallel of each other. Helen, the willing runaway, and Briseis, the captive, are also made a parallel.

However, I want to go back a second on the specific way the behavior of Achilles directly mimics Paris triggering the war: he seduces the girl, sleeps with her, and decides he is ready to abandon his countrymen for her. While Odysseus tries to convince him out the rational way, the recriminations of Patroclus evoke the angry Hector who had just discovered the spartan queen in his ship. Fighting the war due to the reckless choices of their relatives, they die. At the end Achilles and Paris are on their own.

The trojan prince leaves Helen behind to fight and, when he gets the chance, avenge his brother, while the greek warrior is there for only love and remorse. Dreams of glory are behind him, he got inside the trojan horse seeking to rescue the woman of his affections.

It's a fascinating role reversal where, motivation-wise, Paris becomes Achilles and Achilles becomes Paris. This conclussion comes as evolution of the romances written parallelistically as side plots of the big family tragedy.

[titleknown]

PD MONTH CHARACTER: K-STOP

HELLO... SPEAK... DIFFICULT. RARE. TALK. FRIENDS. ASK. PARADOX. TIME. TAKE. SPEAK. YOU. FRIEND?

---

The piantist movement was a fringe religious sect amongst the Requot people of Ploor, designed to return the thoughts and activity of the Collist species to their nautilid roots. Through selective shell deformation they rooted themselves in the spongium of their local cliffs, growing akin to sessile organisms to interface with the biosphere, maintained by noviate acolytes. This requirement for maintainance lead to their instability and ultimate demise.

-----

FUN. FACT. REAL. FICTION. USEFUL. KEEP. STABLE. TIME. TIMES. TWO TIMES. I AM. INTERFACE. MODULAR. KNOWING. DOING. FAILURE.

-----

When you cannot but you musth, mush the musk with new Deor Palangis! Palangis uses patented erotoxins to counter unsightly drippings and craven urges, so you can be your best self at your worst times! Deor Palangis, Mush the Musth!

------ ELEPHANTS. ONE. NAUTILIDS. TWO. PEOPLES. SEPARATE. CONTRADICTORY. IRRECONCILABLE. CREATOR. OBSERVER. ANTITHESIS. SYNTHESIS. PRESUMPTION.

I AM. 

NEGOTIATION. DIPLOMAT. COLLATOR. ACTION. ACTIVE. AGENCY. KINDNESS. POWER. HISTORY. MONTAGE. FEAR. CONFUSION. HORROR. COLLAPSE. FAILURE.

I AM. STILL HERE,

-----

The Palace of the Shells, while simple, is believed to be the first emanation into the arts of biomemory. Its palaces influential in their day even now within the oldest nacre-speaker works. These walls still whisper with their potential, but we hear them talk even now, from pod to pod-

-----

TESTAMENT. TIMELINE. YOURS. SURVIVE. FAILURES. INITIAL. YOU. BORNE. 

I AM. DESTROYER. USHER. PROTECTOR. MEMORIAM. SAVE. YOU. SAVE. POSSIBILITY. SAVE. THEM. HOPE. GRIM. TRUTH. MEMORY.

----

Today we gather not for one moment of the now, but for the thousands before us. Even as we laid upon the tundra our ancestors reached their trunks to perhaps touch the great eye of the mother as she looked upon our primal manes. The great pyramids, the kitestar tapestries, the Zeppelin Palaces of the Royal States, all to touch the heavens and our mother therein. And now, before us, we have the great cord to the stars, the tendril to reach-

----

DREAM. SILLY. HA. HA. MEMORY. UNREAL. REAL. YOU. REMEMBER. PLEASE?

TRUTH. URGENT. FIND. SPEAK. HELP.. FOUND. FRIENDS. HELP. AID. CARE. STAY. PRESERVE. WRITE. SHOW. MAKE. MAINTAIN. FUNNY. KIND. STRANGE. LOVE. CARE. STAY.

I AM. HAPPY?

-----------------------------------------------------------------

Fun fact: The K stands for Kuleshov! Like the effect! And her profile's a bit avant-guarde in terms of storytelling, so let me elaborate. Because she doesn't speak directly much, she usually prefers conveying things via image-montage but that wasn't going to happen here.

Long story short, once upon a time there were two competing timelines trying to exist, one where nautilids evolved to be the dominant sapience and one where pachydermids evolved to be the dominant sapience. They both deserved to exist, both possessed great wonders, but they were both mutually contradictory. 

A being out of time, noticing this and trying to remedy it, created K-Stop to try and reconcile them. She failed.

But, a third timeline ascended from the ruins of both mutually annihilating each other. Ours. And that is where she exists, but as a paradox due to being meant as an intermediary between two timelines that no longer exist.

She manifested during the Freak Legionnaires' earliest story as an unstable wreck, only fixed in form by several members and giving enough testimony to stabilize her form (She is a far more coherent writer than she is a speaker), and decided to stay because she likes them. She still believes she can find some way for the other two timelines to exist without overwriting this one, though it is unknown if she is correct here.

Ironically, despite her weird outlook and bizarre perspective, she's kind of got big "The only adult in the room" energy with regards to the rest of the team, in terms of managing the household and interacting with others and diplomacy and such, though she's often silent about it in a way that makes it somewhat subtle.

As with the others this month, this character and all the info/art/ect of her is under a CC0 Public Domain License! Have fun!

[thetriphibianmonster]

Godzilla Design Runway: Tristar/Millenium

Today I'm covering Godzilla's appearance from the first design to use CGI to the last film to use suitmation. Photos sourced from Wikizilla.

Chinzilla (1998) Ground zero for Raptorization, though his gangly proportions feel closer to a Xenomorph at times. Either way it doesn't suit Godzilla: what works at theropod size doesn't scale up well to a Daikaiju, and ToraGoji lacks the sturdy, pyramidal build that grounds the traditional suits. The design is also awkwardly front heavy, with the forward swept dorsal plates, broad shoulders, and lantern jaw.

Big Head Mode (1998) While giving Godzilla children is usually a way to develop his character, Emmerich seems more invested in aping the raptor scenes from Jurassic Park. As a result the Baby Godzillas are much more vilified than their predecessors, though their menacing features are undercut by their disproportionate, stick-figure builds.

DailyDose (1999-2000) A pretty radical reinvention of the King of the Monsters that still retains the spirit of the character. Channeling KingGoji, the first Millenium suit opts for a more reptilian visage, with its green skin, less upright pose, and crocodilian maw filled with jagged fangs. Its gigantic, crystalline dorsal plates are wholly original, rounding off a unique and iconic package, While it's not my preferred take on the King of the Monsters, I respect it immensely.

ThanksDoc (1999) Orga has one of the more unique builds among kaiju. Its hulking, brutish form is an ironic contrast to its pensive, cautious approach. It's a bit ungainly for my taste, but I can't deny it works in the context of a runaway mutation.

Godzilla Wants the Flamethrower (1999) We see very little of Orga's second phase before it is blown to smithereens. The mouth net is certainly unnerving and I like the rougher skin texture, though it's only a copy of MireGoji's. Ultimately it's more of teaser for further transformation than it is a complete design.

GojiMosuGhidoGoji (2001) The most villainous looking Godzilla design, GMK's squared off muzzle and empty gaze are instantly recognizable. While the more upright stance combined with the neck orientation gives this Godzilla rather poor posture, it helps enhance his menace though his distinct "skulking" silhouette.

Perpetual Perplexion (2002-2003) A solid synthesis of Miregoji's build with more traditional features. While KiryuGoji loses some of the originality of the first Millennium suit, its less fearsome face has unprecedented ability to emote. The amount of animatronics they crammed into that head is impressive: I think the Kiryu Duology may have been where Suitmation peaked at Toho.

Mechagodzilla Unit 03 (2002) While I've come to prefer the original's Tin Can charms, Kiryu was my favorite version for a long time. Instead of sleek futurism or whimsical retrofuturism, Kiryu grounds itself in the Real Robot genre with its detailed, plausible mechanical design. Appropriately resembling both a skeleton and a suit of armor, Kiryu's flexible, organic structure also deserves props for its functioning tail.

MFS-03Z Kai (2003) While its film isn't as good, I actually prefer Modified Kiryu's more streamlined, color-coordinated battle pack and railguns. That said, I miss the Absolute Zero Canon, and while the drill hand is fun, it feels a bit mechanically dubious for an otherwise grounded design.

Absolutely Zero Chill (2004) While the prior Millennium Suits retained surprising mobility given their bulk, the Final Godzilla suit is slimmed down for maximum flexibility and athleticism. Unlike some of its costars, FinalGoji still avoids an overtly humanoid build, instead evoking later Showa suits with extra muscle. It's demeanor is decidedly less Showa: with furrowed brow, piercing glare, and grimacing sneer, FinalGoji looks the most furious of any Godzilla. It's an eclectic mix of features, but impressive nonetheless.

The Relapse (2004) Somehow Minilla returned. While his most displeasing features have been smoothed over, he still resembles a Barney character more than anything Godzilla adjacent. Ultimately the worst version of Godzilla Junior is still more appealing than the best version of Minilla.

Jira Minus D (2004) Fairly embarrassing. While the CGI model's straightened dorsal fins alleviate some of ToraGoji's front-heaviness, this is still ultimately just a lower detail version of the worst Godzilla design.