#System Analysis

[jbfly46]

In the United States, the primary antagonistic actor against the working class is the circuit court system, which runs amok violating federal law and the constitution on a daily basis, while also laundering money for drug cartels and other actors tied to foreign intelligence.

The U.S. federal court system is supposed to be able to be used by the working class as an enforcement mechanism against unlawful lower court and corporate actors, but there is an entity preventing that from occurring.

At the individual state level, the U.S. government is run by quasi-government affiliated and government adjacent entities that actively sabotage the daily lives of the working class.

Whether the federal government is tied to the quasi-state foreign intelligence affiliated actors or not, they have the information available to realize what is happening and are doing nothing about it.

U.S. state and local internet connected systems have the fingerprints and the financial trail of being sourced from Israeli intelligence.

[midseo]

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[anisanchange]

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[i-gwarth]

btw we do *get* that the worldbuilding of DE parallels the character's arc right? We understand that, right? That Our Guy commits all but a sliver of himself to the oblivion of amnesia in a moment where the only alternative he could see was suicide. And at the other end of that tragic attempt at self-annihilation he gets the chance to reinvent himself and overcome the longstanding, persistent habits that brought him to the cliff's edge to begin with. And that the world itself is presented as approaching an equally definitive precipice, with one of the richest characters in the cast even remarking that Capital is dead, and everything else being 20-odd years away from being swallowed by the pale

And we understand that the pale is forgetting, right? Right? It's informational entropy applied to the world, facts and events and places and memories being destructured and obliderated, reduced to an indistinct soup of whispers, past present and future. That it emerges from humanity's collective inability to imagine a future beyond moralist capitalism, and that this inability to see the horizon inevitably metastazises into Mesque's accelerationist nihilism that ultimately destroys the world. [starts shaking you] WE UNDERSTAND THAT RIGHT??

That the game's splash screen is a view from the bay of Revachol, from the deserter's island. And we know what it shows, right? Revachol, in the distance. And beyond that what? A horizon? No! It shows Pale. Because that's his perspective. Because he has abandoned all hope, lost all sight of the future and has committed to self-annihilation. For him the entroponetic collapse is imminent. We see that, don't we?

That the game is a thesis on hope. That the world has the chance to reinvent itself from the precipice of oblivion just like Harry does, and that the only thing that can do that is imagining the future. A future. Any future, and making it. Piece by piece, day by day, committing to it, and refusing to give in to despair and nihilism. We understand, don't we, that there must be no truce with the f-

you know what, nevermind...

[lintwriting]

I think the fact that Binghe has curly hair in the Fanart design of him is PEAK. For one, the ideal standard of beauty that you’d expect out of a harem protagonist is silky straight hair!

It’s the beauty ideal in China. I have naturally curly hair inherited from my mother, and instead of being taught how to bring out my curls at the hairdresser, my hair is “frizzy,” and I get pushed into getting a straight perm.

My mom, likewise, has always hated her curly hair and was dismayed (dismayed!) when my hormones caused my hair texture to change from straight to her curls.

For two, the idea of Shen Qingqiu adoring it would fix me, I’m sure.

Your insecurity is something he adores about you. He makes poetry likening it to sheep’s wool, he runs his hands through it and helps you maintain it. Something most people consider a flaw, and that doesn’t even occur to him.

It’s so radical. It comes naturally to him!

No wonder Binghe is insane about that old man.

[sasuke-shway]

[curtis-brothers-hug]

Look. Darry hitting Ponyboy is obviously, unequivocally wrong, and we shouldn’t make excuses for it or justify it.

But outbursts of aggression or violence can be a symptom of trauma and PTSD. And we really need to stop completely leaving that out of the debates of “is Darry a good or bad guardian/person?”

Something many in the fandom forget, despite it being a central aspect of Darry’s character, despite it being a central aspect of Pony’s character arc, despite Pony reminding us explicitly and repeatedly in his narration - is that Darry’s behaviour when we see him in canon is out of character.

Ponyboy could not be more clear about this. “Me and Darry got along before mom and dad died.” “Nobody in our family ever hit me before. Nobody.” The palpable shock of all three brothers, including Darry himself, after Darry hit Pony.

One of the main reasons why Pony finds Darry’s behaviour so distressing is because it’s new. It’s different. It’s unexpected. It came seemingly out of nowhere. He’s not used to it and it’s caught him horribly off guard. It’s yet another cataclysmic change that Pony’s had to deal with as an unexpected byproduct of his parents’ deaths. He hasn’t had a lifetime to inoculate himself against Darry yelling at him or hitting him, like Johnny or Dally or Steve with their parents. If Darry was an abusive person, Pony would be used to these behaviors. He might say something like, “Darry was always like this but now mom and dad aren’t here to protect me.” But no. Darry yelling at Pony all the time is out of character. Darry hitting Pony is out of character. Again, it doesn’t excuse the behavior, but it does raise alarm bells and give us some very important clues.

You have some acting violently in a way that is recent, sudden, and out of character. That’s the profile of someone who is suffering from trauma.

All three brothers suffered their parents’ deaths, but it’s safe to assume Darry was the one who had to identify their mangled bodies. Darry was the one who had to prepare those bodies for burial. Do you think Darry doesn’t see that image when he closes his eyes? Do you think he let Soda and Pony see that? If Pony had seen his parents’ dead bodies, he would have mentioned it. The whole point of the story is that even after his parents’ death, Pony doesn’t see the full extent of death and violence and dead bodies with his own eyes. Because Darry took care of it for him.

Darry is not only acting out of character during canon, but he’s most likely also acting on impulses that he can’t fully control and hasn’t been given the tools to do so. Mental health and trauma therapy were not really a thing in the 1960s, and even if the Curtis’ lived in the modern era, they still wouldn’t have the money and resources to access that help. Maybe a modern Darry Curtis could self diagnose through Google searches, if he ever found time, but that’s about it.

Not to mention the societal and material circumstances at play. You can’t insist that the story is about class and socioeconomics - which it is - but make Darry the sole exception, and act like his wrongdoings alone exist in a vacuum.

The whole point of Darry hitting Pony is that it’s the culmination of events, a breaking point, that is a direct result of their class and their poverty. Darry would never have hit Pony if he wasn’t at the end of his rope, not just due to their parents’ death, but all the socioeconomic conditions resulting from it.

Darry hit his breaking point when Pony came home late, not because he was mad that Pony broke his tyrannical rule, but because Pony breaking curfew could have disastrous, life altering consequences. He was worried sick not knowing where Pony was, but he couldn’t do anything about that, because if he called the police, Pony and Soda would be taken away and tossed in the system. Because Darry’s custody is constantly under threat, because they’re low class and poor. And he’s already running on fumes from the financial ruin and precarious custody that he’s had to deal with every minute of every day since their parents died. If soc kids lost their parents it would still be a tragedy and a trauma, but money and custody and college and future would not be a concern. They’d just access their trust funds and be adopted by any number of other wealthy relatives or family friends.

If anything, I think it’s damn impressive that Darry improves his behaviour toward Ponyboy as much as he does, considering he has no more resources or support system by the end than he does at the beginning. His efforts to be more gentle and patient and communicative are sheer willpower. In essence, he’s trying to override his triggers while still living in survival mode, and he manages to make progress. That’s hard enough for people who know those terms and have that vocabulary, let alone someone who very much does not.

So is Darry’s treatment of Pony wrong? Of course. Is he inherently a bad person? The narrative is very clear that he is not, that his negative behavior is an anomaly. Is there a hell of a lot of context to Darry’s mistakes that should be taken into account? Yes. Is said context literally the whole point of the story? Also yes. Would you do any better in his position - his exact position, including his age and living in his time period? Sorry, no. If you are an adult in 2025 who can’t bother to understand Darry, there is no way you would have done a better job of understanding Ponyboy or caring for Ponyboy if you were Darry in 1965. If you write off Darry as just an abuser, just an inherently bad person, I guarantee that if you lived in the 1960s, you’re the one who would think Ponyboy was just an ungrateful brat who needs a good smack to whip him into shape.

[grandwitchbird]

Dragon Age has been doing a really clever thing with its protagonists and the heroic power fantasy that only fully comes together when you look at the series as a whole, so let’s do another ramble. Under a cut to save your dash.

Origins is a traditional RPG power fantasy. It likes to tell you that it’s not by gesturing at Loghain and alluding to unreliable narratives, but what it shows is the power fantasy. No matter what your warden does, they’re the hero. Are you a casual genocide enthusiast? No problem you can still ride off into the sunset looking for a cure. Also hey you have a critical weakness/flaw (the calling) that kind of dooms you or gives you cause to vaguely ride of into the sunset. Very heroic indeed. There’s a layer of textual interest added by the presence of unreliable narratives, but ultimately it’s the hero’s choices that shape and determine the world and story, right down to very gamified relationships. The origins system itself, the fact that your warden could have been anyone, is the actual textual proof that this isn’t all that’s going on. It just only really gets paid off by later games, and that’s pretty important given where this franchise ended up.

—

Enter DA2. Hawke is a champion, not a hero. Hawke fights for those who can’t fight themselves. Hawke can’t save the world. They can’t even save their family or city. It’s a battle of attrition that sees them somehow worse off no matter what. The still-gamified but now more nuanced and challenging relationships become the focus because they’re really all Hawke has. Now the power fantasy is still lurking around the edges. It’s just challenged at every turn. You can free Kirkwall, but Anders is always going to blow up a church.

—

Which brings us to Inquisition. Somehow, you’re both as much of a nobody as Hawke and you’re responsible for more than the Warden. And it’s miserable. The power fantasy is constantly undermined. No matter who your inquisitor was, by the end of the game they’ve been completely subsumed by their role: turns out power has teeth.

In a move that delivers on the unreliable narrative throughline that Origins established and DA2 strengthened, the Inquisitor must play the hero and save the world. It doesn’t matter if your Inquisitor is a kind person doing their best or a racist power-hungry asshole, and that is now a systemic issue within the world itself. The erosion of your character’s personhood is explicit within the text as characters struggle to see you as more than your role and you’re asked to shape the faith of an entire world even if you don’t share that faith. The cost of this erosion is made incredibly literal with Ameridan’s story and then in Trespasser, where the anchor, both cause and symbol of the Inquisitor’s role and power, is killing them. Relationships become somewhat less gamified but more importantly, you’re given an explicit textual mirror in Solas. He’s there to reflect your behavior but also your loss of personhood to a role. It’s essential that he’s the one to save your life at the end of Trespasser. Even if you’ve never shown him a moment’s grace, here is your mirror to see you as a person one last time.

—

And then there’s Rook. Now we play a mirror to Solas, a character who has been the hero, Mythal’s champion, and a man subsumed by his role/s. He’s really the narrative gift that keeps giving.

We walk the dreadwolf’s path this time, and the dreadwolf is a classic tragic hero. He’s stuck in a story where he must save the world and where a critical flaw will always be his downfall. We’re Varric’s second who must step up to champion his cause after the events of the introduction. And we’re barely keeping ourselves together under the burden of leadership. And here is where Veilguard finally delivers everything this franchise ever promised. Because under all that we’re truly just some guy. Just like Solas is just a guy who got stuck in situations he never wanted. His response was to become the hero or play the villain (depending on the story) because that’s easier. But if Rook can truly choose the ‘hard truth’ that the world is never going to “stay fixed” (oh hi Inquisitor… and Hawke… and Warden) and that other people can have better ideas and make hard calls and their own choices? If we don’t have to ‘win’? Rook can reconcile the inevitable tragedies of this kind of story with their very human needs and escape the story altogether. The cost, of course, is the power fantasy.

[lynnthefrenchtoast]

thinking about the motif of debt/repayment in scums villain e.g:

"It was merely a wave of a hand to you both, but to me, it is a debt I'd pursue through ten thousand deaths." -Zhuzhi Lang

"A drop of kindness should be repaid by a torrent." -Zhuzhi Lang

"Qi-ge will remember this loyalty; in the future he'll definitely repay you." -Yue Qingyuan

"To think that a lifetime's moment of loyalty actually had to be repaid with so much" -Shen Qingqiu, on how Original Yue Qingyuan got pierced by 10 thousand arrows to save Shen Jiu

And probably most famously, "Everything that's happened in the past, I'll repay it all to you today." -Shen Qingqiu

the crux of Proud Immortal Demon Way is, after all, revenge. tianlang jun taking revenge on the cultivation world, luo binghe taking revenge on his scum teacher, qiu haitang taking revenge on shen jiu -- so it makes sense that the same ardour would be given to repaying good things as it was to repaying bad.

and. if you think about it. every character either successfully repays their debts OR has their original motive resolved eg: zhuzhi lang dies protecting tianlang jun, shen qingqiu "dies" absorbing binghe's demonic energy OR luo binghe's teacher no longer being scum, su xiyan never actually betraying tianlang jun

except one character.

yue qingyuan failed to come back like he promised. he failed to prevent qiu jianluo's abuse. he failed to save shen jiu from burning to death. when he found out shen jiu didnt die, he failed to resolve the original motive by telling him "i actually did come back for you." when he tried, it was too late and shen jiu had died and he failed to realize he was talking to a different person.

in a world defined by reimbursement, qi-ge failed to ever reimburse shen jiu.

[passions-and-pupils]

Scumplane rant

I feel like one of the reasons Scumplane is so interesting to me is because Shen Jiu values his pride and dignity highly as it’s something he has had to fight against all odds to obtain. He would rather die than beg for mercy, rather be slandered as a pervert than admit he craves comfort. Meanwhile Shang Qinghua has never been able to afford dignity. As shameful as he may feel, he is fully willing to wear a leash around his neck and bark like a dog if it means his continued survival .

They are two ends of the extreme and I’d love them to reach a middle ground where Shen Jiu learns to ask for help and Shang Qinghua learns to value himself.

They could fix each other trust

Also because Shang Qinghua knows Shen Jiu better than anyone so Shen Jiu can’t push him away with his icey facade or go down the whole “he’d hate me if he knew” rabbit hole because Shang Qinghua already knows his deepest secrets and he loves him anyway.

And because I think they would both be low key terrified of each other at first. Shen Jiu because he thinks Shang Qinghua is playing up his patheticness as a disguise and that he’s hiding something huge from the sect (which he is). Shang Qinghua because he knows out of all the peak lords Shen Jiu is the most likely to figure out he’s a spy and slit his throat while he’s not paying attention.

Alright I’m done now, thanks for coming to my TedTalk

[shannonsketches]

To what is almost certainly a child on tiktok who thinks Daima making Vegeta ‘simp’ for his wife is the worst thing to ever happen to his character -- Sorry you thought that was news, but Bulma being the biggest armor gap in his stubborn pride has been a running gag for 30 years

^ Goku's been dead for seven years and he knows he can use Bulma to stop Vegeta in his tracks

^ It's how Goku convinced Vegeta to fuse

^ He made this face learning his wife and child aren't perma-dead

^ He bit Goku's head off for offering a photo of his wife to a lech

^ He cites the desire to protect her (and Trunks) in his humility monologue as an incorrect assumption he made about Goku's power

and then the next time Toriyama wrote a Dragon Ball Script, he decided to write a story in which Vegeta spends half of the movie trying to non-violently redirect a gods' wrath away from his wife's birthday party

then fully outclasses ssj3 when said god hurts her

Daima did not make Vegeta a simp for his wife. Bulma made him a simp for his wife. Toriyama's been saying this man is crazy about her since the 90s.

Bulma did not buy her breeding kink on amazon, friend.

But what's crazy is that the bathtime gag when she says 'if you put me through this shit again i'm over it' to her husband who got killed doing the same stupid stubborn shit barely six months prior was not even Vegeta simping. That was Vegeta stepping over the bar his wife left on the floor for his convenience. That was bare minimum green flag husband behavior.

Listen I'm sorry if you've grown up with another shounen series and an anime adaptation that writes everyone with the emotional intelligence of a 13-year-old but some of y'all need to remember this man is a husband and a father and it's not strange or out of character for him to prioritize his life accordingly, especially when he's nearing a full decade of practice.

[fallofthecelestial]

Okay. Since we're going over all the takes on Mr. X at this point.. What if his powers really don't have a backside. What if (the state of) his normal life is the backside.

What if his normal life is akin to that of heroes where he has to pretend to be something he's not and follow rules that the people who control his life came up with to further their own goals. What if he can only be free of other people's beliefs and expectations when he's a hero.

What if in reality he truly is like everyone else. The other heroes. The ordinary people. All those who work themselves to the bone, who are tired and overworked and sick of all the exploitation...

What if when he's in the form of the number one hero.. when he becomes the most sought after product on the hero market..

Is when he gains the freedom to truly be himself

[anisanchange]

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[self-made-purgatories]

Canonically, Spock is drawn to small fuzzy creatures.

Jim is a Short King / small guy (in comparison to long tall Spock and his Vulcan bone density anyway).

Spock was in control of his emotionsTM about Jim until Jim grew out his chest and arm hair. Spock notices the change in Jim's body hair and before he knows it he finds himself doing Vulcan hand stuff sloppy style with fuzzy Jim right in front of Chapel and McCoy's salads in the sickbay

Coincidence? I think not.

[bibibbon]

The TBHX timeline

The story starts at year 41 after the commission following Lin Ling. I also think its safe to assume that the events from episodes 1 to 4 all take place in year 41 as well and that season 2 will be picking up from this point.

We are told that three years prior, xiao yuequing became Nice's girlfriend, so that is year 39 after the commission. Year 39 Queen has almost recovered from her injuries that she got from her fight with Bowa.

Year 38 is the year of the 19th tournament that Queen misses due to her fight with Bowa and during that year we are shown Queen fighting fear infected individuals.

Yang chen's story and Firm Man's story take place at the same time in year 36. However, from what we see, Yang Cheng's story starts earlier than Firm man's due to the mention of Magic man who is E-souls nemesis being alive.

Year 36 is also the same year that Mr. shang steps down as management to personally contact Firm Man

Year 36 is also the same year that we see lucky cyan have her first performance on a live stage after leaving the orphanage, and it's when we see the orphanage taken over by a suspicious disease type thing.

Year 36 is the same year that Queen loses to X and the year when dragon boy debuts and his fighting style is deemed as controversial by the public.

Year 34 is when Lucky Cyan and lou try to escape from the orphanage. This is the same year that fomo creates their social media platform.

This is the year that Uncle Rock leaves FOMO and takes over MG operations.

5 years before that, aka year 28, is when the cult was established. This is also the same year as the number 1 hero queen's graduation.

Year 28 also has queen's graduation speech, which plays a part in influencing Bowa to become the first solo female x and the 2nd female x overall. The speech also allows a rise in female heroes and female adverts in general.

Year 26 is when queen first enters University to take her entrance exam and pledges to finish university in 2 years' time.

In year 23 occurred the plane crash that killed everyone except Lucky cyan and there seemed to be great conflicts between the heroes

Now rewinding a bit, but in year 20, Yang chen's parents were killed.

In year 2, the original E-soul became a hero.

I am assuming that the reason the timeline is recorded in years after the commission is a reference to when MG was created or when the trust system became known to people.

[iamhereinthebg]

Let's talk about the clock keepers boundary!

(warning: spoilers until chapter 124!!)

I've had some guess on where they could be from so let's look at what we have in the manga for now. I will keep things on surface level for the most part but it's just some things I noticed!

The first mention of the town is in chapter 111, where we finally have a view on their boundary.

A lot of fans already guessed from their clothes that they were not from Japan, this panel definitely confirms it and even points more precizely to a European country, mostly Western Europe. And also a country where Winter with snow exist.

It's also not an English speaking country, since Akane cannot understand the language and we know he has english classes at school.

Now there are several things we can look at to have more clues!

First, the architecture.

This type of house is called Timbered framed houses. It’s important to note that the roofs on those houses are really really sharp here. Which means theywere built for snow, so it can slide off the roofs more easily. The trees are also pines, something that can be found in a lot of Europe. (wood was needed to be able to create houses made of wood/with visible Framework( Little note: I know Italy was a guess for a lot of person because of the link to Pinocchio, but Italy main material for houses is stone not wood. And it is also not known for its winter.)

Here we can also see bricks which is something more associated to countries like Germany, Belgium or the Nertherlands, we don't have the colors so we can't guess from which minerals it was made for now.

But we have even more informations when we look at chapter 124!

The bridge and tower may be inspired by a fortified city, something that you could find A LOT in Western Europe during the middle age, not a lot of cities still have their entire walls but you can still see it if you go into old medieval towns. We can also see something that looks like a Belfry on several panels. Towers used mostly to indicate each passing hour of the day (may be a campanile or a bell tower (the difference is wether it's linked to religion or not basically)

Second! Let's do a little bit of clock making history!

I won't go into details, but there are some countries to point for this. England, The Netherlands and Germany. We already took out England before and we can easily erase Nertherlands from the list with the next step (my favorite one).

The food! I already had my suspicions confirmed with this bonus art from volume 22.

First of all, they have tea which is not something that was in Europe before the XVII century. But let's look at the sweets they have here.

Chocolates which look close to Belgian chocolate ( I say Belgian but other countries' chocolate is pretty close to it) , Christstollen Cake, and Spiztbuden.

We have even more to look at with the new chapter! And they confirm that it's indeed a stollen cake.

With all these foods it's now pretty obvious which area the clock keepers are inspired from.

Stollen cakes are German cakes, ginger cookies are from Germany too. I will also add that there is a chance the crescent moon cookies are VanilleKipferl. We have another panel showing Sausages and bread. Only the Almond is something not typical from Germany but which clearly was all over Western Europe with trades.

Their city already looked like the 'perfect christmas city' you can see in movies, inspired by German culture. And they also mention Mulled Wine which is THE beverage to take in any chritmas market in Europe.

Chritmas markets are inspired and coming from Germany first, but I wanna point something more.

My main guess was, Nuremberg, the city where the ancestor of the pocket watch was created, the Nuremberg Egg. It's also a Fortified city and it has forests around it. It's also known for its Ginger cookies!

So Germany would be a great pic, but the more I think about it the more I can also see the link to another region: Alsace.

Alsace is a region from France right now BUT it's a mixt of german and french culture (I will not make a history lesson but it is a place that always switched between France and Germany basically, now it's French).

All the food mentionned before are also made in the Alsace region!

It's situated in the Vosges, a chain of mountains known to have a lot of forets of pines and which is known to have villages like this:

Which were also the main inspirations for movies like Howl's moving castle for example. You can see the similarities between the artchitectures

The first ever Chritmas Market was in Strasbourg, the capital of Alsace, when it was German and it spread accross Europe after.

I will now look at something I usually don't do because I exclude Aus from canon but it's just a funny thing to point out.

This au shows a snow town inspired by ginger bread houses. I just find it funny because Aoi is shown as a baker, with bread (which are not baguette I think, it's way larger here) but with some croissant on her table (disclaimer: Croissant are not french at first, this form here is, but it's from Austria otherwise) And Kako clearly has something similar to a Wine bottle in his hands. This au is the only one featuring them, was given with their volumes and the vibes are really similar to their boundary.

I would say no matter what it's definitely closer to German culture but I wanted to point out this region which is known for it's Christmas season and its typical houses.

I will mostly say that it's an inspiration from this region of Europe, I don't know if a real country is the reference for it since we don't even know where tbhk takes place, but it's always funny to look at those things :DD

Little bonus:

In a more messy note, the clothes. I put them at the end because besides their hats, I had no idea how to describe it, since it seems pretty typical of what people could wear in winter.

I did the research in the other way, to look for German and Alsacian clothing to see if it match and it kinda does but I don't think it's speficific to this region. The girls wear classic white Charlotte and big clothes with layers for Winter.

The clock keepers clothes are different, it looks like a mixt of Japanese and western European clothing (especially from england).

Their main outfits for Akane and Kako really just look like a typical waistcoast/costume you can find in the XIXth century in Europe and Mirai's seems more inspired by a mixt of a Kimono with several layers(she also has sandals and frills) and a coat? The little knots Kako and Akane have on their coats look like something inspired from Mizuhiki knots too (I actually saw a costume with those exact same knots in a museum but I didn't take a picture rip)

So I would say they probably changed slowly their attire when they arrived in Japan, we don't know since how many times they are here, but we know that what is happening in the deeper place of the boundary is linked to memories previous to their arrival. According to their origin I think we can say that it's pretty sure they arrived after the Meiji/during the Meiji Era in Japan (1868/1912), since it's a this time Japan mostly imported Western culture (for clothing here, the first contact was before this. And note: it was mostly rich people who dressed like this). And If we look at some others dates like the things they are eating, used to have or even their clothes, I would say it's more probably the Meiji Era and not in the XVs.

Another note is that their clocks have the numbers written in japanese on it (in the og version but it maye just be so it's readable for the japanese readers? idk if it's a choice or not).

I haven't searched much on their clothes but it was still something I wanted to note here ^^