#This makes sense in context and while I don't like the message there are parts of this episode I really like

[ineffable-endearments]

I was rethinking the bookshop meta I wrote a while ago and realized I was not thinking big enough.

The bookshop has always been Aziraphale's version of Crowley's plants (his trauma reenactment), but also, absolutely everything Aziraphale does in Season 2 is a re-creation of Heaven's role. Crowley's behavior also encompasses everything, not just his plants.

I've seen it suggested that centering Aziraphale and Crowley's trauma histories is reducing their characters to behaving like just reactive victims instead of survivors with agency. Or worse, it's "excusing bad behavior." I don't agree with either of these, because I feel that part of Good Omens is about how large, powerful systems affect individuals, and so the context of every character's decisions matters a lot to the overall themes of the story. Everyone starts out working within a system they believe to reflect reality and then has to learn how to break free of it. You cannot really illustrate that without having the characters start out being genuinely trapped with different ways of coping with their reality.

This is an attempt at a pretty big-picture meta. Although it isn't a plot prediction, it's how I think some of the series' themes are going to progress. It starts out perhaps a little grim, but in the long run, it's how Aziraphale's character growth and relationship with Crowley can simultaneously be massive for them as individuals, a crucial part of the overarching narrative message of the series, and symbolic of a change in all of Heaven and Hell, all while allowing the themes to continue to prioritize human free will.

In short, it's about Aziraphale's problems, but it's also meant to be an Aziraphale love post.

All of the below exists in tandem with Good Omens as a comedy of errors. Just because there are heavy ideas does not mean they will not also be funny. Look back on how much of Season 2 seemed silly until we started to pick it apart! One of the amazing things about Good Omens is how it manages to do both silly and serious at once! (I feel like that's maybe a little Terry Pratchett DNA showing through. "Laughter can get through the keyhole while seriousness is still hammering on the door," as Terry himself said.)

Aziraphale has really embraced his connection to Crowley in Season 2, and he has also become considerably more assertive toward Heaven and Hell. These are both major growth points compared to the beginning of Season 1.

However, again, we have the concept of growing pains...Aziraphale is starting to re-create Heaven's role in his relationship with Crowley and humanity. It's really obvious with the Gabriel argument and the I Was Wrong Dance, but I think we see it all over the place: he seems to feel any serious dissent is a betrayal. He also seems to assume there's a dominance hierarchy and he, of course, is on top. Now that he's decided to take control of his own future, then surely that does mean he's the one in control, right?

With all that said, he still seems to have trouble being direct about the feelings that make him most vulnerable. He manipulates people and engineers situations in which he can try to get his emotional needs met rather than saying things outright (case in point: the Ball).

Like I pointed out in the bookshop meta: subconsciously, he's playing the role of God, modified with what God would be if She were everything he wants Her to be. He's generous, almost infinitely sweet, always does what's best for people...or, at least, what he believes is best for people. During the Ball, Aziraphale influences the people around him to be comfortable and happy even when they're not supposed to be, and he limits their ability to talk about things he thinks are too rude or improper for happy, formal occasions.

Doesn't this pattern sort of make sense for an angel who's just discovering free will? Like, at the end of Season 1, he made an enormous choice to stand against Heaven and realized he could survive it. Now he's gone a bit overboard with exerting his own will. Unfortunately, while he's learned to question upper management, he's still operating on a fundamental framework of the universe where there have to be two sides and there has to be a hierarchy. Also, since Aziraphale is on the Good side, he of course has to gear his desires into what's Good rather than just what he wants, so he sometimes thinks he's doing things for others when really he's doing things for himself. (For example, matchmaking Maggie and Nina started out as something he wanted to use to lie to Heaven, but by the time he was commenting "Maggie and Nina are counting on me," he seemed sincere, like he had genuinely convinced himself this was for them and not for himself.)

Aziraphale knows Heaven interferes in human affairs, ostensibly on God's behalf. He thinks She should be intervening in ways that are beneficial. What I believe the narrative wants him to learn is that God and Heaven shouldn't be manipulating people at all, not even for Good, and in fact there is no real meaningful hierarchy.

Anyway, a top-down, totally unquestioned hierarchy is the primary social relationship Aziraphale has known, and it's certainly been the dominant one for most of his existence: you're either the boss or the underling, and if someone seriously questions you, they don't have faith in you - they don't respect you.

No, his relationship with Crowley has not always been like that, but they've been creating their relationship from whole cloth, so how would he know it shouldn't become that way, now that it's "real" and out in the open?

No, human relationships aren't like that, but Aziraphale clearly does not see himself or Crowley as human. As the relationship approached something that seemed like it must be "legitimate," Aziraphale would naturally look for a framework to fit it to. And again, the only one he has is the shape of "intimacy," or what passes for it, in Heaven. What has "trust" always meant in all his "legitimate" relationships? It has always meant unquestioning obedience, of course. What have the warm fuzzies felt like in Heaven? Well, praise from the angels above him is nice, so that must be it, right?

Aziraphale even describes being in love as "what humans do," separating out that relationship style. Someday, I think he'll realize he favors the shape of love on Earth, something that's more inherently equal, more give-and-take. Look at how he idealizes it from afar at the Ball. But I think that, like Crowley before Nina pointed it out, Aziraphale maybe hasn't 100% grokked that it can and in fact should work that way for him and Crowley, too. Just like people can desperately want to dance without knowing how to dance, or can desperately want to speak a language without knowing the language, Aziraphale does not instinctively know how to have the kind of relationship where he can be truly vulnerable and handle Crowley's vulnerability as well.

Aziraphale is downright obsessed with French, known as the "language of love." He's trying to learn it the Earthly way. He's not very good at it, but he wants to be.

This pattern is still present during the Final Fifteen even if we assume Aziraphale is asking Crowley to become an angel again out of fear (and I find it very hard to believe that fear doesn't factor in at all). He's still building his interactions off of that Heaven-like framework: he asks Crowley to trust him blindly, he tries to assume a leadership role with a plan Crowley never agreed to and couldn't follow anyway, and he tries very hard not to leave room for an ounce of doubt. He also suggests making Crowley his second-in-command and obviously does not register that this could possibly be offensive. Again, I think this is because for Aziraphale, there has always been a hierarchy in Heaven, it's started to transfer to his relationship with Crowley, and breaking out of that assumption about relationships is going to take more processing than a single argument can do.

As I mentioned in another post, I don't believe Aziraphale had a real choice about whether he accepted the Supreme Archangel position. I think he could sense that he was not getting out of it and chose to look on the bright side, to see it as an opportunity. And instead of looking realistically at how that would feel to Crowley, he tried to sweep Crowley up to Heaven with him using toxic positivity, appeals to morality, and appeals to their relationship itself. Again, mimicking what Heaven has done to him.

To me, "they're not talking" is a big clue that Aziraphale's approach with Crowley is going to be the mistake the narrative really wants him to face. "Not talking" has, thus far, been presented as the central conflict of Season 3! After losing the structure and feedback Heaven gave him, Aziraphale started creating Heaven-like patterns in his relationship with Crowley, and breaking out of those patterns is what he needs to do. Discovering first-hand that Heaven's entire modus operandi is bad no matter who's in charge is how he can do it.

Look, either you're sympathetic to Aziraphale's control issues or you're not. Personally, I am. He's trying so, so hard to be good. I think trying to figure yourself out (which Aziraphale is clearly doing) is hard enough, and when you start balancing what you want for yourself, what you think are your responsibilities, and what other people are actively asking of you, you're bound to fall into the patterns that have been enforced for your whole life or for millions of years, whichever came first.

It is very easy to assume that people should Just Be Better, but it's not actually that simple to be a thinking, feeling person. My anxiety tends to move in a very inward direction and Aziraphale's moves outward. But I'd imagine the desperation and exhaustion are the same.

Unlike Nina, Aziraphale became a rebound mess. I don't think it occurred to either him or to Crowley that there could be any soul-searching, anything but carrying on with the new normal after their stalemate with Heaven and Hell.

Now, instead of getting rejected by Heaven and surviving it, Aziraphale needs to be the one to reject Heaven. It needs to be a choice. And that choice is going to come from realizing that Heaven isn't just poorly managed but also represents a bad framework for all relationships.

How could this happen? Good question. We're obviously not supposed to know yet, although I think picking at existing themes within the narrative could possibly give us hints.

It's possible Aziraphale's character development trajectory will be akin to Adam Young's in Season 1. Please see this stellar post by eidetictelekinetic for more thoughts about it, but basically, in Season 1, Adam saw that the world was not what he wanted it to be and decided his vision was better; as he ascended to power, he took complete control over all his friends and then soon realized that's not what he wants because there's no point in trying to have relationships with people who can't choose you. It's that realization that leads Adam to conclude he doesn't want to take over the world and to reject the role he's expected to play as the Antichrist. Maybe Aziraphale's trip to Heaven is an attempt at a control move during which he'll realize he's defeating his own point.

Aziraphale clearly wants to be chosen. From the very beginning, he's wanted to be special and cared for - just like Crowley has.

Incidentally, I think Aziraphale and Crowley are going to represent pieces of the bigger picture here, and this - first imitating and then rejecting Heaven's relationship style - can both symbolize Heaven's transformation and directly start it (probably in an amusing, somewhat indirect way, like when he handed off the flaming sword to Adam).

If I'm right - which I may very well not be - I think this would all be so, SO cool. Like, "An angel who is subconsciously trying to be a better God" is a concept with so much potential for both tender kindness and incredible darkness. Add to that the comedy-of-errors aspect of "...but even deeper down, he'd much rather just be super gay on Earth" and you have, in my opinion, a perfect character.

I think this could work for Crowley as well. It's obvious that in the Good Omens universe, at least so far, Hell is all about detesting humans and punishing them; Satan seems to genuinely hate humans (unlike in some of NG's other works). Our perspective on this could change, but it potentially puts Crowley in a complementary position to Aziraphale, as a demon who is trying to be "better" than Satan. But this isn't about being "morally better." It's about things having a point. Crowley's exploits usually have a point: they test people. And you can pass his tests! He sincerely likes making trouble, but Crowley doesn't live to punish.

But, once again, the above paragraph would describe a transient phase for this infinitely charming character. Because, again, I think the point will be that in the end, Crowley's deeper-down desire, moreso than testing Creation, is watching it grow with a glass of wine in hand.

[andy-wm]

I have thoughts about the Tiktok JK deleted

<<I realise its a few days ago now and you might be wondering 'what tiktok?' but I've been writing in snatches when I have a few minutes so it took a while. Anyway, here it is...>>

A few posts I've read have suggested JK did the silly>sexy Tiktok challenge backwards. That he did sexy>silly instead. That he was being random and funny.

I disagree.

What he did was unexpected, a little left of centre, and for the people who can read subtext, not random at all but very very clever.

I'll tell you why, (It may not be what you think) but first I need to vent about two things:

1. Give the man some credit. He knows what he's doing.

There are some who love JK but who see him as a naive innocent. He is not. He isn't a child or a himbo.

Saying he did the challenge just because it's trending, and he reversed the order of the content for a bit of a joke, is insulting to him as an artist. It would suggest he has no forethought or understanding of himself or his (global) audience, and his decisions are made on impulse with no idea of the consequences.

He's very intelligent and has plenty of experience with digital media and creating content. Besides being involved in producing complex visual narratives as part of BTS for the last ten years, he has directed and produced seven highly polished and professional GFC videos. And don't forget the MVs for Life Goes On. For the October issue of Vogue Korea he took on the role of Creative Director. That's a pretty big deal. So we can assume he knows what he's doing.

If he produces content in a particular way, it's because it enables him to communicate what he wants to communicate.

2. You may not understand the message. That doesn't mean there's nothing to understand.

A heads up to people who can't work it out... your inability to grasp meaning doesn't equate to 'no meaning exists'. Suggesting that people who recognise what he's doing are reaching or delusional is an insult to both the audience who can read this situation, and to Jungkook, who is sharing his message.

Consider a system of writing you can't decode. Lack of comprehension doesnt mean the writing is meaningless, it means you don't understand the language.

Even if you believe you understand what's being said, please recognise that context may play a role too, that it could reveal a richer and deeper message. Don't just assume the easiest (laziest) interpretation is correct.

(You may have guessed, someone suggested I was 'behaving like the cult' when I pointed out that JK's tiktok was more than being funny ... and now I'm mad 🤣)

Vent over. Now back to he topic at hand...

💜💛

What was he was really doing? And why is it not at all random?

Let's take a step back to recall what army has been saying about this...

Almost every interpretation i read suggests he reversed the order (silly>sexy becomes sexy>silly). The reason given is that his tiktok only makes sense if the order is reversed, and this idea is backed up by the caption saying "I go the other way".

But the 'reversed order' theory is based on a hereronormative perspective of what's sexy (and a stereotypical perspective of silly.)

So consider the content of his tiktok from a queer point of view...

For a man in a relationship with another man, the idea that he's with all those women is silly.

It's silly to believe he's got a girlfriend - or several. It's silly to think the womens' names in the song are relevant to him.

He posted this tiktok at a time when he's releasing music that fits the western pop norm of boy + girl, and when rumours of him dating several women at once are rife. The timing is not a coincidence and nor is the choice of background song for this.

All these assumptions and rumours are pretty silly, JK is telling us.

Now let's talk about the second part, the sexy part. Yes it may look silly on the surface, but we have seen him and Jimin make dorky faces at one another when they're flirting. It seems to be the visual equivalent of calling Jimin 'Jiminssssi'.

It's just another way they create distance and avoid 'getting caught'.

Maybe sexy for Jungkook actually is lying on the couch in your sweatpants making corny faces at your boyfriend.

Remember that he puts out 'stereotypical sexy' on command as part of his job so maybe that doesn't feel very sexy to him. Maybe that's work.

In my view (I know this is subject to interpretation) they've been together for years now. This is not the first flush of love. When you've been with a partner for a while, sex is (hopefully) more fun and less serious. Maybe it's about having the confidence to be wholly unselfconscious.

(My partner makes a Pepé Le Pew face at me when he's goofing. No, i don't know why either... 🤣🤷)

But wait, what about that caption?

What about 난반대로 간다?

My beautiful Korean friend (who sadly has zero interest or care about jikook) confirmed the literal translation:

"I go the other way"

"I take the opposite direction".

It's not "it goes the other way" or "this goes the opposite direction". He's referring specifically to HIMSELF.

Jungkook goes the other way.

But it's more than that according to my friend.

It's a bold statement:

"I don't follow the mainstream."

It reminds me of his tattoo ...

RATHER BE DEAD THAN COOL

He doesn't do things just because everyone else is doing them.

"I don't follow the mainstream."

OK. HOLD UP.

This is where it gets interesting.

Then why would he do something as mainstream as a trending tiktok challenge? Especially something as vapid as this challenge?

And why would he tell us DURING that Tiktok challenge that he DOESN'T follow the mainstream?

And then delete it.

Creating content takes time.

And we know he's a busy man.

He's about to release an album. He's doing live performances. He's prerecording for music shows. He's overseas right now... for the fourth time in a month! Does he have time for this??

And he DELETED it...

Did he just WASTE all that time?

No, he did not.

He deliberately chose to do this.

He did it knowing ARMY studies every action, every video, and every media release.

He did it knowing ARMY would already have copied the video before he took it off his profile.

He said on Stationhead that he knows ARMY has it, and is sharing and posting it. He's FINE with that.

So he took the time to create and upload that video. He wants it out there.

He just doesn't want it on HIS page. That's an important part of the story.

So lets go back to the caption.

"I take the opposite direction"

"I go the other way"

"I don't follow the mainstream."

*Said boldly* remember. It's a loud statement, captioning an otherwise pointless very mainstream trending challenge.

So if he's not referring to tiktok itself, or to uploading challenges, what could he be referring to?

...

...

There's only one thing left: Himself.

I take the opposite direction

I go the other way

I don't follow the mainstream

Essentially... I swing the other way.

There's no way a queer man would make that statement and not fully recognise the message he's sending.

As for deleting the video, I'd say he knew it was too risky to leave on his profile, being a celebrity in Korea. He's managing his brand. Deleting it also gives him plausible deniability. He can say he made an error. As I said, he's very intelligent. He knows ARMY will see it and share it. He knows that those of us with a queer eye will hear the message loud and clear.

🏳️‍🌈🏳️‍🌈🏳️‍🌈 And we do hear it. 🏳️‍🌈🏳️‍🌈🏳️‍🌈

[i-heart-hxh]

So, I was reading that ask about why Killua pushed Gon away in chapter 231, and the part where you said, 'It’s actually part of a larger pattern we see with Killua’s behavior towards Gon, where he decides to “protect” him by leaving him out of things and not giving him the full context of what’s happening,' really made so much sense to me for other moments between them! Do you think there's a connection to why Killua leaves in the end and doesn't tell Gon the full extent of what had hurt him?

+ in addition to my ask about that chapter (you can paste them together! character limit), I wonder if this behavior plays a role in how short and abrupt the separation was. Maybe it was time to let each other go for a while because Killua still don't know how to deliver the full context of his broken heart to Gon, and Gon knows better than push him to say it as he's still processing what he did and doesn't feel worthy of Killua's presence (Gon has never had a huge self-esteem to begin with)

Hello anon! Thank you for the thought-provoking messages--I love having conversations with people about the specifics of what happened between Gon and Killua because there's just so much to unpack there. Even after all the years I've spent in this fandom I still feel like there's always more to untangle.

Also, anon is referencing this post.

Killua sometimes hides things from Gon to protect him from other people or situations (or, in many cases, how he thinks Gon will react to those people/situations)--but he also hides things from Gon about his own internal thoughts and feelings for a few reasons that all blend into each other.

Most simply, Killua's upbringing actively tried to get him to suppress his feelings. While of course this failed to a certain degree, being raised in an environment where sharing feelings and even having feelings was actively discouraged is not an easy thing to unravel. This makes it exceptionally difficult for him to share his deep feelings and vulnerabilities and directly express his love--aside from in acts of service, which seems to be the only acceptable Zoldyck love language, essentially. He was always appreciated at home for what he did and not who he is, which is why he gets so flustered when Gon compliments him simply for being himself.

As the series goes on, Killua is increasingly fearful (as a result of the situations with Kite and Palm and not winning against Shoot due to the needle) that he'll lose his place at Gon's side or that Gon will confirm that Killua isn't as important to him as Gon is to him, so that makes it difficult for Killua to take any risks as far as how vulnerable he is with Gon. Because so much of his self-esteem hinges on how useful he is to Gon, the thought of being pushed away is terrifying to him. This makes his courage in standing up to Gon when Gon confronted Pitou exceptionally meaningful, and especially when his worst fears play out as a result--Gon does actually push him away, and then tries to throw his own life away as penance for what happened to Kite.

Killua views himself to a certain degree as essentially the shadow to Gon's light. Killua isn't even sure he deserves to be with Gon. He sees himself as someone who has been tainted by his upbringing, by his history of running from difficult opponents, etc. So, he thinks he needs to protect Gon in not just a literal sense but also a metaphorical sense--to make sure Gon doesn't end up like him. He knows Gon isn't "normal" either, but he sees Gon as someone who can lead him out of the darkness into living a more normal life, like he wants. But in order for this dynamic to continue, Killua puts himself in a role where he has to keep Gon from being tainted by the world, and also to a certain degree, from being tainted by himself and what he's been through. Of course, Gon's mental state ends up falling apart regardless with what happens and Killua is forced to confront that Gon isn't a pure being of light, but another traumatized boy who ended up in situations he couldn't handle. Killua feels partly responsible for what happened to Gon as well, because he fled from Kite with Gon, and because he couldn't change Gon's self-destructive course.

I absolutely think these tendencies play into why they have to separate, and why the separation is so brief. I don't think Killua is ready to open up and tell Gon the full extent of how he feels and how much both seeing Gon self-destruct and being pushed away hurt him. Even though Gon survived because of Nanika, Killua essentially watched him commit suicide. Of course he needs time to process that. Plus there are external factors that make the separation necessary (Alluka/Nanika, Illumi pursuing them). This post is important reading on the separation, as it affected my view of what happened between them.

Gon knows he hurt Killua deeply, and like you said I don't think he wants to push Killua into talking more about it after what happened. I'm sure they had some sort of conversation between Gon waking up and their parting that we didn't see, but I doubt it was a conversation where they delved deeply into the issues between them. I think Gon likely apologized, forcefully and wholeheartedly, but not in a way that had a complete enough understanding of what happened/what hurt Killua for it to be what they need.

It always boils down to the two of them loving each other but essentially feeling they don't deserve the other due to their own self-esteem issues.

I also think it was brief out of necessity--they didn't want to leave each other, clearly, so to drag it out risks them not being able to let each other go.

As I've said before, as much as the issues between them are deep, I have a lot of faith that they will end up reuniting and reconciling and having a better relationship in the future. The separation gives them both some space to think about what went wrong and why, and to figure out who they are individually and what kind of relationship they want to have in the future. They both need some time to mature and understand themselves better in order to reach that point.

Thank you for the asks!

[notiddygxthgf]

10. don't look back

★ pairings: plug!wakasa imaushi x f!reader

★ synopsis: the one where you have the hots for your dealer, and Wakasa is always eager to please a customer. (don't let your bf stop you from finding ur hubby)

★ content warning: smut, angst, lotta porn w a lotta plot, car sex, dealer wakasa, cheating, oral sex, sneaky link, vaginal sex, vaginal fingering, sex while high, consensual drug use, mentions of abuse, unprotected sex, so much more...

★ a/n: so so so sorry for leaving yall on a cliffhanger like that ughhh!! momma loves u all. anyway not much to say about this one, so enjoy! hope yall brought tissues <3

★ w.c.; 7.1k

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CONFUSION DISTORTED YOUR FACE. Your heart skipped another beat, and then another. The warmth of the room seemed to dissipate, leaving a chilling silence in its wake.  The symphony of anticipation within your chest faltered, eyes widening as they scanned the messages on the screen – your phone.  

Shit, you thought. Shit, Shit, Shit… you had been foolish enough to leave your phone behind in a drunken haze. 

“What? What the hell are you talking about?” You murmured softly, your voice betraying your confusion. 

“You’re full of shit,” he chuckled humorlessly. His eyes met yours and they were dark, emotionless. “Waka? Of all fucking people, too?”

His voice sent shivers up your spine. It didn’t make any sense; you had done everything right… so, why now? Your eyes fell to the cigar in his hand, white at the tip from the ash. You swallowed the lump in your throat and said, “Babe, I don’t even know–”

“Don’t call me that,” He retorted rather bluntly. “Don’t play dumb with me, girl.”

“I’m not playing dumb,” You answered. 

“We both saw those fucking messages,” He spat, taking another hit of his cigar before he tapped it into the ashtray. “Least you could do is tell the truth.”

“It’s out of context,” you hissed, in some feeble attempt at getting him to believe you. “It’s not what it looks like, I–”

“WHAT IS IT, THEN?” Takeomi slammed his fist on the table. You jumped at the sound, face burning a bit with the heat of your embarrassment. You wanted to say something, but it appeared as if all coherent thought had successfully left your body. Your mouth was glued shut.

Takeomi shook his head with a sigh, rising from the loveseat in a manner that had you backing away from him. You knew what he was capable of doing to you. Given that the two of you were alone right now, you prepared for the worst. Takeomi had you cornered.

“Cat got your tongue? Shame,” he tutted. Towering over your trembling body, he pulled a hit from his cigar, blowing the bitter smoke out against your face. His eyes were dull, glazed with liquor and anger. Still, you knew it meant nothing good. “Bet you were real loud for him, weren’t ‘ya?”

You froze, paralyzed, like prey being hunted by a predator. Your heart hammered against your ribcage like it wanted to break free. “Takeomi, I…” you swallowed, reaching toward him with a trembling hand. “I know this seems cliche, but I promise, I can explain–”

In the blink of an eye, Takeomi had braced a hand on your chest, shoving you backward into the coffee table. The force of the push sent you flying into it, glass tabletop shattering as ceramic vases tumbled onto the floor. You gasped, clutching your back.

Takeomi flicked his cigar onto the carpet, stomping it out with his shoe. “Listen,” he began, “I’m only g’nna ask you one time, babe. You’ll answer honestly if you know what’s good for you.” 

The leather of his shoes crackled as he squatted down to your level. The world was beginning to spin, but the image of his stoic expression glaring down at you was one you would remember forever. He reeked of booze and nicotine, brows drawn low over his stormy grey eyes, black hair falling into his red-tinted face. “Did you cheat on me with my fucking coworker?”

You raised your head in an effort to look at him. Eyes rolling back, you stared up at the ceiling instead. Your mouth felt very dry all of a sudden.

“Say it,” He spat, voice cracking slightly beneath the pressure of his emotions. He was closer to you now than before, face hovering only a foot or two above yours. His eyes were a boiling cesspool of anger and hate. “He’s already on his way here. One of you’s gonna ‘fess up.”

Wakasa was coming. The thought of him being there brought a sense of relief over you, one that was quickly replaced by the realization that he would be walking right into a trap.

He’s already on his way here.

“Take…” you muttered weakly. A groan left your lips the moment you attempted to look him in the eyes. “Please.”

“Tch,” he sucked his teeth. Rather than helping you up or apologizing for shoving you, he dusted his hands off onto his briefs, standing up and then turning away from you. The light caught the arch of his nose as he turned toward the knock that sounded at the front door. 

“Just in time,” he remarked. You tried to crawl to your feet, keep him away from that door, but you felt too weak to move. Takeomi stepped right over you, anyway. It didn’t take him long to open it.

“ Sorry I’m late.” 

If you had ears like a dog, they would have perked up at the sound of his voice, his song. That low, casual croon that made your heart warm even though you knew it wasn’t right. Your gaze remained on the ceiling, world blurring a bit around the corners. I must have hit my head pretty hard,you thought, rubbing your temples in vain as if that would help ease the slow throb.

“Come in, please,” Your boyfriend replied, allowing Waka to enter his space with such faux generosity that you felt yourself turn toward the sound of his voice in an effort to watch the interaction.

Wakasa was upside down from where you were laying, clad in a black leather jacket and some blue jeans. He scanned the interior of his coworker’s apartment, lavender hues flitting over the living room. He paled visibly when he saw you laying there.

Takeomi shut the door behind the two of them, allowing Waka to process everything that had unfolded before his eyes in such a short period of time. When a minute or so had passed, he clapped a hand over Waka’s shoulder. 

“Waka, you’ve met my girlfriend, right?” Takeomi mused. 

Wakasa’s mask seemed to slip – if only for a brief moment. Still, as always, he managed to play it cool. “Yeah,” he muttered, licking his lips. “Am I interrupting somethin’?”

You gazed back at him, hoping your eyes relayed the message. Run. Run before it’s too late.

“I got a call from her neighbor, says she had a bike parked in front of her house this morning,” Takeomi continued anyway. He stepped around Waka, folding his arms behind his back. “I don’t have a bike.”

Wakasa furrowed his brows, tilting his head. He amazed you, still, with his innate ability to keep that poker face in even the most perilous of situations. “Okay…” he trailed off. The confusion seemed genuine. He had you fooled for a moment. “Where are you going with this?”

The grin on your boyfriend’s face was anything but welcoming. He shook his head and then looked at Waka like he had every intention to kill him. “You fucking my bitch, man?”

You felt your heart plummet. This was it, you thought. Waka was going to fess up to it. This little illusion the two of you had was about to come crashing down. The glass beneath your wounded arm shifted as you tried to get to your feet.

To your surprise, Wakasa didn’t even flinch at his words, instead drawing up a brow and sparing a brief glance your way. He looked at Takeomi as if to say, Really?

You had to admit, the act was convincing.

Poking the inside of his cheek with his tongue, Takeomi nodded. “Figured you’d try ‘n lie your way out of this,” he muttered. His words were a bit slurred together, stumbling drunkenly for a moment as he reached into the interior pocket of his coat. The object he produced was shiny and silver, glinting beneath the lamplight as he turned it toward his coworker.

With wide eyes, you gasped, clawing at the floor. 

“You bet’ta fess up, Imaushi, ‘M not fuckin’ playing,” He slurred. The veins in his hand popped, fingers tensed around the grip of his gun.

“Take,” Wakasa sighed, still remarkably calm considering he had a gun aimed at his head. You knew it was all an act, of course, but you had to give credit where it was due. Even if the timing wasn’t necessarily appropriate. “You’re drunk. Put the gun down.”

“How long has this been goin’ on behind – hic – my back?” Takeomi pressed further.

“I’m not fuckin ‘yer girl, man,” Wakasa shook his head. “The hell are you on about?”

Takeomi held a finger up to the shorter man, shoving his hand back into his pocket and rummaging around until he found your phone. He fiddled around with it for a bit and then turned the screen over.

The room went quiet in an instant, tension pending in the air as Wakasa squinted at the tiny screen. You found yourself doing the same. Bracing your hands on the glass-speckled floor, you stumbled to your feet.

“Say hi to the camera, baby.”

With a gasp, you covered your mouth. The tips of your ears turned red. Shit. He found the video.

“Taking it so well…”

“Waka–!”

“We– hic– well?” Takeomi grumbled. If he didn’t have a gun pointed at Wakasa, you probably would have laughed at the way he stumbled forward. “That’s not you?”

Wakasa quirked a brow, leaning in to get a closer look. The corner of his lip twitched as he licked it. His eyes darted between the phone in Takeomi’s hand – the screen where you knew your vulva was spread open on display for a live studio audience – and the gun. 

The sound of your own voice nearly brought you to hysterics. You were mortified.

Finally, he sighed. “I mean, shit, man,” he offered after a lengthy pause. “That’s some pretty solid evidence there, I don’t know what you want me to say.”

Takeomi’s eyes locked with yours in a dance of torment and love mingled with betrayal, hatred clashing with the shattered fragments of trust. The tears that had begun pooling in your eyes earlier streamed down your tender cheeks as you pleaded with him silently. 

He turned the barrel of the gun towards you, and for a moment – a brief, fleeting moment – you saw Wakasa’s mask break, eyes widening as he watched it happen. 

“Six years,” Takeomi reiterated, stepping away from Wakasa and inching closer to you. 

Your efforts to back away from him were ultimately in vain, you realized the moment you felt your back collide with the wall. Takeomi had you cornered – again – as he waved the gun in your direction. 

“Take, please…” You pleaded with him, face stained with tear marks. Your voice trembled beneath the weight of his unspoken threat. “I–”

“SIX FUCKING YEARS,” He shouted, the force of his voice causing you to jump. The anger seemed to be gnawing at him on the inside, anguish and hatred waging war within him, a tempest of conflicting emotions threatening to put an end to this once and for all. He appeared to stand before you on the precipice of a decision, torn between the love that had once bound the two of you and the searing pain of betrayal. His voice broke, “Was it not enough for you?”

You hadn’t realized he had backed you up against the wall until you felt the chill from the metal barrel press against your neck. His other arm kept you pinned in place. 

His eyes were wild, watering a bit as he looked at you for a moment. He cocked his gun, though the quiet click seemed to be amplified tenfold. His hair fell into his face. “I want answers,” he whispered.

“Take, put the fucking gun down!” Wakasa shouted somewhere behind him. He seemed closer than he was before, like he had inched closer to your manic boyfriend, although you weren’t about to crane your neck around to find out.

Takeomi’s bloodshot eyes flickered with a mix of confusion and rage, a fire surging with him that was fueled by the alcohol coursing through his veins.

Then his finger tightened around the trigger.

Wakasa lunged forward, tatted arm appearing in your field of vision as he reached to grab Takeomi’s wrist. 

Your breath caught in your throat as the scene unfolded before you. You held your breath. The seconds seemed to tick away, each one passing slowly as Waka bravely reached for the gun. You held your breath.

With a sudden surge of determination, like your tears had spurred him on, Waka managed to pry the gun from Takeomi’s trembling hand. The weapon clattered as it hit the ground. 

In the deafening silence that followed, Wakasa tucked a blond stray behind his ear, sending the gun sliding away from the scene with a small kick. 

Before the relief had even settled in, Takeomi turned on his heel and lunged at Wakasa with a wild swing. His alcohol-addled coordination betrayed him, however, as he tripped over his own feet – missing by an inch or two as he fell over the backside of the couch.

Your heart pounded in your chest as you watched him tumble over the edge.

Wakasa’s head turned quickly as he called out to you. “I’m parked outside,” he hissed. “Go, now.”

He pulled a wireless key fob out of his pocket – you could see the silver detailing of the BMW logo glint beneath the dim living room lighting as he tossed it to you. 

“Wait, Waka–” You breathed, voice a hushed whisper. Still, you caught it.

“Get in the fucking car, NOW,” He commanded you. One look into his wide eyes reminded you that he wasn’t asking.

At that moment, your heart seemed to stop beating altogether. The room seemed to shrink around you. Without a second thought, you pushed yourself off of the wall and made a beeline for the door. The adrenaline surged through your veins, pushing you past your limit, pushing you towards freedom while your legs threatened to give.

You could still hear Wakasa’s voice echoing in the back of your mind, urging you to run while you had a chance. The urgency in his tone fueled you further and further, drowning out the chaos behind you. It wasn’t until you reached the door that you paused to glance back over your shoulder.

“You leave now and we’re fucking done,” Takeomi warned you. He had braced himself on his elbows.

Wakasa was stepping over the sideways couch, hair down over his back and covering his face with a hair tie stretched open on his fingers. He scooped a few handfuls of hair up behind his head. His wrists twisted with expert precision as he tied it back. His neck cracked with a quick crane of his head to the right.

Sensing what was about to go down, you turned away, throwing the door open and making your escape. You let the door shut behind you, stepping out into the cool night air. Your chest heaved for a moment.

You pressed your ear against the door, tears streaming down your cheeks as your emotions enveloped you. You felt horrible leaving Waka to fend for himself, but you would have felt worse if you went against his word.

So, pulling your clothes tight against your trembling body, you ducked and entered the street. The midnight sky blanketed Waka’s black Mercedes. It looked like it had recently been polished. 

You unlocked the door and plopped into the passenger seat. The moment you shut the door, the tears came pouring out. Your hand continued to grip the handle of the door with white-knuckled intensity. The air inside of the car felt all but suffocating, as if the weight of your actions hung from each and every molecule around you. Panic gripped you, tightening its hold with each rapid beat of your frightened heart.

Teary eyes blurred your vision. Your lover’s words echoed – again, for the millionth time – in your mind. 

“Get in the fucking car, NOW.”

He’d sounded so angered, so tired of you. How had everything unraveled so quickly?

The sound of your own uneven breathing was the only thing keeping you company in the car, ragged breaths fogging up the window to your right. Tossing the key fob into the cupholder, you turned towards that foggy window, pressing your hot cheek against its cold surface. The chill was refreshing, even if a part of you felt bad for leaving prints on Waka’s freshly cleaned windows.

You didn’t care. Your mind was alight with possibilities – with fear and uncertainty. Where would you go? What would happen to you now that the cat was out of the bag? 

Clutching at your throat, you ached for air, desperate for a moment of clarity. But the walls of Waka’s Benz seemed to close in on you. Images of the fight flashed through your mind. The reality of your actions crashed upon the desolate shores of your rotten mind like a tidal wave, overwhelming your senses and drowning you in a sea of guilt. You couldn’t escape the consequences of your betrayal, the pain that had been etched on Takeomi’s face forever imprinted in your mind.

You felt terrible.

A sob wrenched itself from the depths of your soul. Then another. 

The world was hazy, disorienting, as if reality had been warped by the weight of your guilt. For a few minutes, you sat there, mind spinning a mile a minute. You wrapped your arms around yourself, seeking temporary solace in the touch of your own skin. 

When the driver’s side door suddenly popped open, you jumped in your seat. You made quick work of your salty tears, wiping them away from your face while you tried to make yourself look somewhat presentable.

Waka dropped into the driver's seat with an exasperated sigh. Though your eyes trained themselves on the dashboard, you could see him reach for the steering wheel out of the corner of your eye. He looked a little messy. His clothes were disheveled, his hair was in a similar state. His knuckles were dusted with a faint red hue.

After a brief pause that seemed to span for an eternity, he offered, “Buckle in.”

You did exactly that.

The car revved to life. The buttons on the dash lit up in unison. Waka gripped the steering wheel, throwing his other arm over the back of your seat and glancing behind him before turning back to the road. He pulled out of the parking spot without another word.

And then he took off.

★

The ride to your house was as silent as it was tense. It wasn’t very long, seeing as you only lived ten minutes away. That ten was more like five today, though you weren’t sure if it was because a part of you wanted to stay in this car with Waka just a little while longer or because Waka had been doing double the speed limit the whole way over.

The car rolled to a stop in front of your place, and that dreadful, gnawing feeling in your gut had returned, bringing the tension in the car back with it. You folded your hands neatly in your lap, awaiting Waka’s next words.

You were expecting him to shout at you, to lash out at you like an angry father. Like your father, like your boyfriend (ex boyfriend?).

You hadn’t been expecting him to turn the car off, and you most certainly hadn’t expected him to cast a sorrowful glance your way, brows drawn low over his pretty eyes. 

“Sorry I yelled at ‘ya,” he sighed.  What surprised you even more was the way he reached out to graze a gentle hand over your cheek, tucking your hair behind your ear. He added, “Take’s fuckin’ crazy. I didn’t want him hurtin’ you.”

It was becoming a bit of a chore to continue breathing normally when he was so close to you. You needed to leave now before you dug yourself a deeper hole, you decided, reaching for the door.

Waka beat you to it. In the blink of an eye, he’d reached over your lap and pulled the door shut. He kept you pinned to the seat with his arm. 

“Fuck you,” you seethed. You were frustrated, you were confused – before you knew it, you began to cry. 

“I just wanna talk,” He reaffirmed. His words did nothing to calm your nerves.

Your hands trembled as you struggled to find the words to convey how you felt. The car seemed a lot smaller than it had been only moments prior. You took a deep breath, voice quivering beneath the weight of her accusation.

“You ruined everything,” You sobbed, voice barely a notch above a whisper, eyes now locked with Waka’s in a heated standoff. The pain etched on your features made your jaw tighten.

None of this would have happened if you'd never met him. 

Waka’s expression was unreadable, a tick in his jaw was the only indicator that your words had hit the mark. “Yeah, it’s all my fault, ‘course it is,” he retorted, voice tinged with an uncharacteristically bitter tone. “Not like you willingly invited me into your room or anythin’.”

Your eyes narrowed, gaze challenging his stance even though you knew he was right. “You gave me your number first… you knew I had a boyfriend, you dick.”

Waka’s expression changed slightly, allowing you a glimpse into what you imagined was a pretty deep pool of anger. “You texted me, doll.”

He was right. Again. The realization made you break a bit inside.

Your voice quivered with unspoken emotion as you let the tears fall freely. “You’re such an ass, you know that? Why’d you have to come around and fuck me over?”

“Oh, don’t even,” he snapped back. “I risked it all for you. I did everything I could, and ‘yer gonna sit here and blame me?”

The silence that followed was heavy, settling between the both of you like a brick wall as the both of you exchanged angry gazes. The tension in the car built up.

“I never wanted it to come to this,” You spoke louder this time, heartbroken and vulnerable. “You took everything from me.”

“Don’t pretend this wasn’t a mutual decision,” He shook his head at you, chuckling humorlessly. “You are every bit as guilty ‘s I am and you know it.”

You froze. He continued.

“Deep down you know you wanted me to keep coming ‘round,” he added rather cockily. He cocked his head to the right, beckoning you to try and prove him wrong. “You loved it, didn’t ‘ya?”

Another brief pause had passed, and your anger had reached its boiling point. Without thinking, you raised your hand, bringing it towards the side of his face like you wanted to hit him. But Waka – quick on his feet, as always – reflexively caught your hand mid-swing, preventing the slap from landing.

Time seemed to freeze altogether.

Your eyes widened, hand suspended in the air a mere inch or two away from Waka’s face. His grip on your hand was firm, strong, a harsh reminder of a fact you had apparently forgotten; You didn’t stand a chance against him.

The two of you fell into an uneasy silence as you locked eyes, the intensity of the moment palpable.

Waka’s voice was steady, his grip unyielding. He looked – for a moment – as if he wanted to say something to you, remind you of who you were talking to. Before long, however, his anger softened, as did his gaze.

“I’m not sorry for what I did,” he mused. His eyes never flitted away from yours, even for a moment, even as he pulled you closer to him. “Even if I could go back ‘n change the past, I would still pick you. Every time.”

His breath was soft, mint-scented, and fresh. You felt your resolve crack. You wanted to scream at him, to throw your arms around his neck and kiss him until your lungs gave out. You hated the way he made you feel.

The car was filled with a heavy silence as your tears streamed down your reddened cheeks. Your heart squeezing painfully, you reached out, hand weakly forming a fist, and feebly punched Wakasa’s chest.

“I hate you,” You whispered, knowing you didn’t mean a word of it.

Waka’s eyes filled with sorrow as he caught your fist, gently holding it against his chest. You could feel his heart beating in synchrony with yours. A moment passed, agonizingly slow, and he pulled you into a tight embrace, a bittersweet collision of love and resentment.

Then, to your surprise, he did the unthinkable.

“Let’s stop seeing each other,” his honey-sweet croon pierced through the silence, his tone resolute.

Your eyes widened in disbelief. Shoving yourself away from him, you shot him an incredulous look. The road ahead seemed to blur as you tried to wrap your head around his proposition. 

“What…?” You had asked in vain. 

The confined space of the car seemed to amplify the tension. The world outside seemed to stop spinning for a moment. This was the same car where he’d first swept you off your feet so many nights ago. Now, like some sort of cruel joke, the image before you paralleled the memory. His unexpected words hung heavy in the air.

He wasn’t looking at you anymore. In fact, he looked a little down about it, like he was having doubts of his own about the decision. 

“I never should’da gotten you involved in all of this mess… I can fend for myself with him but… I know you can’t,” He said remorsefully. He seemed… genuine. When his eyes met yours, it was as if you had fallen for him a second time. “It’s too dangerous. We need to stop seein’ each other.”

In the span of a minute, Wakasa had managed to tear your heart right out of your chest.

“No…” You did a complete 180. You were so weak for him that you hated it. But, shit, how you loved the feeling. “I can’t lose you too, Waka, I…”

“I’m not asking,” He deadpanned. You felt your heart plummet.

“You’ve gone cold on me,” You whimpered. You didn’t care if you sounded desperate. You knew your blood burned for him. “Waka, that’s not fair… please.”

“I need to protect you,” Waka’s eyes were filled with bittersweet longing – like this was breaking him, like he wanted to reach out and caress you but he knew he couldn’t… just as much as you did. “I have to do this. ‘S for your own good.”

Your mind raced to make sense of the cryptic words that had spilled from his pretty lips. “‘Kasa,” you breathed.

When he spoke again, his mask cracked a little more. “You know as much ‘s I do that he’s gonna go on a manhunt. I dun’no what I’d do if somethin’ happened to you ‘cause of me, doll, I…” His voice trembled a bit. He took a moment to regain his composure. “Me leaving would be the best thing for you. For both of us.”

Tears welled up in your eyes. God, this hurt. You knew it would come eventually, but, shit, you hadn’t expected it to hurt so bad. Your voice cracked, “You’re ending things to protect me? Without giving me a choice? What happened to “if Takeomi weren’t in the picture” ?”

Wakasa squeezed his eyes shut. His hands tightened into fists. “We’re done. We can’t do this again.”

“I’m telling you we can’t see each other again. Okay?”

For a moment, Wakasa looked like he wanted to say something, like he wanted to make you stay. Worst of all, you kind of wanted him to.

Eventually, he answered, “You can pretend it never happened, but I’ll know. You’ll know.”

Your heart squeezed painfully at the memory. It’s funny how history repeats itself.

“I can’t lose what we have,” You shook your head. “You’re the best thing that’s happened to me, I… I don’t know what I’d do without you. We can make this work, I know we can.”

You continued after a lengthy inhale. “I can’t let this go over fear… no, not unless I know you’re doing it because you don’t want this.”

Deep down, you knew you were fighting a losing battle. Your heart ached for him. You couldn’t let this go. Not after you had given up so much just to be with him, no, not yet. Just a moment longer.

You reached out for him, hand hesitantly searching for his, seeking solace in the midst of the turmoil even though you knew you had already lost. 

You needed him. You realized that the moment the thought of a life without him had even crossed your mind. You knew it from the moment the two of you had sworn off intimacy in that shower together. No, you knew it from the first moment your eyes had met his. Wakasa had wedged his way deep into the tissue of your rotten heart.

You were in love with him.

“We can leave it behind. Start fresh,” You pleaded with him, gripping his cold hand. “Don’t you want that?”

He stayed quiet. He wanted it as much as you did, you knew that. He ached for you too. But when you squeezed his hand and it remained limp in your palm – without so much as a squeeze back – you knew it was too late. Like the life drained from the veins of a corpse, Waka had gone cold. 

Lowering your head toward his hand, you sobbed. You had never stopped crying, not since he had proposed that the two of you stop seeing each other. Yet, now, it seemed that the tears were streaming down your face rapidly. Like the torrent waters of a river cutting through earth and soil, they poured down.

“I love you, Wakasa, I can’t… I…” You trailed off, at a loss for words at the absence of his own. Who knew this would hurt so badly? “You love me too, don’t you? Tell me that you love me too.”

The car fell silent, once again bringing back the memory of you sitting here in this same spot calling things off with him only a while ago. The weight of your desires hung in the air. 

Wakasa’s eyes were full of regret. He shook his head, taking his hand out of your grasp, “I can’t. I’m sorry.”

You felt your heart shatter.  You recoiled as if you had been struck by some invisible, unforeseen force. Then, you let Waka’s hand slip from your touch. 

Slowly, to your surprise, he pulled you into another hug, wrapping his arms around your trembling form. Your heart thumped wildly against your chest, torn between the comfort of his touch and the impending heartbreak that lingered in the air. He was confusing you.

He muttered. With a gentle squeeze, he held you closer, “‘M sorry. This life ain’t for you, doll.”

Your body stiffened against his, still struggling to process everything that had been dumped on you in the span of two hours. You clung to him like it would be the last embrace the two of you ever shared – no,  because it would be the last embrace the two of you ever shared. 

“No, please, don’t do this to me,” You pleaded brokenly. “I need you, ‘Kasa.”

“You know I have to do this,” He held you like he shared the sentiment, like he, too, wanted to make the most of what could very well be the last time the two of you saw each other like this. “No happy endings, remember?”

After this, he would be nothing but a stranger. The thought made you want to hurl.

You had never felt so alone before.

Was this love?

Your whole body shook with the force of your sobs. Waka gently brushed your tears away. His voice, dripping with tenderness and sorrow, seeped into your soul. “This is goodbye, okay?”

No, you thought. I won’t accept this.

You pulled away from him. “You’re a fucking coward,” you whispered between sobs. “I hate you.”

Waka's eyes met yours, his gaze soft and understanding, yet it only fueled the flames of your anger. How could he claim to comprehend the depths of your pain, the intricacies of your shattered heart? His tenderness felt like a cruel mockery at that moment, intensifying your resentment towards him.

“I know,” He nodded, as if accepting your accusation, though his expression revealed a profound sadness. It was as if he had heard those words before, and carried the weight of similar accusations. But his quiet acceptance only stoked the fire of your fury, fueling the bitterness that threatened to consume you.

Yet, despite your anger, there was a part of you that couldn't help but notice the sincerity in his gaze, the flicker of pain that danced in his eyes. It was a contradiction that confused and infuriated you even further. How could he evoke such conflicting emotions within you? How could he still have the power to touch your heart, even in the midst of your rage?

Feeling a surge of defiance amidst the sea of anguish, you pulled away from him, the anger within you bubbling to the surface. With a sudden burst of energy, fueled by your fractured heart, you swung open the car door and stumbled out onto the pavement. 

"I wish I never fucking met you," you seethed, the words torn from the depths of your wounded soul. You wish you meant it.

Then you slammed the door shut.

The words hung in the air, charged with the intensity of your pain. Each syllable reverberated through the silence, cutting through the stillness of the night. And as the echoes faded into the darkness, you turned on your heel and stormed off, leaving Waka behind

With each step you took, the anger within you burned brighter, fueling your determination to distance yourself from the source of your heartache. 

A call of your name shook you out of your angered reverie. You knew you shouldn’t stop, that you should have kept marching right on. Yet, you couldn’t help but turn to look back at him one more time.

He made you feel so weak.

He had rolled the window down. In his hand, he had your pink slipper. It was then that you realized you were missing a shoe. 

“You left this,” He noted, waving it toward you.

You refused to give him that satisfaction. Shaking your head at him through teary eyes, you spat, “Keep it, asshole.”

You turned your back on him again – for the last time – and stormed off. Every stride carried you further away from the wreckage of a love that had once blossomed but now lay in ruins. The words you had spoken, filled with bitterness and regret, echoed in your mind, a desperate attempt to sever the ties that still bound you to Wakasa

Yet, deep down, beneath the layers of anger and pain, a part of you yearned for the impossible—to undo the meeting that had led to this heartache. It was a futile wish, born out of the shattered remnants of a love that had once promised happiness.

Don’t look back, you thought.

And you didn’t. Not even as you fumbled for the keys in your pocket and unlocked the door to your house. Not even when you slammed the door shut behind you. Not even when you collapsed against the door, letting a gut-wrenching sob out the moment you found yourself in the safety of your own home.

And even when you sank to the floor in tears, fighting the urge to throw that door open again and run into his arms, you found yourself repeating the phrase like a mantra.

Don’t look back.

heyyyyy 😓😓 how yall doin.... no but fr how are we feeling after this one? could this be the end of waka??? (it isn't.) im not too confident abt this chapter even tho I put my whole pussy into it... I promise the next one will be infinitely better TRUUUSSSSST!!! to make up for the way I chewed your hearts up and spat them out this chapter (sorry lol) I will say!! stay tuned for the next episode of party monster featuring cameos from sano shinichiro, daddy benkei, and another character who I can't tell u abt yet!! (also who knows we may or may not get a chapter from wakas pov.... who knows.... u aint hear it from me) yk the drill tho, drop ur thoughts predictions and requests in the comments, I love listening to yall ;)) see u next chapter!! <33

I obviously do not own tokyo revengers or anything related to it. please do not reproduce, copy, or translate my works anywhere. dont fk w me im a bruja.

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[femmefatalevibe]

How do I sound and appear more intelligent and sophisticated? I've read books and stuff but how do I apply the knowledge in real life? How do I make my everyday vocabulary more sophisticated? Ik the general advice to read books and converse with people etc, but how do I actually apply it irl?

Hi love! Here are some of my suggestions/tips:

How do I sound and appear more intelligent and sophisticated?

Keep your language and explanations simple & concise

Speak slowly & deliberately: Take your time between sentences, and pause between your thoughts. Always think before you speak. Silences, while slightly awkward, are not always best avoided

Use the proper propositions when speaking: Avoid small grammar mistakes (know when to use less vs. fewer, I vs. me, graduated from an institution, etc.)

Articulate complex concepts into layman's terms: Break concepts down into different parts of the conceptual equation – chronically, from beginning to end or outcome to origin, simultaneously moving parts/micro-stories or situations; Use analogies (metaphors, mundane/real-life examples, or hypothetical situations) that require the same thought-process or methodology)

Apply conversational "show don't tell" when sharing a story: Describe the situation using the 5 senses to convey the implied meaning (e.g. "I could feel the pit in my stomach." vs. "I was nervous.")

Use subtle tonality to convey particularly emotional or significant points while speaking

I've read books and stuff but how do I apply the knowledge in real life?

Relate cultural references or learned concepts to add clever humor to everyday conversations

Create parallels and analogies to outside information to convey your understanding of what someone is saying, ask more thoughtful follow-up questions, or smoothly transition into a new conversation topic

How do I make my everyday vocabulary more sophisticated?

Use everyday/simple sentence structure and replace one simple word choice with another more sophisticated word that is equally apt to the message you're trying to convey

If you're ever confused about whether a particular synonym makes sense to use IRL, look at how it is used in the dictionary sentence examples and in other books/articles

Ik the general advice to read books and converse with people etc, but how do I actually apply it irl?

Reiterate a concise, simplified version of the other person's anecdotes to convey your understanding. Drive the conversation forward by asking specific follow-up questions based on one "part" of the idea or story

Use cultural parallels to convey your understanding of what the other person is saying (sounds like this TV show character, like a certain artist, historical/current event, etc.)

Leverage metaphors to connect the dots between the points you and your conversation partner are making. Make an insightful connection to break up the air time between their anecdote and contribution

Conversational word choice should be used to create vivid images in people's minds – to paint a picture of the concept, scene, emotions, or sensations one would engage with or experience if the person was living your conversation in the present moment

Learn how to use wit conversations – context and delivery are vital to its success and positive reception

Hope this helps xx

[highfantasy-soul]

Ok, here's my breakdown of Jessie Gender's video on NATLA. I decided not to post this as a comment on the video because I just don't feel like it would be productive, but I needed to refute the points she was making as she's a quite respected (at least, I really respect her opinions on things) video essayist and I felt like this video was...wild.

So, I guess it's best to just watch along with her video and read my commentary side-by-side because I don't give much context for my points, this is just a stream-of-consciousness style response.

To be perfectly clear - this is not intended to be a 'hate post' about her, this is just me feeling very strongly that the interpretations of things she had in her video needed to be talked about and another perspective given.

I shift from saying 'you' to 'Jessie' like halfway through (when I decided not to post this as a comment) but I don't feel like going through and changing all those, so yeah, just ignore it.

1) you insulted a martial arts kata as 'a mildly choreographed dance' - it shows a complete lack of understanding of other cultures and a desire to take a quick dig at something you didn't like in a way that insults a cultural practice. I really didn't expect to hear that sort of comment from you so it was pretty jarring when you said it. Ironically, you say that Sokka was wrong to assume the Kyoshi warrior's kata was a 'dance' because that's 'a girl's place' when...you literally made the same insult with not a hint of recognition just a few minutes earlier about a movie you didn't like…

2) I felt that the live-action really deepened a lot of the themes from the OG - take Iroh's storyline for example, fleshing out Suki's character so she's...you know, her own character and not just there to teach Sokka a lesson, and delving into how hard of decisions you have to make during a century long war. Idk, I'm just really curious as to how you felt quite literally the polar opposite of me

3) Sokka's sexism: the animated show handled it one way, but Sokka's treating women as 'less than' wasn't a core part of his character - in all honesty, it doesn't actually make any sense as he was raised by Hakoda (who we never see being sexist), Gran Gran (who left the NWT due to its sexism), and was surrounded mostly by older women. The sexism storyline in the cartoon was to teach a very blatant lesson to kids "don't be sexist, boys!" while the live-action made Sokka's struggles much more realistic and in line with the world building: he struggled with non-traditional masculinity and if he was 'allowed' to be that way while they were at war. For me, it's a much more important message for young men today than the very dated 'women can fight, too!' message that was needed in the early 2000s. It's very odd to me how you claim that Sokka always taking charge isn't ever challenged when...in literally the scene you're showing when you say that, Katara challenges him.

4) I'm sorry, but I cannot possibly see how Suki is her own person more in the animated version than in the live-action. She was literally created solely to teach Sokka a lesson and have no character traits other than 'I'm a strong woman warrior' where 'woman' means 'I like romance' rather than...I'm a whole person with my own wants and desires and fears that have nothing to do with a love interest as is shown in the live-action. You keep comparing the animated and live action as though they were trying to tell the same story about Sokka's journey with his role in the world, but they weren't. Of course Suki's attitude toward him is going to be different, of course he's not going to need to tell her 'you're right, I'm a dumb, terrible man, pretty please could you teach me', because it's a different dynamic they're going for in the live-action.

5) When Sokka pinned her in their lesson in the live-action idk how you got that she was 'demuring herself' to Sokka? Just as in the cartoon, he managed to get the upper hand - which she promptly took back, teaching a lesson along the way. She didn't make herself less so Sokka could feel secure in his masculinity - it's a bit odd you feel that showing respect to someone and helping them learn is 'demuring yourself'. I much prefer them respecting each other than the animated version of them seeing each other as less than and then...her giving him a kiss to prove 'see, I'm a romance-loving girl, too'.

5) To me, Suki beating Sokka in the live-action when the first sparred wasn't her being mean, it was her not understanding how much less experience Sokka had fighting - she genuinely thought he would be able to hold his own against her because he had told her he was the best warrior in his tribe. Her face clearly shows 'I have no idea what I did wrong - I thought that type of sparring is what everyone did for fun, why was he uncomfortable with it?' Not really sure why you made the connection that us seeing Sokka's abs was meant to indicate that his insecurities are unfounded when...literally the whole season shows us that Sokka's struggles aren't "end goal = big strong warrior" but rather "you don't have to be a big strong warrior to help, you are allowed to delve into other aspects of who you are and those are just as important". Just because he has muscles, also doesn't mean he's a competent fighter - those two things aren't the same.

6) It feels like you took certain scenes and made wildly left-field interpretations of them and then claimed that that's what the show was intending you to take from it. It's like saying that the scene that cuts from Sokka saying he bets Momo tastes like chicken and cutting to the scene that shows people cooking meat actually means the showrunners are saying Sokka is going to cook and eat Momo this season and that will then give him the powers of the Avatar. It's very clearly not what the showrunners were saying, but if you interpret it in the least forgiving way and then make a wild leap off that, then yeah, you might get upset with that made-up interpretation. Same with the reasons they didn't put Sokka in the Kyoshi outfit - there is 0 evidence of them nixing that part due to transphobia. I didn't see it as any malicious intent, just a streamline of the plot so Sokka doesn't have to go change before running away on Appa.

7) I feel that the live-action DOES challenge the Fire Bender's colonialist rhetoric in the Kyoshi Island episode, but the animated...doesn't? At all? It's solely about girl power - and as we see with Azula and all the women fire nation soldiers, the fire nation doesn't seem too caught up in sexism. You know what they are caught up in? Which you mention? Bender supremacy. And that's what the live-action directly addresses with Sokka being so surprised that Suki is able to hold her own so well even though she isn't a bender. He's seen just how powerful benders are (they destroyed his home, killed his mom, and beat his ass last episode) and it's in line with the worldbuilding that he feels like he's already several steps behind in being a good enough warrior because he doesn't have bending (a storyline that isn't brought up until an episode in season 3 of the animated show). To me, the live-action Kyoshi storyline refutes the Fire Nation's imperialistic themes much better than the animated show does.

8) The live-action's lesson wasn't that might makes right - Suki never did any strength training exercises with Sokka, she taught him how to control his body and use his opponent's strength against them. Fight smarter, not harder. Know what you're fighting for, not just that you want to fight. Even if you don't have the resources of your opponent, it doesn't mean you're doomed from the start. That last one is particularly poignant when we look at how much stronger the Fire Nation is than the other nations they're subjugating: it's the classic 'oppressed rising up against their oppressors and not winning because they just punched harder, but because they used what they had to fight for a righteous cause and didn't just give up because the other side was more powerful'. That's quite directly what the live-action was saying - the exact lesson you thought it should be saying. You have to do some serious extrapolating from the animated episode to get to those themes while the live-action drew that concept up to the forefront immediately.

9) Aang's journey to accept his Avatar responsibility and the previous Avatar's enforcing this is directly from the animated series. Like, directly. It's not the live-action show saying 'colonialism good'. Showing the Avatar power wasn't the showrunners saying 'see, this OP is good and cool', it was to show the magnitude of it - something the animated show does too. The live-action does talk about how terrifying and damaging that power is - literally the previous episode has Aang almost toss Katara and Sokka off the mountain and they mention it. Just earlier in that episode, Sokka talks about Aang almost killing them and Aangs major hang up about embracing it is that he might hurt someone. Kyoshi argues that not learning to control it will hurt more people and - y'all, individuals are allowed to have their own views of the power that everyone doesn't have to agree with. What happened to 'make strong characters with flaws in their world view?' did you all of a sudden decide that's NOT actually good writing? So having the Avatar who used her powers liberally, and as the video states, used them maybe too much, telling Aang that he needs to use his own powers a lot is…consistent characterization? Which is then challenged by Roku later as he tells Aang that all the Avatars are different and have different views on the power of the Avatar. Why is Kyoshi's opinions suddenly taken as wholly accurate in representing what the show overall is trying to say? She's giving her opinion to Aang - an opinion that has some truth to it, but also some flaws that Aang will need to navigate on his own journey. Kyoshi and Roku's stories are not compressed all into Kyoshi - only the aspect of Roku taking control of Aang and using his body to fuck shit up in the Avatar state is compressed - not the ideological aspects of it

10) Sokka supporting Katara's fight against Pakku is a culmination of his arc to let go of obsessively protecting her and actually letting her decide her course of action herself - because his arc was different in the show than in the animated series. Trying to say that the reason he told her to kick Pakku's ass didn't fit because he was never sexist wasn't the reason - it WAS a culmination of his arc, you just refused to see it by clinging to the old one.

11) The whole argument as to 'why show genocide' I already made a post about, but to condemn the depiction based on the way you interpret the showrunner's quote is disingenuous. Again, it's taking something and making up a narrative around it so you can feel justified in hating it. It's important to show a culture before they are killed because they deserve to be seen as people, not just martyrs. They had lives. They lived and were happy and had a rich culture. They were not just 'fated to die and be told of in history books'. Genocide is disgusting and hard to watch - it's calculated and brutal. Showing that drives home just how awful the actions of the fire nation are in practice rather than just theory. Yes, the airbenders fighting was 'cool' to see - in the way that all action is 'cool' to see. But no, the genocide wasn't played as 'look at neat fighting!' in the live-action. It was shown as brutal and terrible, horrifying and surprising, and the airbenders didn't deserve what happened to them. It also gives you a direct view of what the fire nation is capable of when they come to the south pole and the northern water tribe: you've SEEN the devastation first hand and you DON'T want to see it again. The threat isn't theoretical, it's very real.

11.5) To take a CHILD'S quote about the sequence being 'so cool' is absolutely WILD to me. GORDON IS A CHILD! No, he's not going to have the most sophisticated and politically nuanced sound bite to say about the action sequence in an interview. HE'S A CHILD! Holy mother of god. To use that to bolster your point that 'that's the way it was intended to be viewed and how everyone is going to view it!' is just…..holy shit. You're taking media interpretation from A CHILD??????? Do you think, if we interviewed a child about the OG show, they'd talk about the fucking colonialism??? How Azula was abused too and didn't deserve her fate?? Or do you think they'd say "The fight between the Fire Lord and Aang at the end was so cool!" Honestly thought Jessie Gender wouldn't try to bolster her interpretation with a quote from A CHILD, but I guess here we are…

12) It's wild that she makes the point that conservatives are incapable of reading deeper than just the surface-level visuals of a story while…she's doing literally the same thing just in the opposite way. The live-action depicted the genocide, therefore they MUST just want to 'cool' visual of firebenders fighting airbenders! There can't be any other things at play here! No story being told whatsoever because all it is is spectacle! That's all I see! Ironically, she's falling into the same trap of not looking deeper at why one might depict the horrors of genocide and the battle against people with no army.

13) Aang actually treats the genocide as more immediate in the live-action than he does the animated show. Most animated episodes, you can forget that it even happened, while in the animated show, it pops up a lot in some unexpected ways like when he's uncomfortable waterbending because Gyatzo had always been his teacher, when he yells at Bumi for making light of the genocide, his desire to get to the north to keep it from happening again, when Zhao proclaims that he can wipe out an entire race of benders and Aang says he knows exactly what that's like, when he constantly stays to help people because 'I couldn’t help my own people, but I can help them'.  Not only through Aang, but also through every child in the series - like with the animated show, the live-action shows how kids are shaped by the generational trauma of the war plus the immediate effects of it: Teo ready to fight, Jet making compromises to fight back, Sokka shouldering too much responsibility so young, Katara's trauma around her mother's death and her waterbending, Bumi losing his faith, Zuko and Azula being shaped by their father to be the perfect weapons to continue the war.

14) Interpreting Zuko's comment of 'sometimes the weak can become strong' right after his father mutilated him for showing compassion is not meant to be taken as a thesis that 'Zuko just needs to get better at fighting, this is what the story is saying, I am very smart'. It's showing HIS CURRENT view of the world - the idea that his father has taught him that he needs to be strong and Zuko has bought that and wants desperately to earn his father's love. Zuko's story through the series is showing that 'strength' isn't what his father defines it as (or what Jessie defines it as in her video) but rather it's strength of character - compassion is not weakness, it's strength, and no, that doesn't mean if you have compassion you punch harder.

15) The live-action show makes the Fire Nation MUCH more nuanced than the animated show - we see how Ozai and Azula aren't just maniacal villains, but we see the pain and torment their upbringings deal out to them, and in turn, deal to others. It shows the cycle much more clearly and showing fire nation citizens who disagree fleshes out the culture even more.

16) Jet was much more nuanced in the live-action as he's RIGHT about the mechanist being a spy and the king being lax in his duties. He's created a community of people to try to heal from the harm the fire nation has caused them and he gives actual good advice to Katara, helping her emotionally heal and remember the good aspects of her mother.

17) The argument that 'the live action is trying to ignore the past' is a massively simplified narrative. The live-action is showing Aang stuck in the past, unable to take large steps into the future. Pain, trauma and loss can anchor us in the past - it's HEALTHY to keep moving forward rather than only thinking about the pain in the past (ie Jet's advice to Katara). Aang was continually trying to avoid the genocide happening again while simultaneously trying to get past Avatars to do the big hard work for him. His lesson is not to 'forget the past just live in the now' but rather, don't let fear of what has happened in the past stop you from making a difference in the future. Yes, war is loss and suffering, but if you get paralyzed by not being able to prevent that, the fire nation will just keep marching across the world. It's about not letting the past immobilize you to the point where you stop fighting back against oppression - or getting together with a community to help you fight for fear they'll die just like those in the past did.

17.5) Letting go of the past is a buddhist philosophy that is a lot more complicated than Jessie is making it out to be here. Just as in the animated series, characters can come to realizations about lessons they need to learn while still taking seasons to fully learn the lesson - just because Aang said he's ready to let go of the past doesn't mean he's now ignoring it and all will be smooth sailing. It means he's ready to start taking steps to do that and approach life in a healthier way. It's wild that Jessie took the direct quote "I need to let go of the past to focus on my future" and then states that the show is saying "the character's aren't seeing future possibilities and hope, they're focused on the now" when, quite literally, the quote she just referenced….is talking about building a better future.

18) Then, she references later seasons (Aang in the fire nation school) a lot to indicate that the live-action is ignoring those concepts from the OG when….we're talking about season 1 here - not season 3. Why is the world not allowed to organically grow? Why would you make the argument that 'season 1 didn’t explicitly deal with these concepts that aren't brought up until season 3, so therefore they are ignoring them'?

19) Jessie uses a lot of clips from a Daily Wire (conservative talkshow) guy as if that has anything at all to do with the live-action ATLA. She's trying to draw a line between that ideology and the ideology of the show and I feel like she had to bastardize the NATLA show in order to do that so horribly, her interpretation of the story and themes is completely unrecognizable to what is actually shown on screen.

I usually agree with her takes on media, but this video was not it. Every interpretation she had, I interpreted the scenes/lessons in the exact opposite way and, I believe, I interpreted it closer to what the showrunners intended.

Oh no, i just had a thought: this is The Last Jedi all over again! I saw so many negative interpretations of that movie that I just sat and scratched my head over like "How in the WORLD did you get to that conclusion??" when I thought my own interpretation was just...the obvious way to view the movie. I had no idea my views on it would be so controversial. Here we are again. Time is a flat circle. Life is a meaningless cycle of disappointment and confusion, neverending.

[real-fire-emblem-takes]

My Fire Emblem take is that Leonie Pinelli gets more hate than she deserves and was set up to fail by Jeralt and IS.

(I will refer to Byleth with she/her pronouns for simplicity's sake)

Slander

Leonie is obsessed with and potentially lusts after Jeralt and has no personality or identity outside of him.

Background

Leonie grew up in Sauin Village, which was besieged by poachers until Captain Jeralt stepped in and saved them. Obviously, he is now the village's hero. Jeralt then takes Leonie as an apprentice and then leaves a short time later.

Reasoning

Leonie's apprenticeship to Jeralt, the village hero, defines her in Sauin Village. She's "Jeralt's Apprentice" in their eyes, so eventually that's how she defines herself. Children are malleable like that.

Typically, an apprenticeship lasts for seven years. You eat at their table, sleep in their house, and work with/learn from them every day. Leonie got maybe seven weeks of instruction from Jeralt before he leaves.

So, since she's defined by an apprenticeship she doesn't have a master around for anymore, she does what she can. Leonie constantly practices what he taught her and tries to improve her skills to be like him (which is what apprenticeships are for).

Then he shows up at the officer's academy with Byleth, his daughter, who has received all of the instruction and attention that Leonie should have gotten right along side her. And she acts incredibly flippantly about it. She does not seem grateful for getting what Leonie has always wanted and has a legitimate right to. Leonie's jealous. Understandable.

Yes, Leonie spends a lot of time around Jeralt while he's alive and at the academy. This is her trying to get that instruction her apprenticeship promised. And it seems like Jeralt finally took responsibility and trained her.

Then he dies.

The man who has defined Leonie's life for years and she's only just gotten to learn from is dead.

Then we reach a bit of a thing. Leonie's B Support is horrible. She is mean and cruel and upsetting in what she says and does. Grief does that to people. However, her lines during that month when you Explore contradict a lot of what she says.

B Support: I miss him more and you're a horrible daughter!

Explore Lines: I only just got to see Jeralt again and now he's gone! ...sorry, I shouldn't be burdening you with this. I know you miss him too.

These are paraphrased and summarized, but get my message across well enough. Leonie does, in fact, recognize that you are mourning too. She likely just made some bad decisions at some point and lashed out at Byleth. No apology is mentioned, but given her Explore Line lasts for a month and her B Support lasts for, like, five minutes, I'd say her Explore Line is her prevailing opinion on the matter.

Also, I'd like to point out of all her fifteen support partners, she only mentions Jeralt in her supports with Byleth and Felix. All thirteen of her other supports reveal different, and just as important parts of herself.

tl;dr Leonie's behavior w/ Jeralt makes sense in the context of medieval apprenticeship. Guilt can cause people to lash out at people who don't deserve it . 13/15 supports agree that Leonie has characterization outside of Jeralt.

.

[shitpostingfromthebarricade]

what are your honest opinions on Les Mis 2000

Before receiving this ask, I had only seen a little under half of Les Mis 2000 (French version). In order to provide a fair and complete response to this question, I started over and watched the entire show from beginning to end over the course of 5/6 weeks.

I will provide more details below the cut, but my completely honest opinion on Les Mis 2000?

Looking at the show as a whole, without considering adaptational value, it's scattered and confusing. A lot of storylines get picked up or dropped with little to no explanation, the characters and their motivations make little sense, and the time skips are inconsistent at best (Félix abandons Fantine when she is still pregnant, JVJ is released after Cosette is already 4yo and just being left at the Waterloo Inn/Fantine is already on her way to Montrieul-sur-Mer, Immortal Gav is 12 for ten years, meanwhile Javert undergoes a dramatic appearance change many scenes into the time skip, Cosette ages up when I assume the time skip takes place, and Depardieu [I refuse to call him Valjean] never ages until after the wedding). If you look at the context, it makes sense: they decided to (rather than dubbing after the fact) shoot everything in French and then again in English, so of course performances are going to flag, editing is going to be a mess, and the storyline is going to get lost in the changes they've made while shooting two shows at once.

Which takes me to my next point: as an adaptation, it's also incredibly weak. I don't know if I should be blaming the writer, director, or a terrible combination, but so many elements are not only not accurate to the book (fair enough, if you want book accuracy watch '25 Les Mis or '64 I Mis, or '72 Les Mis for accurate barricades specifically) but seem to totally miss the messages of the book altogether! Fantine was always in trouble before she gets fired (undermines Hugo's message that even doing everything "right" Fantine was still put in an unwinnable position), Javert gets his usual "obsessed with JVJ specifically and also treated as unusually cruel by everyone else" treatment, Gillenormand looks out for this fellow old man who was a gardener and has now been joined into his family by marriage, and Depardieu's character is going to get an entire section below. The Thénardier sex scenes are a lot but ultimately harmless compared to, say, the part where Javert cuts his hair (?) and attends law school with Marius and Enjolras as himself (?), and then later arrests the entire class for treasonous speech. This kind of belongs in the previous editing section, but a lot of the reveals (Marius knowing his neighbors are the Thénardiers, the Thénardiers recognizing the old man in the sewers, Cosette knowing her dad saved Marius, Gillenormand and Marius knowing Cosette's dad's background, Depardieu's character knowing about Javert's death) happen WILDLY out of sequence, and since they are plot-driving sequences, the motivations become confused, the choices make no sense, and you get scenes like Éponine trying to coerce Marius into having sex with her. I kind of liked the switch from jet beads to stinging nettle fabric except again, it didn't matter because Fantine's downfall was so badly done (forget that she turns to sex work immediately, only later selling TEN TEETH and her hair to make ends meet — Javert threatens to [and later does] arrest her for the completely legal profession of sex work before showing her where she can sell her teeth???) and Madeleine was so opposite from everything his character is supposed to be and show.

Which brings us to our next point: yes, in both the English and French versions, Depardieu's performance falls flat, but more importantly, there is an inherent misunderstanding of who and what Jean Valjean is at each phase of his life. I'll be honest, there was a lot going on when he was in prison with Javert tormenting JVJ for fun and the fire that Cochepaille needed saving from and Myriel announcing that he was buying JVJ the same way Judas sold Jesus and Cosette already being with the Thénardiers, so I don't have much feedback about JVJ's characterization or the paper that was yellow like sunshine at that point, but (ignoring the fact that Fantine apparently shows up in Montrieul-sur-Mer with no established factory in sight) then he becomes the most corporate businessman possible, with no regard for the wellbeing of his employees or town who spends all of his time running numbers? The hospital is underfunded, he only rubs elbows with other government officials/bankers, he is painfully out-of-touch with the people of his town, and apparently he doesn't even pay enough for Fantine to be making ends meet even before she is fired. A big part of what JVJ goes through in the book is that he feels like he cannot safely express his feelings about the system to anyone, leading him to act like a scared animal after Petit-Gervais, living in constant fear of being kicked ( @secretmellowblog has a great post about this here), but this Madeleine is CONSTANTLY venting and complaining to anyone who will listen. Not only that, but after he leaves M-sur-M, the police admit to Javert that they knew who he was and just decided to ... leave him be? This isn't a man who's living in fear, and this isn't a man who has to make hard choices in order to do good and help his fellow man. For some reason, Sister Simplice seems to be like 85% of his morality? (and we are very much skimming over the romance subplot that was going on there) So it doesn't even feel like he helps Fantine altruistically, it feels like Sister said "Please help" and Depardieu sighed and went, "Fine, I'll see if I can't pull some strings." When he gets Cosette and begins taking care of her, it feels ENTIRELY self-serving and creepy, and he later confirms with his own words from his own mouth that his feelings for her are not fatherly. He cares about prison reform because he experienced it, not from any sense of altrustic human kindness, and Toussaint ends up robbing him for having taken a chance hiring an ex-convict? (because ofc this Toussaint is a mute manservant, not a maid who can actually help Cosette, because all of Depardieu-Dad's choices are to serve himself, not to keep Cosette safe or happy). By the time Marius is sending Depardieu's character away, it's the only only adaptation that you're cheering on Marius, because this man calling himself Cosette's father who bought her for 1500 francs and still sometimes shares a bed with her and locks her in various rooms and has just admitted his love is not fatherly needs to LEAVE.

Finally — and I will freely admit that this is the pettiest section — the historical accuracy is in shambles. Electricity in the 1820s? 1840s fashions in the 1830s? The hair and makeup are given as errors, but how do you have accurate men's shirts and repeatedly let them wander around without cravats? And no one, not a single person, thought to check 1800s French currency? Sending Cosette off to buy bread with FIVE FRANCS (~$100USD)? Leaving one hundred thousand francs for the funeral of someone who canonically doesn't even have a marked grave? Even the part where Fantine sells her teeth: these were simple numbers they could have checked (two teeth, one napoléon aka twenty francs each — not ten for four each). All of the prices and amounts were in the book. It is not that hard to call the imaginary coin being passed between two characters a sous instead of a franc: we couldn't even see it.

I spent a lot of time thinking about how I would respond to this ask before finally answering, but ultimately, I was asked for my honest opinion, and this is it: it missed the mark for me in every way. I'm sure there are some people who enjoy it, and I am happy for them, but it is not an adaptation that I would recommend to anyone looking for a good Les Mis adaptation or a well-executed show.

[egg-emperor]

Oh what has Oshima stated about Eggman? I'm curious.

This Twitter DM which was from quite a while ago, can't remember when, where from, or who to but it still gets spread around:

All respect to Oshima of course, like I said, the man is a legend and treasure. But that first part literally isn't what happens in the game at all. The way he's describing it makes it sound like Eggman came along with innocent intentions, Chaos appeared and started doing something evil and then he wants to protect the world and be a hero or something. But the game's events simply aren't anything like that at all.

Eggman specifically intends for Chaos to destroy Station Square, so he can build Eggmanland on the ruins.

Sonic story:

Tails story:

The only problem he has is Chaos betraying him and making him his enemy, which means he's now a threat to him too and that's when it's a problem.

Last story:

He specifically states that it's because he defied him/didn't follow his orders. Instead Chaos is doing it on his own terms and making him his enemy, meaning he can't build Eggmanland and is now in danger too instead. Otherwise he'd love that shit because it was literally his goal to destroy it XD

JP translations are showing me the context doesn't change and Eggman's reasonings remain exactly the same.

Sonic story:

Tails story:

Last story:

I like that last line, it perfectly represents his selfish "if you don't serve/obey me/aren't useful to me, you have no reason to exist" mindset. 🥰 But yeah, he's extremely blatant with his selfish reasoning in both versions.

But yeah what Oshima said about Adventure makes no sense. The Adventure guide also said something like him not thinking of himself as evil, I believe? Which is the only possible thing one could cite in relation to him "not being evil" in Adventure. Which doesn't make any sense there either for all the above and every game ever actually.

And what I have to say to the idea that he doesn't think of himself as evil in general is this post, showing just a few of the examples of him very clearly understanding that he's evil and doing bad things and not caring, and and specifically calling himself, his creations, and actions "evil". Bios which can and have been inaccurate in various ways for multiple characters don't change that.

Also I get where Oshima is coming from with the second part of the man/machine/science vs animals/nature thing but it seems like he's kinda saying it in a way that seems to imply that the one is just a threat to the other in general. When this appears to not be the case in Sonic CD, as good future is a world that can be both natural and mechanical in harmony. And I think that's a lot cooler.

Eggman represents the harmful, selfish, greedy, dark parts of humanity, it's clearly never been presented in a way that paints humanity as a whole as a bad thing. It's not a misanthropic all humans are evil messaging, just an example of the kinds of evil that humanity can be capable of, how they can destroy nature, how they can be greedy and power hungry.

Also the whole Eggman wants to make the world "beautiful" thing is true because as a selfish egotist, it will be the most beautiful and perfect it can be when it's under his control in his eyes, in by his own twisted definition, that's detrimental for nature, wildlife, and everyone else in it. Nobody else will want but will have it forced upon them by him.

People trying to present this as fact are ignoring how Oshima emphasized that it's his "personal opinion". That's not what determines decisions made during actual production and finalized solid canon, which in this case shows something completely different in the game, English and Japanese. But he's not trying to pass it off as final fact so I have no issue with him, it's the fans that are.

Word of god that directly contradicts canon events and characterizatiom doesn't hold up no matter who it's from. Something especially doesn't suddenly become true canon fact because someone was privately sent a DM about a creator's personal opinion, that they also specifically emphasize to be just that to them on top of that lol

I only ever note word of god in fact sharing or analysis I do if it's just reiterating/explaining what was already shown/described/implied in the actual games and very blatantly so, for reasons like these. As there can be stuff is literally completely different in the games and isn't just a matter of interpretation.

So yeah thought I'd finally bring this up and break it down properly since it's been around for a little while now but I've seen it getting spread around again like it's fact lately. Eggman is very aware that he's evil and he certainly wasn't a good guy in Adventure, nor any other game XD

[weirdmageddon]

long mediation on jade and dave’s relationship - part 2

part 1 is here

this part is essentially about dave and jade’s personalities, their basic dynamic, and how it works. and addressing some things ive seen said about dave in moments that people remove from context because they dont weigh these contexts and prior ones. if you want a post that goes into dave’s attitude towards jade (conclusion: he cares about her a lot) here it is

part 2: switcheroo + misconceptions about dave's role in dave and jade's relationship

something interesting i realized while writing this is the thing about grimbark jade is that she is no nonsense when her normal self is all about nonsense and entertaining silly things because she can see the merit in them. in fact she is always having a chuckle caused by dave's sense of humor and im sure dave got used to interacting with jade like that so wtf with grimbark jade

EB: so i think i have to get TG to use his copy to save her! EB: but that jackass won't shut up and stop rapping and stuff. GG: hahaha GG: he is so silly! (p.293)

TG: snows a big chilly carpet of nobody gives a shit TG: like old man winter spread around his nasty mayonnaise and turned the landscape into his personal asshole sandwich GG: eww dave no TG: when i look around all i see is the miles of unharnessed snowmen im just too damn cool to build GG: no this is so lame GG: i am hearing an insane and stupid guy say stupid idiot things while wearing dumb sunglasses for lame morons! TG: whoa jade with the fucking haymaker TG: i need to go look for my teeth on the canvas as soon as shit stops spinning and there stops being like ten of you GG: heheheh GG: why dont we play in the snow later (p.3024)

GG: i cant get over how tiny this thing is! GG: its so cute GG: so the baby frogs show up on this pad here? GA: Yes GG: i cant wait to try it GA: What Are You Laughing At There GG: oh GG: lol GG: dave just has a lot of funny stuff to say about all this GA: What Is He Saying GG: oh you know, a bunch of silly stuff GG: theres too much to copy/paste! GA: Hmm GG: here ill save it all to a file and send it to you -- gardenGnostic [GG] sent grimAuxiliatrix [GA] the file "daveisafunnyguy.txt" -- GA: Okay Im Laughing Pretty Hard At All That GG: hahaha (p.3312)

JADE: *snicker* JOHN: what? JADE: nothing JOHN: is someone messaging you through the game? JADE: hehe JOHN: who is it? JADE: pffff! JOHN: dammit, jade... JADE: its davesprite, hes playing too JOHN: oh. JOHN: don't tell him any of our strategies. he is the enemy! JADE: we have strategies? JOHN: um... JOHN: ok, first, tell him we have strategies. then, don't tell him them. JADE: hahahahahahaha JOHN: oh god. JOHN: what is it now? JADE: did you know... JADE: davesprite is a funny guy? JOHN: meh, he's alright i guess. JOHN: i give most of his jokes a passing grade. sometimes as high as a solid b+! JADE: i just told him you said that JADE: davesprite says to tell you "youre basically welcome for being born 14 years ago and 1 year ago you ungrateful douche" JOHN: oh, like him taking credit for my existence isn't so old by now! (p.4732)

in a way i feel like their roles parallel dave and jade in the earlier acts from homestuck, but inverted (and twisted/not as nice cause grimbark jade is under nefarious influences)

dave approaches the world from a highly pragmatic position. his ego (in the purely psychoanalytical sense) that he holds himself to, shows to the world, and what he tends to reason through is one that’s about relaxed competence. he’s critical of unreasonable actions and takes it upon himself to guide others into being more efficient in practical, realistic ways. he sees that jade struggles in these initially but she readily accepts his help, which is more than glad to provide.

this doesn’t say anything bad about jade harley. this doesn’t make her stupid, or in need the saving from a knight in shining armor nor does it make dave condescending towards her. it’s information that he is able to provide and that she appreciates and trusts his assistance with while she sees through the things that she prioritizes like helping others with matters of hidden opportunities / the big picture and interpersonal needs which are completely out of dave’s league, something he highly respects but doesnt feel its his greatest asset towards other people like jade does. jade is very into science and gadgetry, but remember that she relies heavily on her sharp intuition rather than straight up pragmatism like dave would. jade really is exceptional and multitalented but she doesn’t know how she does the things she does half the time!

(p.790)

even though dave acknowledges this it doesn’t really bother him

TG: hey TG: oh TG: youre asleep again arent you TG: or do you even know if you are TG: i still dont know how that works TG: its like nothing means anything TG: its so cool getting hella chumped by your coquettish damn riddles all the time TG: i dont know why i believe anything you say im like the grand marshal of gross chumpage (p.829)

GG: i want to tell him happy birthday and ask him about his birthday package! TG: oh yeah TG: i was being sort of cagey and told him to check the mail cause i was wondering if mine came yet GG: i think it did! TG: yeah? GG: and i think mine came too TG: so uh TG: i guess you want to know if he likes it or something? GG: no!!!!!!! GG: he will not open it GG: he will lose it!!! TG: oh TG: uh TG: wow sorry to hear that i guess? GG: no its good actually! GG: because he will find it again later when he really needs it GG: which of course is why i sent it in the first place! TG: see like TG: i never get how you know these things GG: i dont know GG: i just know that i know! TG: hmm alright (p.382)

TT: Jade is connected with you? TT: Where did she get the discs? TG: i dont know how does she do any of the loopy batshit nonsense she does (p.1401)

but because she’s gotten by on intuition and her dreams for most things, she’s not as adapted to the rationale behind actions. dave can sense her struggling and wants to help because it’s basically his mission for everyone, not just jade. but that’s the information that jade is glad to be led by and continues to unconsciously prompt him with. she encourages his practical ways and doesn’t tell him to fuck off or just straight up ignore his advice which dave interprets as his strengths being needed by someone else

GG: dave! GG: are you busy? GG: i dont have much time! GG: i am about to make my entry item, and its a little confusing GG: i think the more players we add, the trickier they are to... um...... GG: activate! GG: like yours was GG: i figured we could brainstorm about it, while john fusses with the kernel GG: helloooooo? TG: nak nak nak GG: :o (p.2907)

TG: yeah honestly i figured wed have to do something like this TG: so i guess here we are doing it GG: doing what?? TG: well youre my server player remember GG: yes TG: i need you to deploy something first TG: in my apartment TG: in a few hours ill go back there and we can continue this GG: oh jeez, a few hours???? -- turntechGodhead [TG] ceased pestering gardenGnostic [GG] -- -- turntechGodhead [TG] began pestering gardenGnostic [GG] -- TG: yeah TG: as in a few seconds TG: im back at my place now GG: fastest hours :o TG: yeah TG: now TG: deploy the intellibeam laserstation GG: but that costs so much grist!!! TG: no it costs practically nothing TG: check out how much ive got GG: omg... GG: what does this thing do? TG: its mostly pretty stupid and useless TG: but itll come in handy here TG: it reads captcha codes GG: on the back of cards? TG: yeah GG: but GG: we can already read those! TG: some are too garbled and complicated TG: the human eye cant decipher them TG: needs sophisticated scanning technology TG: and artificial intelligence to figure it out GG: hmm GG: but isnt the whole point of captchas that only humans can read them? GG: and not robots??? TG: yeah well TG: thats why this is so dumb (p.3025 / 3026)

TG: thisll be the disc i use for your connection TG: while the original will stay bound to roses connection GG: so you will be the server for BOTH us ladies??? GG: you just keep getting smoother, i cant handle all this smoothness TG: well technically TG: i will be your server TG: and past me will stay as roses server TG: which is to say present me will TG: the one in the black suit GG: ohh... GG: i guess that makes sense TG: he can keep managing her for a while TG: until she sorta checks out soon and becomes totally useless TG: then he can start hopping around time like i did TG: make a ton of money and stuff TG: eventually become me TG: and become your server player GG: ok i think i understand that! TG: yeah see its not hard to get the hang of TG: in the meantime ill kind of loiter around this timeframe to help you out for a while GG: yessss thanks dave <3

TG: im just going to cut right to the chase and upgrade your alchemiter so you can avoid a lot of bullshit TG: ill give you some codes and you can punch cards and slip em into jumper blocks GG: yaaaaaaaaaaaay! (p.3030 - 3032)

jade has strengths that dave has weaknesses in too, which dave himself points out!!!

TG: ok so TG: the egg is now in a nest made of shitty swords and soft puppet ass TG: please advise GG: i think your sprite wants to hatch it! GG: awww TG: do you think thatll take more than four hours GG: hmm... GG: i dont know it looks like its pretty warm where you are TG: its hot as the sizzle side of the steak GG: maybe not too long then???? GG: i guess we'll find out! TG: maybe i should try to get it back TG: and put it in the microwave GG: :( (p.1507)

dave assumed the egg needed to be heated to break and allow him to enter the game, so his course of action is to go up there and get it himself and use whatever means are at his disposal. that is a logical, straightforward thing to do. he doesnt rely on uncertainty and blind trust that things will just work out when he has the ability to take action in a way that makes sense; that’s jade’s thing. but it turns out jade’s intuition for how to solve dave’s entry puzzle was right! it was actually a test of patience. he later says this to jade

GG: you guys are all so much better than me, i feel sooooo lame TG: we all start out somewhere TG: remember how i was scrambling up that tower to get that egg like an idiot TG: what the hell was i doing TG: i was like goddamn pooh bear in a tree reaching up his fat fuckin pooh paw for some mother fuckin honey GG: heehee TG: so even though im awesome now at one point i was plausibly likened to an autistic stuffed animal TG: and you even knew what to do TG: you told me how it worked all christopher robinning my ignorant ass about that egg TG: but i was all like IM A LITTLE BLACK RAIN CLOUD BITCH WATCH ME CLIMB TG: so maybe youre startin out with more sense than me GG: maaaybe GG: :) (p.3025)

hes pretty much like jade's hypeman but in his own sort of lowkey way and is actually sweetly reassuring to her. this includes davesprite btw

GG: those stupid things are impossible to kill :( TG: no you can kill them TG: youll get better dont worry (p.3024)

GG: hmmmm... GG: i dont know if i get that but ok! TG: well yeah TG: my thing is time yours is space TG: pretty different things TG: you GET things about space i dont TG: or you will GG: i will? TG: yup (p.3024)

DAVESPRITE: as a sprite im supposed to help him with his quest JADESPRITE: oh yeah JADESPRITE: im supposed to help jade too, but...... JADESPRITE: *sniffle* DAVESPRITE: shes doing alright dont worry about it JADESPRITE: ok, ill try... JADESPRITE: shes a lot more brave than me i think JADESPRITE: she brought me back thinking i could help her and all i did was disappoint her and everyone else JADESPRITE: you came back as a sprite and youre managing to do important things... JADESPRITE: but i just feel so scared and helpless DAVESPRITE: sounds like you came back because jade made the decision for you DAVESPRITE: i made the decision to come back myself maybe itd be different if you had the same chance JADESPRITE: i dont know if i would have if i had the chance JADESPRITE: but i would like to not feel so useless to everybody DAVESPRITE: i think everyones on top of this DAVESPRITE: theres not much for us to do anymore (p.3927)

DAVESPRITE: so jade must have done something right DAVESPRITE: to wake her up and get the forge going DAVESPRITE: dont know what she did though JADESPRITE: probably something amazing JADESPRITE: she is still working so hard to help everyone JADESPRITE: i guess i used to be that way... JADESPRITE: but ive completely forgotten how DAVESPRITE: are you sure (p.3945)

JADESPRITE: it reminds me of when i died JADESPRITE: and i was trying to wake john up JADESPRITE: i was scared then too JADESPRITE: but i didnt let the fear stop me from trying to save him DAVESPRITE: what would you want to do DAVESPRITE: if you werent scared JADESPRITE: i have no idea JADESPRITE: i guess try to help JADESPRITE: what is there to do? DAVESPRITE: well DAVESPRITE: i was going to bring this sword to dave JADESPRITE: oh noo JADESPRITE: does that mean youre going to leave? DAVESPRITE: no DAVESPRITE: i was gonna say DAVESPRITE: im not in any shape for more adventuring DAVESPRITE: i figure this is probably my last stop JADESPRITE: :( DAVESPRITE: but maybe this is a way you can help JADESPRITE: you mean... JADESPRITE: that i should give him the sword? DAVESPRITE: if you want JADESPRITE: but i dont want to leave you here either DAVESPRITE: maybe you dont have to actually go anywhere DAVESPRITE: you oughta have a lot of special powers remember DAVESPRITE: because of ascending to doghood JADESPRITE: oh yeah! DAVESPRITE: try doing your spacey thing DAVESPRITE: i mean not to sound condescending or anything but its got to be like borderline omnipotence pretty much DAVESPRITE: just put your mind to it (p.3946)

knowing all of this about dave and jade’s personalities and how they work together, i’ve see people get on dave’s case about making jade slap herself in the face after she put the dead bird into his kernelsprite while he was preoccupied with taking a leak

dave freaks the hell out when he realizes she’s asleep; he needs to wake her up because she needs to help him get into the game while requires pragmatism and reasonable actions so that he’s not crushed to death by an imminent meteor. or falling plumbing fixtures. the goal wasn’t to show her who’s in control or whatever or to be mean (do people seriously think he would do that to be mean to her just to slap a girl?) it was strictly to wake her up since he has no means of influencing that besides getting creative

while asleep, jade doesn’t think logically and certainty not to the extent dave needs her to be right now. she’s scattered lalalalala and can forget about limitations or consequences in the real world and also has a short memory span while dreaming: e.g. “4 hours until what?” and she put something into the kernelsprite right after dave asked her not to because she forgor </3 and jade does acknowledge this about her dreaming self btw

GG: i mean, i only talked to you when i was asleep! i am kind of different when im dreaming... GG: i forget things, and at times im not totally sure whats real GG: dont you remember thats what its like to dream on prospit? (p.3056)

dave literally says “we need to wake you up youre not very logical like this” and he does apologize about making her dreambot wake-up slap her

i also see people say that dave thought of jade as helpless and he needs to be the hero and that's why "davejade is not good actually"

TG: but ok i mean isnt that what heroes should be doing TG: working to take down the bad guy without a whole lot of this fuckin grandiloquence and these huge sweeping plans that got nothin to do with fighting him TG: like always biding our time and tiptoeing around the unbeatable god boss TG: johns too nice to get mad TG: rose spends all her time calculating TG: too focused on machiavellian ploys of sabotage to try anything drastic TG: jade is TG: i dont even know TG: probably more a liability if she got it in her head to take him down TG: if anything id bet she just needs protection GC: WH4T 4R3 YOU S4Y1NG H3R3 D4V3, 1N TH1S CONV3RS4T1ON TH4T 1S ST1LL B31NG 4BOUT YOU TG: im just wondering TG: when does someone actually step up TG: jacks got shit to pay for (p.3703)

this minor thread gets followed up on in the pesterlog where jade contacts dave and eventually she concludes jack needs to be stopped and dave's like ... "oh shit" in his head. "oh shit" as in jade's got Game good for her go jade, "oh shit" as in she's going to be ripe for the stabbing cause the idea is in her head now, and "oh shit" as in this moment is the seed of why im going to have to rehearse jade accidentally killing me over and over and i cant tell her about it. due to this he is always fated to die in the alpha timeline both standing up to jack and to protect jade. it's woven into his story. but he was wrong about everyone else also! which i dont see brought up when that quote is used? rose does something drastic (pilots the moon into the furthest ring) and john gets mad (on the ship) and jade is the opposite of needing protection (she’s the only one jack won’t stab and also she ends up so fucking OP she has to be basically written out of act 6) so it's less a thing about jade specifically but to show that in hindsight dave was wrong about ALL his friends. which is an interesting discussion to be had about him in itself, but not now. this is the most sane and well-thought out interpretation of it ive seen

"In general, though, I think Dave has a tendency not uncommon to [thirteen] year olds (or… humans in general, if we’re being honest here) to cast everyone else as a player in his own story and characterize them in ways that fit what he wants. There’s the famous chunk where he says John never gets angry, Rose will never stop scheming long enough to take action, and Jade’s a liability, only to be proven wrong in every count. That fits his understanding of these people and his ideal relationship with them - friend, actor, protector, the one in the group who can be the hero." "Yes, I think Dave probably saw Jade as the most supportive and least judgmental friend. I’m not sure if that impacted his incorrect judgment of her since that’s kind of a pattern for him in general, but I guess it could’ve."

and also putting this solely on dave is kind of ... ehhhhh? because john says the same thing about jade but i don't see anyone getting on his case for it.

CG: SHE AND DAVE RAN INTO JACK, WHICH I'M SURE HE MUST HAVE SAW COMING BECAUSE I'VE NEVER SEEN ANYONE EXPLOIT TIME TRAVEL SO SHAMELESSLY AS HIM, NOT EVEN ARADIA. CG: SO SHE AND DAVE FOUGHT WITH HIM A WHILE, AND LONG STORY SHORT, HE DIED. EB: what!!! CG: BUT IT'S FINE, I GUESS THAT WAS HIS PLAN, LIKE SOME BIZARRE USELESS LAST STAND, EVEN IF HE DIDN'T TELL JADE WHO WAS PRETTY FREAKED OUT UNTIL I TALKED HER THROUGH IT. CG: JADE SAYS SHE HAS THIS FIGURED OUT, AND I DON'T HAVE TIME TO DO MUCH BUT TRUST HER. CG: THE POINT IS, SHE'S ALL BOOKED UP, AND ALL TOO MORTAL. SO SHE WON'T BE DELIVERING THE BOMB, AND NEITHER WILL YOU. EB: ok, well what about this. EB: since she is mortal, and i am not (sort of), and i don't need to do the scratch for a while, can i go help her? EB: maybe she could use some protection? maybe that is what dave was just trying to do, when he temporarily died. EB: remember, jack is still on the loose! he has killed rose and dave once, and me twice. CG: NO NO NO NO NO NO. CG: SWEET BLEEDING JEGUS, EGBERT, YOU KEEP BRAGGING ABOUT YOUR IMMORTALITY, AND THEN BRAINLESSLY ANNOUNCE PLANS TO GO OFF AND DO SOMETHING HEROIC! YOU'RE GOING TO HAVE THE SHORTEST LIFESPAN OF ANY IMMORTAL IN HISTORY. EB: sorry. :( CG: BESIDES, IT'S A TOTAL NON ISSUE. JACK WOULDN'T HESITATE TO STAB YOU AGAIN, BUT HE WON'T HURT JADE FOR SOME REASON. CG: IF ANYTHING, YOU COULD USE HER PROTECTION. (p.3869 / 3871)

and also keep in mind dave does absolutely change his perception about jade's strength??

DAVE: youll probably annihilate me worse than my bro used to DAVE: dont you have all of your dogs insane powers and like DAVE: god tier space powers on top of all that DAVE: how exactly am i supposed to compete with that (p.6384)

DAVE: gotta keep em napping DAVE: especially jade im sure you know what kind of crooked ass baloneyfuck powers she got DAVE: cant let her turn those against us (p.7485)

so back to grimbark jade and the switching of these roles, dave doesn’t entirely lose his pragmatic bent. that’s still the way he thinks about stuff through but his time on the meteor has softened him and allowed him to become more reflective on big-picture things such as his role in everything

ironically this is the exact reason for his clash with grimbark jade is because she’s trying really hard to make him do stuff and it’s stuff that he’s not going to budge on because he doesn’t think it’s practical

JADE: why not? JADE: our empress can hardly have a knight with such rusty combat skills in her service DAVE: will you cut it out with the evil jade baloney DAVE: im not going to fight you DAVE: my rooftop dueling days are OVER JADE: en garde! DAVE: ugh DAVE: even if we just went balls out jackass BANANAS with our swords here i mean realistically how much appreciable advancement in my battle skills would even result from that DAVE: are you actually thinking this through or just going through the vaguely nefarious motions that come with the territory of being evildog!jade JADE: im gonna go through the vaguely nefarious motions of kicking your ass in a minute if you dont put up your dukes!!! DAVE: yeah you probably will DAVE: youll probably annihilate me worse than my bro used to DAVE: dont you have all of your dogs insane powers and like DAVE: god tier space powers on top of all that DAVE: how exactly am i supposed to compete with that JADE: by using your time trickery! JADE: come on dave do your timey thing JADE: get creative, make lots of copies of yourself or something... outsmart me! DAVE: no! JADE: yes!!! DAVE: ok here i go JADE: !!!!! DAVE: wait DAVE: nah JADE: grrr JADE: dave, just try a little time travel to get this fight started JADE: see look, one of your time doubles is surely predestined to come from a few minutes in the future and appear behind me for a surprise attack, riiiight about... JADE: now! JADE: ... JADE: no wait JADE: riiiiiiiiiight... JADE: ... JADE: ... JADE: NOW! JADE: .... JADE: ..... JADE: dave why is your future self being such a wet blanket DAVE: i told you DAVE: im not time traveling DAVE: i think im giving it up for good actually (p.6384)

one thing floral mentions in her post is that dave is pushing jade for answers about her failed relationship with davesprite

DAVE: why are you dragging that guy into this DAVE: what happened with you and him anyway JADE: none of your business >:p DAVE: it kind of is DAVE: hes bird me DAVE: that clearly means i have a right to know JADE: that doesnt make any sense! DAVE: you said he had issues DAVE: what issues JADE: augh! JADE: forget i mentioned it DAVE: was he talking shit about me the whole time or something DAVE: i know he resents me for being the real dave JADE: dont say that, you arent the real dave! JADE: well you are, but phrasing it like that is so mean! JADE: hes just as real as you, and when you imply he isnt you sound like a jerk!!! DAVE: man i knew it DAVE: i knew he was poisoning your view of me all those years DAVE: and i wasnt there to say anything or defend against his slander so now of course you think im a neurotic douche (p.6386)

and while it is true nobody is obligated to share the details of their relationship, there is a LOT of evidence to believe dave was asking because he wants to be a good person and, to me his words here, and his past and future actions relative to this point, show that he’s not as messed up of a person as grimbark jade is making him out to be. let’s dive into it. think on this: why does dave care so much what jade thinks about him? he started getting “neurotic” halfway through the conversation once jade brought up her feelings about him

JADE: THE ONLY REASON I THINK YOURE A NEUROTIC DOUCHE IS BECAUSE YOURE ACTING LIKE ONE NOW!!! DAVE: yeah but i only started acting like a neurotic douche like half way through this conversation DAVE: you clearly had an axe to grind with me from the start and i want to know why DAVE: what did i ever do to deserve this shit from you JADE: YOU BROKE MY HEART!!!!!! DAVE: what DAVE: i did DAVE: when (p.6386)

he’s genuinely so lost because he hadn’t had contact with any extension of jade in 3 years. alpha timeline dave has been sensitive towards jade for basically forever and especially now that he’s had time to grow up. he is not going to allow any version of himself hurt jade, and thats why hes asking so many questions to her about the nature of the relationship and what happened

JADE: ok not you JADE: davesprite did JADE: BUT YOURE BASICALLY THE SAME GUY! DAVE: whoa no way DAVE: thats such an unfair characterization we are completely different dudes JADE: you just said you had a right to know what happened between us because, and i quote, "hes bird me" DAVE: no i know DAVE: i was playing the "hes bird me" card because it was convenient to whatever it was i was saying at the time DAVE: i forget what point i was making when i said that JADE: *growl* DAVE: but thats not the point im making now DAVE: he and me are just DAVE: crazy different yo DAVE: hes got fuckin wings!!! DAVE: he also presumably takes a dump and lays eggs out of the same ghostly hole DAVE: ... DAVE: ew man whyd i have to go there JADE: *SNARL* DAVE: ok if he broke up with you or whatever that was because of his dumb bird issues not my issues DAVE: theres no way i would have done that to you (p.6386)

what dave means to say by “hes bird me because it was convenient to say at the time but it doesnt apply to this circumstance” is exactly what i was getting at in part 1 of this series of posts. yes, they are the same people at their very foundation, different reflections of a single character, but up to a point. there’s a gray area of whether or not we can call dave and davesprite the same person. in terms of this conflict though, dave should be regarded as a separate individual because of their diverging history up to that point and adolescent-teenage growth in different environments and under different circumstances. even if dave doesn't know what hes trying to say

he wants to know what this alternate version of himself did to hurt jade so much. even if grimbark jade really is bringing dave into some shit he had nothing to do with.

see the thing is, to me dave could have easily handled being accused a lot worse and say something like “youre overreacting” or something. that wouldve been dickish. but he doesn’t, he never does. he really seems to be more motivated by like, “woah what?? whats his problem? are these about issues i still have and dont know they were hurting jade or are they uniquely davesprite’s?”

like, this isn’t a joke to him even if his main form of communication through humor to lighten the mood (jade loves dave’s silliness dont forget all the times she’s giggled because dave was “so silly” and “hes a funny guy”). immediately after rescuing the mayor from eviljade’s lava kick, he was going to give davesprite a piece of his mind and this shows he is sincerely concerned about what an alternate version of himself did to break jade’s heart. he REALLY fuckin wants closure on it because he cares about her feelings so much

i don’t see this other side covered in floral’s post, but evildog jade here is Also pushing dave to do something that he is uncomfortable with as well, which is to use time travel.

dave stopped time traveling so he wouldn’t “have to wonder all the time if i was taking a wrong turn and dooming everybody”, stating he was “never that cool with it” to rose back in act 5. around the same time when karkat talks to john, he says “TO MY KNOWLEDGE, HE DOESN'T TIME TRAVEL AFTER [FIGHTING JACK WITH JADE], AND HE AND ROSE STAY ON DERSE WAITING FOR THE BOMB UNTIL YOU START THE SCRATCH” which honestly makes me think that whole event was the nail in the coffin for dave on time traveling. seeing himself die fighting jack and knowing it was coming and he couldnt tell jade no matter how much he wanted to that her bullets were going to be the cause. this is the last straw for him regarding time traveling it affected him that much

remember the last lines of pesterlog jade had with dave before being separated? i mentioned it earlier--the one where jade decided jack needs to be stopped and they should “come up with a better plan than Rose’s suicide mission to stop him. Dave suggests the idea is futile, but lets her know she’d come to her own decision regardless, and he’d be available to talk later if needed” (from recap 3)

GG: well maybe im just being naive... GG: but a crazy suicide mission does not sound like the ideal solution to me! GG: are you suuuure we cant beat him? GG: i dont know if we should rule it out! TG: well TG: youre about to do what youre about to do TG: and im not going to tell you not to TG: i wont do the bullshit troll thing and tell you what youre going to do and then just dare you not to TG: while knowing damn well you will anyway TG: so ill just say TG: whats next is up to you TG: and if later you want to talk about it TG: im here GG: ok GG: thanks dave! (p.3204)

this was dave’s nice causality-free way of saying “youre going to end up killing me during the jack fight that winds up happening. i cant tell you that im going to die and that youre going to be the one to shoot me, because i know you wouldnt go through with it. that would drag us in a doomed timeline and we’d all die anyway, not just me. youre probably going to be freaked out when it happens since i can’t tell you this, so if you want to talk me about it later, ill be here for you”

which, first of all is, holy shit. he cares about her and her feelings so fucking much. and it’s nothing new

TT: What about why you went to fight Jack? TG: sure TG: i did that TG: because i wanted to TG: and because i was supposed to TT: Are you sure? TG: yeah i saw my future self fighting him so obviously that had to happen or else id be dead anyway TG: without even getting the satisfaction of standing up to him TT: So what about Jade? TG: what TT: You didn't tell her your expedition with her would result in your death, let alone one she'd inadvertently cause. TT: Or that she'd be stuck with the job of resuscitating you. Did you? TG: what am i really supposed to say TG: hey were gonna hunt frogs til you shoot me through the jack TG: then i die and youve got to make out with me TG: that kind of changes how the whole thing goes doesnt it TT: Not if you're "supposed to," right? TG: what does that even mean TT: I guess you're right. No reason to make an effort to empathize if doing so comes at the price of oblivion. TG: wtf TT: It must be comforting to have your ASPD tacitly supported by predestination. TG: aspd TT: Antisocial personality disorder. TG: oh no TG: this conversation just got bumrushed by a mudslide of fucking awful TT: It wasn't already awful, believing you might be dead? TG: you dont know anything TG: about what i was feeling or what happened on lofaf TG: you were all pavement faced and babbling your throefester speak and flipping off the shit with your own crazy deathwish thing why do you think you know what was going through my head TG: youre just assuming and throwing around psyche buzzwords like aspd complex disorder TG: im telling you if i said anything at all about it she probably doesnt even fire her gun once and all im doing is dragging her into a doomed timeline with me TT: I guess I'm learning to be impressed by your sense of obligation to inevitable misfortune. It's a strange case of inspiration through futility. TG: none of this is that big a deal TG: i just mentioned the basics to her TG: that id stop time traveling soon TG: break out of the loops TG: not have to wonder all the time if i was taking a wrong turn and dooming everybody TG: i was never that cool with this (p.3896)

dave got suddenly super fucking defensive about rose making assumptions about how he felt about fighting jack and knowing jade was going to inadvertently kill him, knowing damn well how jade reacts to seeing corpses (remember that time dave threw his slain body out the window so jade wouldnt see it because “it would probably freak her out”), and the fact that he couldn’t warn her to protect the alpha timeline and also protect both of them and everyone from falling into a doomed timeline. and he knew it was coming the whole time. he was right, rose didn’t know what was going through his head. but his defensiveness here means he had strong feelings about it. not only that but dave saying “whats next is up to you, and if later you want to talk about it, im here” shows the amount of trust he has towards her

we see him tell this to grimbark jade straight up his thought process for why he stopped time traveling. and it’s spot on with what i said. again, remember that this is the first conversation he has with jade after 3 years being separated

DAVE: but see with time travel DAVE: all the stuff about learning it so you dont have to use it is true DAVE: theres no good that can come of it DAVE: you can crunch the logic on the loops all you want DAVE: but all youre doing is painting yourself into a corner DAVE: creating inevitabilities you have to rehearse and enact or face death for yourself or everyone you know DAVE: and sometimes facing death is the very inevitability you have to rehearse DAVE: and then you wait and wait knowing its coming and knowing it has to happen DAVE: how do you think it made me feel when we were gathering up all those frogs DAVE: and i knew the whole time in a little while you would have to watch me get shot DAVE: but i couldnt say anything or it would mess it all up DAVE: all cause i thought it would be cool to be marty mcfuckin fly DAVE: but instead of shredding johnny b goode on guitar to get my parents to bang DAVE: my crowning performance was doing a funny dance while getting pumped full of lead JADE: ...... (p.6385)

and what fucking broke me yesterday was realizing after all this time, ironically it was DAVE who wound up being the one who had to talk to jade about it.

JADE: sorry dave, you lost me there after the part where i shot you DAVE: damn DAVE: ok lemme start over (p.6385)

“damn ok lemme start over” bro he really wants to open up to her about this thing he’s been stewing on for three years only for it to fall on deaf mind controlled ears. it’s so fucking sad

part 3 is cooking and it’s going to be about dave’s character growth post-meteor and what that means for dave and jade

[kxttsstuff]

Showing 💗Love💗 and that you ✨Care✨ in Borrower manners.

(These will be listed in very ambiguous contexts, platonic or romantic (unless stated otherwise) for my own convention)

🫀;; Borrowers tend to be a little clumsy when expressing affection, this is because they rarely would interact with strangers and even more so with humans. If a borrower didn't tell you verbally how much they enjoy your presence, it might not be because they like you less but rather because they aren't used to it, and resort to their cultural practices which send the message just as well if not better;

💌;; In a culture where taking things is not only good but encouraged, one could only imagine that sharing means caring. Sharing your resources which are so valued, is a form of saying “I understand what you're going through and I want to make your life easier” in a subtle way. In most human cultures, sharing things is more about common sense and courtesy taught since childhood, while borrowers consider it a display of empathetic affection since they don't feel socially pressured to share with someone nor expect people to share their things with them just because.

💌;; Talking about sharing, we must speak about gifting culture as a universal borrower “I love you”. Gifting is an act of love, and even though they appreciate all kinds of gifts, they seem to prefer gifting and receiving things that can give the other a practical advantage. We can sum the most common gifts in two categories; food or warmth. Some borrowers might also find joy in receiving things that they sometimes have to leave behind, like shiny objects.

💌;; Hand-crafted, practical gifts are extremely good for bonding since they hold a sentimental value as well as a survivalist one. For example, it is very common to give blankets, scarves or warm meals. Borrowers appreciate someone taking their valuable time to make something for someone else, so they could find little to no value in the expensive, superficial gifts humans give to each other.

💌;; Although this is highly personal, since borrowers seek warmth, a lot of them deeply enjoy hugs, as well as snuggling or sleeping in groups to share the warmth. Physical contact is a show of affection on its own, but there's also subtle ways to display it, like touching foreheads.

💌;; One thing humans might just not get at the first time, is how borrowers are incredibly mindful of space, their perceptive nature makes them able to sense when to get out of the place, and that includes sentimental situations. Although of course there are exceptions, a common answer to a human yelling at them is to simply walk away. This might look rude but it is actually a way for them to not overwhelm you. So of course when a human unconsciously mimics this behavior, it is often well received.

💌;; Validation. Borrowers long for people to understand them, and that not only includes when they're crying or having a bad day, but also when people cheer their passions and dreams outside of survivalism topics. For example, a borrower artificer that likes making cool things wants to hear people be delighted with their small tricks, rather than to be told they're a waste of time.

💌;; Knowledge! Of course, learning and teaching being a huge part of their culture, a lot of them might be delighted to hear their human friend ramble about how the unknown world works for them, and for them to teach about the borrower's ways in exchange. This could be a show of them genuinely caring, since a lot of the knowledge humans could give to borrowers wouldn't prove to be useful in their day-to-day context.

[aspoonofsugar]

Could you analyse ‘Insane’ (the Alastor song by his original voice actor) with the added context of the show itself?

Hello anon!

Thank you for recommending the song, I had yet to listen to it!

That said, I don't really know if there is much to analyze, as the song was written before the series. It seems mostly a fun way to characterize Alastor. It gives you some vibes about who he is, rather than exploring his arc or giving hints about the future. In the end, it is pretty coherent with Alastor's superficial demeanor, which is rooted in his enjoyment of violence and power.

In any case, I would say the most interesting part is this:

Wait a minute, do I know you? Weren't you an old pal of mine? Departed from us far too early But now we're meeting a second time We used to have such fun together And maybe you have what I need But first, I have one tiny question Tell me, do you demons bleed?

It might foreshadow some kind of future character since none of Alastor's current aquaintances fit. It is implied he meets Husk and Vox in Hell and the lines do not fit his dynamic with Mimzy. Of course, it might also be generic, but it is still interesting.

In general, I would say the main message of the song is that he likes Hell and refuses redemption, which is more or less what we learn about him from the pilot. It is also highlighted by Alastor's own reprise of Charlie's song:

Inside of every demon is a lost cause, ha But we’ll dress 'em up for now with just a smile (Wicked smile) And we’ll chlorinate this cesspool with some old redemption flair And show these simpletons some proper class and style (Class and style) Oh, here below the ground, I’m sure your plan is sound They’ll spend a little time down at this Hazbin Ho—

What's interesting about the Radio Demon so far is that he doesn't really have his own song. Rather, he likes to "steal" others':

Alastor: Can you butt out of my song? Lucifer: Your song? I started this!

As a matter of fact Alastor:

Takes Charlie's Inside of Every Demon is a Rainbow and twists it into Inside of Every Demon is a Lost Cause

Takes over Vox's Stayed Gone song and uses it against the TV Demon himself

Tries to make Lucifer's song his, but Mimzy comes and takes over herself

He also has small parts in other songs, where he sings unheard by the protagonist of the scene:

He sings with Rosie (and to himself) in Ready for This, while Charlie is distracted

He sings alone in the Finale, while the Hotel Crew is all together

Why is there such a stylistic choice when it comes to his character? The reason is quite simple. As I have discussed here, Alastor is everyone's Jungian Shadow. This means that he embodies what other characters repress. He is Charlie's fear to fail, Lucifer's sense of inadequacy as a father, Vox's unsolved feelings. So, he either takes over the characters' songs as they fail to face these hidden emotions or he sings unheard, because they are not even ready to aknowledge some parts of the self.

This also ties with Alastor's radio motif. After all, what is a radio if not a technology that "captures" people's voices and songs?

Mimzy: No one knew what happened to 'em, until these strange radio broadcasts started going out. All you could hear were screams. Every time an overlord went missing, there'd be a new voice screaming in the broadcast! That's when Alastor revealed himself as the radio demon, and anyone that would mess with him… chuckles well, let's just say, his broadcasts never lacked new voices.

Alastor grows in power by defeating Overlords and broadcasting their screams. So, he takes others' voices and makes them louder (in a bad way). In the series, he has a similar double role:

He takes over others' voices by hijacking their songs or twisting their messages

He makes and will make other people's voices stronger (in a good way). For example, he is gonna amplify Charlie's voice and message:

At the same time, Alastor himself uses the radio to hide his own voice, which is constantly filtered:

The moment his staff gets broken, Alastor shows his real voice, his real self for a short moment. His mask cracks.

So, Alastor not having his own song is actually much more meaningful for his character than having one. It shows how he likes manipulating others and their insecurities, so he doesn't have to truly show who he is:

Alastor: Just because you see a smile, don't think you know what is going on underneath. A smile is a valuable tool, my dear. It inspires your friends, keeps your enemies guessing and ensures tha no matter what comes your way, you're the one in control.

He is the radio demon, a jungian shadow who steals and twists others' music, so that he can hide his voice behind others' words.

In conclusion, I don't think the Insane song is very meaningful (I might be wrong or change my mind), but I think there is much to analyze in Alastor's lack of a song. Moreover, his parts in the song he invites himself are actually loaded with meaning. His foiling with Charlie, Lucifer and Vox tells a lot about Alastor, much more than any solo song :)

Thank you for the ask!

[the-final-sif]

I'm seeing people in the notes saying that Fit apologized, but I cant' find a source on that. Do you know if he did or not?

The clip that I have seen is not an apology. It's an attempt at an excuse, and one that doesn't even make sense. Here's the clip I've seen,

"So, um, apparently, on one of the previous streams, so, um remember the trib- uh, the mobs with the masks? I guess some people were upset by that. And I said something in like the previous stream that I remember from courage the cowardly dog when I was kid. So I just want you to know that it was a cartoon reference. I didn't mean any ill intent by it. You know what I'm saying. I'm not that kind of person. It was just a courage the cowardly dog reference. So I hope nobody felt uncomfortable from that."

I haven't seen if there's something specific that's he's claiming he was referencing, but the best guess I've seen is that from the intro there's a character that yells "ooga boga boga" while trying to scare courage.

Now, first and foremost, let's be clear, what FitMC said isn't an apology regardless of whether or not he was referencing courage the cowardly dog. He never said that he was sorry, or even that what he did was wrong and that he wouldn't do it again. He didn't acknowledge that it was racist at all. He made an excuse for himself. Regardless of what he was referencing, what he said was racist, gross, and he needs to apologize for it.

Now, that being said, his excuse doesn't even make sense. In the intro above, the character is yelling "ooga boga boga" to try to scare Courage. Much like how someone would yell "boo!". That's not what FitMC did at all. I'll add the original clip again for context.

(If the video isn't working, then to sum it up, the mob is making babble sounds, and Fit starts replying to it saying "ounga bunga, (see/si), yes, onga bunga" in a calm tone, pretending to talk to them, and then "see, I'm speaking their language, they've accepted me as part of the tribe." followed again by "onga bonga" while Bad doesn't acknowledge what he's saying. Bad then asks about the mobs spawn limits and walks past the mob, the clip ends.)

Fit isn't trying to scare someone. He's explicitly using "onga bunga" as a stand in for the mob's language. He literally fucking said that was what he was doing. His excuse also manages to completely ignore that he literally used the term "they've accepted me as part of the tribe". He knew what he was doing, and he's trying to pretend now that he didn't do it rather than take accountability for his actions like an adult.

So no, unless there's another clip out there, FitMC has not apologized for his actions. He hasn't even acknowledged that it was racist and that he shouldn't have said it. He made the claim that he was just referencing a cartoon, and that he hoped nobody was uncomfortable with him being incredibly racist towards native folks. Which isn't acceptable, it's not an apology, and native folk deserve so much fucking better than this bullshit.

At this point, given his failure to take responsibility for his actions, I would encourage people to start putting pressure on the QSMP to do something about this.

Possible options include:

Sending messages to Fit directly, pointing out that the did not actually apologize and that his actions were very racist towards native folk. Don't send threats or harassment, but be clear that his actions were unacceptable, that he needs to actually apologize for them. Not just make an excuse.

If Fit refuses to apologize or there's no acknowledgement, then the escalation would be putting public pressure on Quackity to remove him from the server based on his actions. Filling up FitMC/QSMP fanart tags on twitter with blacked out or patterned images, with descriptions demanding acknowledgement/change is going to probably be the strongest method for forcing content creators to pay attention.

Do NOT post gore/animal abuse/untagged mature images/etc, send harassment, send threats or anything of the sort. This is not an excuse to be cruel to other people. The goal here is for the racism at hand to be acknowledged, apologized for, and not repeated in the future. That is the goal.

I'll update this post if I can find any evidence of an actual apology or change.

[emelinstriker]

Anyone who calls this AU a 'slave' AU...

Then theres me who looks at this AU and just sees an excuse to hug and spoil favorite characters. (Not teying to start hate I just want to express to new viewers all I see are people taking this AU and creating fluff. The LMK already has angst filled (potential) characters and this AU, while also dark and angst filled, has characters that has the Reader who has potential to be comedy "what is going on!?!???" And "these are my pwecious babehs. Must hug and cherish" .... Brain is entering not making sense at near 11 pm....

EXACTLY-

The AU is supposed to have some dark content, I even mentioned that in my masterlist, but that's literally not even the point of the AU. It just adds more of a mystery to the environment for those enjoying the AU, who like to look for hidden lore crumbs, piece them together and figure out the story.

It's like a murder mystery. Just because people enjoy listening to/watching those does not mean they're into becoming killers. Especially if it's fictional, made up stories to let viewers engange with the situation themselves and solve it.

Meanwhile the way I've seen people interact with the champions in my inbox always ends up being more wholesome or funny. Because at its core, the AU is just there so people can have fun interacting with the characters.

And I'll keep saying it over and over if I have to.

Humans are different.

Opinions and preferences are different.

Literally no one is getting harmed in real life if I sprinkle in some hints to darker lore. Some people just like angst and dark things more than others, and that's fine. It's just generally more interesting for them.

But even then, those that prefer more of a fluffy, comedic, or even horny interaction with the cast have the option to do so. The AU is built like a one-shot. You can have one story or the other and don't need to look at the other parts. They can all be read on their own.

If someone doesn't like the AU or isn't interested, that's absolutely fine and I respect that.

However, what I can't respect is people talking shit behind my back like a group of children, publicly spreading hate and misinterpret messages. Again, I've already said my viewpoint on things. Whether people agree or disagree on my standpoint, I don't care anymore at this point.

Just as much as the brickwall I'm talking about isn't accepting the fact that not everyone shares the same opinion on how old a character is supposed to be. Especially in a fictional AU setting. When I say ESAU!Nezha is an adult, then in this very AU, as the creator of said AU, I can legally say he is an adult in this AU. End of story. If one says he's a kid in the source story, that's fine. If one says he's an adult in a made-up fictional Lego story, that's fine.

I'm literally just calmly explaining my own points and they start accusing me of more shit by taking my explanations and taking things out of context in a mob mentality, again. They even still for some reason believe Bean MK is canon and was "born and branded into slavery" when that was clearly just a wholesome way to do a crossover between me and @theweepingegg. Like, MK is an adult in this just like the others. I literally did an entire summary just some days ago, with art of him being normal-sized and not chibi-fied, about how MK joined the group. But of course they still say people are supposed to do their research, when they've clearly not done their own research on Bean MK if that's the only version to them that exists.

The fact that they already openly "exposed" my blog and all that to their followers too, without even trying to be vague at all anymore, is also starting to enter borderline harassment. Like that's literally just encouraging people to spread more unnecessary hate over literal opinions and assumptions.

Ironic, considering that blog's own controversial history.

From the unnecessary harassment of a Wattpad user over a few quotes/pick-up lines they allegedly "plagiarized" till their account deletion, to the unnecessary harassment of others for saying Nezha isn't a kid. There is literally a blog mentioning this allegation. Plus the Wattpad user could've been handled maturely like an actual adult, like y'know, talking to the author instead of being petty about it to your followers. Which is still very much something that apparently never changed about them. And after having witnessed them talk smack and lie openly about my own content on a blog of a game they're supposed to represent, I now fully believe all those harassment stories.

And despite all this, I'm still not even openly talking shit about them. Because I'm not a kid talking shit about another creator.

At this point I'm literally just about to ignore all that "drama" since I've already realized the topic hit a brickwall. Like, they're not gonna leave this very much unnecessary shit alone based on how they're still talking about it. But my care has already dwindled, knowing they're still acting like children trying to find something, literally anything, against me to rant about. I already stated my case multiple times and how the AU works. If one still takes the logical things I'm explaining out of context, then they can just keep that opinion to themselves. The "drama" literally hit the moment where all's just opinions and biases.

Now watch as either she or one of her followers will take screenshots of this post and take it all out of context as well. Because they will try to find any single piece of dirt on me to rant about.

And after some discussing about why the fuck this entire thing is even happening with some friends, and why the blog never actually notified me about shit personally, I will simply no longer respond to any allegations. I've already stated my side on the the mentioned allegations and no longer see the need in having to speak anymore. I'll just go back to doing my own thing, and you can go back to doing your own thing.

[mueritos]

Goddddd I'm transmasc, but I'm terrified of actually coming out because I actually like my "female figure", if that makes sense. It seems like I was fed so much transmed and terf-y ideals when I was younger that now I can't feel okay with identifying as trans without hating my body. I want to be perceived more masculine, but I also feel like what I'm comfortable with using (pronouns, even though I use mostly neutral ones, traditionally fem or masc clothes, etc) shifts overtime, and I don't want to be defending the labels that I use all the time, especially because I don't want to do top or bottom surgery, or start T (lots of people, mostly online, have told me to just call myself genderfluid, but I don't feel comfortable with that, and I'm scared of being called a trender or something)

I'm sorry for the ramble but I'm so sick of this, maybe this is silly or maybe I'm being completely unreasonable, I don't know anymore. Maybe I shouldn't be worried about how others perceive me like that, but idk. You can ignore this, but I'd also like to hear your two cents on this if you'd be comfortable with it

hey friend :) theres absolutely nothing wrong with how youre feeling or how you want to shape your body and identity. lots of trans people don't medically transition for all sorts of reasons, whether because of lack of access or because they dont want to. while I do think the community that is entrenched in colonialist ideas of transmedicalism are a minority (many are very baby trans people or have aged out of transmedicalist ideas), it is a very real threat in the sense that unfortunate movements have a way of ebbing and flowing into popularity.

that being said, there are SO many trans people open and willing and happy to accept you into the community. it is not your fault many people will incorrectly expect you to conform to certain expectations of gender. a large part of freeing yourself from these expectations is choosing a community that walks alongside you, not one that gawks at you. at the same time, we are forced to conform in certain contexts to maintain safety and access to resources. this forceful conformation is not your fault either. people will forever make assumptions about you, but it is your choice on whether or not you will continue choosing your freedom. this is not fucking easy of course when you exist under white supremacist systems.

youre also allowed to love parts of yourself others may not like about themselves. its not ur problem they feel those feelings. ive had strange comments thrown my way when I discuss how i experience connection and pleasure with my body, sometimes from other trans people. once you start realizing people are coming at you with their own baggage, it becomes a little easier to free yourself from their burdens. again, this isnt very easy when youre marginalized and expected a lot, some of those expectations being you people please.

only you have the clearest image of who you want to be. take baby steps, build your confidence, and find your people. you'd be surprised what a small yet understanding community can do for your confidence.

anyway, i wish u luck ^-^ feel free to message me again if you'd like more thoughts or want to vent. you're allowed to be sick of this, forever and always, but invest in yourself and your communities.

[venus-is-thinking]

A Narrative Defense of Eden Culprit Theory

Hello everyone! 

As I’m sure many of you know, I, among others (notably @accirax, @1moreff-creator and @thebadjoe) believe Eden to be the culprit of the Chapter 2 murder case. I’ve seen a fair number of people say they aren’t convinced for one reason or another. While I fully understand people who don’t buy all the evidence/the insane contraptions we’ve come up with or people who are in denial, I was a little surprised at how many people I saw say that it would be bad writing for Eden to be the killer here. 

While others are fully entitled to their opinions on who the killer is, I want to address this claim. Personally, whenever I’m reading a fangan, I always believe that I shouldn’t consider any killer to be “bad writing” until I see how it’s actually written. After all, there can always be a key twist you’re not expecting to make it actually make sense. Plus, in Eden’s case, I actually fully believe that all the building blocks of a narratively successful killer are already put into place. So, in this post, I’m going to attempt to back up my claim that Eden being the second killer actually makes narrative sense, and it isn’t bad writing either.

Because fangan writing is subjective and what any given author believes is the right move varies, I’ll be doing my best to support my claims with similar content from the canon game trilogy (given that that’s a pretty standard baseline) and from what we’ve already seen of DRDT thus far. That should (hopefully) give us some fair perspective into the sorts of narrative decisions the creator would want to make.

I’ll be going through various points at which I think something could or could not be bad writing, so hopefully that’ll provide some much needed structure to this theory.

Topic 1: Motive

I want to say this early: I do not think Eden is secretly evil. I think that in the context of killing games, “good” people can end up being killers, and I think that’s where Eden’s headed. I understand why, if some people have only seen Eden killer theories in the context of her being evil, they don’t like it. I don't like it either. I think it completely misinterprets her character.

For now, though, I want to talk about what motive she does have. There’s the fact that Arturo is threatening her, obviously. If she feels there’s a genuine threat to her safety, it would be decently reasonable to decide that, if her priority is her life, she’d rather try to get away with a murder than let herself be taken out by Arturo. 

There’s another potential motive out there for Eden that might be enough to push her over the edge. That being, we know she cares a lot about her friends and relationships outside of the killing game too. 

A lot of people, I think, have seen the theory floating around that goes “Eden is trying to leave to get back to the girl she kissed.” I’ve also seen it mentioned that this could be problematic, given that it could be saying “being gay = becoming a killer,” but I think there are several reasons why that doesn’t hold up.

First of all, we have a lot of canonically LGBT cast members. Nico is nonbinary, Whit is bisexual, and in the most recent Q&A, other characters such as Ace, Veronika and Eden herself were also all confirmed to be LGBT+. Given that Eden isn’t the “token gay character,” I think it’s a lot safer to make her a killer without sending the message “if you’re gay you’re a killer.” 

Secondly, I think that there’s more to Eden’s motive than just whoever that girl is. I think the girl will likely be part of it and be relevant, given that it’s Eden’s motive secret. Because it’s the Chapter 2 motive, the motive secrets should play into things in general. But, it’s not like that girl is the only one from Eden’s past that she cares about, right? 

Eden cares about her family, as we see in the scene where she talks to Levi. We know that Eden cares about her friends, as we clearly see within the killing game. We know that Eden cares about this girl. I think it’s safe to say that, for gay reasons or not, Eden has a lot of people she’d fight to get back to.

Rather than using her motive secret as the only way of justifying the “Eden wants to return to her previous life” motive, why don’t we look at other secret Eden content?

I’m talking about the secret quotes. I assume most people have heard about them by now, but basically, if you go to the characters’ profile pages on the main tumblr account and inspect elements, each character has a secret quote that you can find. Eden’s secret quote is “You can’t go back, no matter how hard you try.”

We haven’t really seen much of Eden trying to go back yet. I guess you could say that when she makes breakfast with Levi, she talks a lot about trying to get the group back together and back to normal, and that isn’t unrelated. Still, I think it makes a lot of sense if Eden is someone who’s focused on the past. After all, Eden’s talent is clockmaking. To the extent her talent influenced her personality/character themes, it seems like time is an important thing with her. Trying to turn back the clock and return to her life before the killing game would make a lot of sense thematically. 

I suspect that Eden’s secret quote relates to the fact that she tries to go back to her previous life by escaping the killing game. “No matter how hard you try” definitely sounds like she goes to pretty extreme lengths, but she still fails in the end. That would be when she’s caught as the blackened and executed; she never gets to go back. It’s precedented for secret quotes to directly relate to how characters died; both Min’s “I wanted to save you” and Arei’s “Because that’s what friends do” tie into the way in which they arrived at their death. I could definitely see it being the same for Eden.

Interestingly, there’s another reason to consider that Eden might be extra-motivated to leave the killing game. That point is that Eden has been shown to be the main person fighting against the killing game. For example, she and Hu brainstormed ways to deal with the Chapter 2 motive. 

That doesn’t really tell us anything though, right? It’s just trying to manage the killing game from within. That’s not it, though. It’s actually a repeated thing that Eden is constantly looking for ways to obstruct the killing game.

Even the plan to bore out the killing game, the one Veronika tells us couldn’t work because she’d get too horribly bored, originally came from Eden. I fully believe that there’s a reason we’re being told every other scene that Eden is working towards ending the killing game is that Eden has extra incentive to want the killing game to end, and that’s to try to return to the life and loved ones she left behind.

I also think it’s worth mentioning that, in the canon games, every single second killer commits their crime due to previous attachments that go beyond the killing game. Mondo kills because of the promise he made to his now-dead brother Daiya, Peko kills because of her allegiance to Fuyuhiko, who wants Mahiru dead due to the death of his sister Natsumi, and Kirumi kills because she’s actually the Prime Minister and needs to get back to her duties. Hell, Ryoma is even Kirumi’s victim because he doesn’t have previous outside attachments, which makes him feel like a more understandable victim for her crime. If you throw in “Eden has a lot of meaningful relationships back home and, here in the killing game, she misses them so badly that she’d kill to go back,” I don’t think it feels out of place. 

This is pretty niche, but there’s also something I want to look at in relation to Xander and Min. Notably, the pinned comments by the official account in their bonus episodes. 

Xander’s is “Someone who wants to hold onto the past.” Min’s is “Someone who wants to move on from the past.” While this trend doesn’t have to keep up, I think it would be interesting if every killer/victim pair had one of each. Arei pretty clearly wants to move on from the past where her sisters and classmates ruthlessly bullied her. Eden wants to hold onto it, hoping to return, but she can’t go back, no matter how hard she tries. Just an interesting thing to point out.

But Eden’s motive isn’t the only thing stopping people from believing she’d be a reasonable killer, right? There are other things to consider, too.

Topic 2: Story Arc

To be clear here, “Story Arc” refers to how Eden fits into the larger narrative and story of DRDT. I’ll be talking about her individual story and growth later on in the section labeled “Character Arc.” 

For the most part, the larger narrative, at present, seems to be relating to Teruko and how she navigates her trust and relationships with everyone else. Eden is certainly a key factor in that, given that Teruko has basically acknowledged that outright. 

Teruko actively tries to avoid being friends with Eden, given the fact that she’s very nice and it’d be easy for Teruko to be friends with her. To Teruko, that means she’d be opening up the door to get hurt to easily when Eden inevitably dies and/or betrays her. Wouldn’t it only be proving Teruko right if Eden were to become a killer?

Yeah. It would. And that’s the point at the story we’re at. 

I don’t think it would make any sense for Teruko’s beliefs to be strongly challenged in Chapter 2. Like, at some point, I’m sure Teruko will figure out why it’s a problem to not trust anyone. After all, her secret quote is “It is an equal failing to trust everybody, and to trust no one at all.” However, at this point in the story, things are going as she expects.

Think about it this way. Teruko believes that trusting people is opening yourself up for betrayal, and those who she gets close to will betray her and die. Let’s go through the people who have died so far, one by one, and see how they match up against that.

Xander: Was Teruko’s closest friend. Betrayed her by trying to kill her, then died. Check. Min: Was Teruko’s biggest supporter after she got stabbed. Betrayed her by actually being the killer, then died. Check. Arei: Previously shared Teruko’s worldview that being nice will just screw you over. Opened up and became friends. Had that friendship used against her to kill her. Check.

It definitely seems like, thus far, we’re validating Teruko’s worldview, basically as much as possible. No killer would validate her worldview more than Eden. That would make Arei an even closer parallel to Teruko (the person who she most tried to befriend was the one who tried to kill her in the end), and it would introduce another would-be friend as a killer.

Eden: Was Teruko’s biggest supporter after the first class trial. Betrayed her by being the second killer, then died. 

It looks an awful lot like Min’s, right?

In a more predictive sense, there’s also the popular theory that Charles will be one of the Chapter 3 victims. If that holds true, it’ll be another example in the same wavelength.

Charles: Was more like Teruko and didn’t trust people, avoiding them to stay safe. After rejoining the group and beginning to trust people, he died.

If that prediction is right, it’d mean that the trend continues past the point of the second victim to the point of a third victim, which would mean that the second killer would likely fit into the pattern.

But that’s a whole lot of my opinion, right? After all, maybe Levi or someone who isn’t particularly related to Teruko is the killer, so Teruko stays mostly the same, too. 

I do want to take a moment to acknowledge a bigger critique of this. It’s possible that some people might say that Eden killing here would be too repetitive in regards to Min and Xander. There are some key differences, though. 

Eden was Teruko’s friend after she started being mean and closed off to everyone. Min and Xander never really got the chance to react too much to Teruko’s antagonistic antics because they died before she was really pushing people away. That means it would carry more significance. Teruko has also spent more time with Eden, so their relationship is a little bit more developed. Eden is also someone that Teruko actively tried not to get close to before she killed, which wasn’t true of Xander or Min. 

Plus, I’d argue that it’s also supposed to feel a bit repetitive. This is what happens to Teruko, all the time. This is her life. It makes it feel more real and understandable how she reacts to Xander and Min if we as the audience begin to see and understand, oh, it really is like this every single time. 

Besides all of that, though, there are a few more thoughts that lead me to believe that someone closer to Teruko might be the killer this time around.

One of the biggest points in favor of this interpretation is the MonoCredits. 

MonoCredits are introduced in the scene where MonoTV asks Teruko to caulk the bathrooms. Then, she immediately uses one in the next scene where Charles is confronting her about her more antagonistic ways. At first glance, it seems like MonoCredits may have been introduced solely for that Charles interaction, and as a reason to plausibly get Teruko to help MonoTV out so that she could talk to it, too. However…

MonoTV gave Teruko two MonoCredits. That means she still has one. I wouldn’t blame you at all if you forgot this small detail– and that’s part of why I think the killer will be closer to Teruko. 

MonoCredits, and the fact that Teruko received two instead of one, are a pretty unimportant detail. I wouldn’t expect the creator to necessarily expect the audience to remember that Teruko still has one once we get to, like, the Chapter 4 daily life. I think that, because of that, Teruko will probably end up using this second one sometime soon, so that the audience will have that “oh yeah!” moment when it comes up, rather than an “oh… I kind of remember that…?” moment. 

There’s a very specific scenario in which I think Teruko might use it, too.

It’s pretty specific, but it’s already happened once, right? I think the most plausible situation for Teruko to use the second MonoCredit, if I’m right about it being this chapter, would be if she ends up in a similar situation before the execution again.

I can totally imagine Eden hugging Teruko and apologizing for betraying her trust, and Teruko, in the middle of freaking out, tells MonoTV she’s using a MonoCredit to get Eden away from her, which would then immediately launch into Eden being executed.

I think that could also be the right kind of push on Teruko’s character arc; her desire to get away from Eden led to Eden dying that much faster. It’d be something that could haunt Teruko a little bit and make her start thinking about how she pushes people away and what the potential failings of that are. 

The final reason I have is just, like… overall despair. Chapter 2 is usually a pretty emotionally devastating case for the cast. Taka loses Mondo and Chihiro meets a pretty tragic end; Peko dying launches Fuyuhiko into his grief → survivor arc while Hiyoko mourns Mahiru; Kirumi leaves the group feeling guilty about killing the Prime Minister, plus Ryoma’s death as a result of him loving no one and no one loving him is pretty sad. Chapter 2 is typically a chapter in the canon Danganronpa games where things get worse, not better. 

Then, Chapter 3 is used as a processing point where characters that aren’t in it for the long run are usually killed off, and Chapter 4 prompts the characters to start really moving towards the finale (Sakura’s death spurs people to want to fight and makes Byakuya realize why emotions are important, Gundham’s sacrifice sets the tone for Nagito’s insane Chapter 5 play and Gonta’s mercy kill in Chapter 4 directly leads into all the Kokichi “I’m the mastermind” stuff that happens in Chapter 5). 

I suspect DRDT will follow a roughly similar pattern. Because of that, it would make sense if the creator wants to pick a very emotionally devastating second killer, frequently due to the relationships that character has with the cast. Eden is the perfect pick for this position.

Eden has also gotten A LOT of focus this chapter. Getting focus doesn’t necessarily mean you’re going to die right then. After all, Charles, for instance, got a lot of focus in Chapter 1, but he’s still alive. It’s difficult to tell when a character is getting content that impacts their character moving forward and when a character is getting focus because their story is about to end. 

In DRDT’s case specifically, though, the creator seems to heavily emphasize a character shortly before they die. Excluding Teruko, Xander was the most visible character in the Chapter 1 daily life. They focused on Min heavily during the Chapter 1 investigation to make sure that she got enough content in before her death. Between her fight with MonoTV, her heartfelt conversation with David, and the conversations she had post-death confronting David about his secret and defending Eden from Arturo, Arei got a lot of focus just before dying, too. 

Eden is one of the most heavily featured characters, and to me, it feels more like one being set up for immediate payoff rather than long-term. 

For example, David’s personality has shifted in a way that’s very interesting. People will want to see how his relationships with other characters are impacted and get to know the “real him” more before any potential death. Because of that, it makes sense that David’s heel turn is being set up for later, rather than being focus on him before he dies in Chapter 2. 

Eden, on the other hand, has shown us pretty much everything she can with this perspective. If she’s already spent two chapters being nice, happy and supportive, where does she go from there that’s narratively interesting and different? The only answer I can really come up with is “becoming less nice, happy, and/or supportive.” If that’s where her character is heading anyways, then doesn’t it make sense that being a killer could be a succinct way to do it? We already have enough people running around who don’t trust people, and it would feel odd to add Eden to that contingent. 

There’s one more story reason that Eden being the killer would make sense here. Check out the Chapter 2 title screen.

It’s pretty faint, but if you look after the “Glitters,” you can see faint text. It’s easier to see if you crank up the exposure.

You can tell what it is if you squint hard enough. Here’s me tracing it: 

“A Good Person.” 

The original chapter title is “All That Glitters,” which is pretty clearly a play on the saying “All that glitters is not gold” (RIP to anyone who just heard “all that glitters is gold in All Star by Smashmouth and didn’t question it. I was with you there). That seemingly applies a lot to this chapter, with appearances of success not being what they seem. It relates to the fact that J’s celebrity wasn’t all it was cracked up to be, and David’s persona was too good to be true. 

The good person interpretation is interesting, too. If you input “A Good Person” into “All That Glitters,” you get “A good person is not gold.” Now, there’ve been a lot of characters who’ve claimed to be or mentioned wanting to be good people over the course of this chapter. However, I think the person most at the center of that is Eden, who’s been called a good or kind person by a lot of people– at the very least, I know Teruko, Arei and Levi do this.

Eden being the killer would be another way to show that people can’t be infallibly good. Again, I don’t think Eden’s gonna pull a 180 and suddenly become evil, I just think she’ll show a little more nuance. Her being suddenly evil does about the same thing for me as her being undeniably good; it reduces her character down to one trait rather than making her a full human. I don’t want her to be a pure cinnamon roll, I want her to be herself. 

Given this chapter title, I honestly think it’d be weirder if Eden didn’t do something notably Not Good this chapter. There could be other options, too, but Eden being the killer seems by far the most likely to me.

Topic 3: Relationships

I want to talk about Eden’s relationships to others in the cast. I’ve already mentioned Teruko a good bit, so I’m not really going to keep going over that. There are two others that I want to touch on.

One, Eden and Hu are known to be friends. They wash dishes together every night, and they generally seem to rely on each other for companionship and mutual help with steering the group in a more positive direction. Hu is someone who hasn’t gotten that much character arc focus, so I think she’ll probably be a bit more of a spotlighted character in the next daily life. Hu has already lost a friend and trusted co-leader in David, but I think it’d be even more interesting for her if she loses both of those people at once. With David in full-on evil theater kid mode and Eden dead as the killer, Hu will be forced to grapple with the fact that both of the people she trusted to help her guide the group not only aren’t helping her anymore, but did so in a way that betrayed her and her trust. 

That’s very speculative, though. The main relationship I’m here to analyze is with Arei, the victim of the case in question.

Arei and Eden have a very complicated relationship. At first, they were pretty neutral. Then, after the cake scene, Arei appeared to be jealous of Eden and her friends for, y’know, having friends. Later, when Eden tries to invite Arei, Arei goes off on Eden and Eden runs out of the room crying. Finally, when Arturo threatens Eden into silence over his secret, Arei shows up and promises to defend Eden and do whatever it takes to assure her that her friendship is real.

This is pretty much the entirety of Arei’s character arc. Because we know that Arei is the second victim, I want to examine that in the context of the canon games’ storylines in Chapter 2.

Chapter 2 frequently deals with the concept of bullying. Kirumi’s kinda doing her own thing here, but if you look at Mondo/Chihiro and especially Peko/Mahiru (and all the lore behind that one), it’s pretty standard. Chihiro is someone who I’m pretty sure has been bullied, and Mondo fits the bully role well enough. SDR2 is the big one, though, with Mahiru being bullied by Natsumi, Sato killing Natsumi because of that, then Peko killing Sato under Fuyuhiko’s command in revenge, and THEN Peko killing Mahiru in the killing game as even more revenge. So, let’s look at bullying in DRDT Chapter 2.

The big and obvious one is Ace and Nico. Ace bullied Nico, and eventually they snapped and tried to kill him in revenge. That means that the creator, at least in this case, opted for a situation where the bullied kills the bully, rather than the other way around.

Arei also bullies Eden notably in Chapter 2, and now she’s dead. I’m not saying that it has to be the same thing, but I think it would be interesting to parallel Ace and Arei and Nico and Eden. Ace, with his fear of death, would have to process just how close he came to being a victim, seeing the same thing play out with Arei, who actually did die. Nico, who’s trying to dodge any actual blame for their crime, would see Eden get executed for doing roughly the same thing. 

That’s something to address, though. What does this all mean for Eden? After all, Eden and Arei were friends now. It seems uncharacteristic of her to kill Arei for any reason. If I’m going to focus in on Eden’s character relationships, I really have to address that part.

Well, my answer is pretty simple. Eden simply didn’t believe her relationship with Arei actually changed. This might seem like an unfair claim at first, but if you look into it, it’s actually quite supported by the game.

Arei certainly thought Eden didn’t believe Arei’s sudden change of heart. She even goes as far as to call Eden out for it in the moment.

That’s not a very good argument though, is it? It disregards everything that happens afterwards, what with Arei explaining more and Eden hugging her and saying that her promise means “more than she knows.” It’s possible Arei convinced Eden during that second segment, so there’s not really any reason to believe that Eden didn’t believe her anymore.

Except…

Charles gets cut off by Whit here and immediately shuts up, which is played off as a joke. It is a joke, but I’ve noticed the DRDT creator is very good at putting in jokes that actually convey important information moving forwards. 

The fact that the creator put in not one, but two references to Eden possibly not believing Arei makes me think there’s more to it than making a joke or moving dialogue along. Whit even phrases it as “you wanna do that later?” which might be a hint that we actually are going to come back to that point of conversation later. 

For the record, I do think it’s also possible that Eden sort of half-believed Arei. She might’ve been committed to a murder plan by that point or something, so even if she thought Arei was being genuine, it’s possible she intentionally tried to convince herself Arei wasn’t genuine. That gets more into character interpretation, though.

Topic 4: Character Arc

This is the biggest one, in my opinion. If Eden is going to die here, what does her story say? Ignoring the big plot beats, Eden should get to have her own character arc, and if this is its conclusion, I want to look at where it went.

In the prologue, Eden is noted to stay positive, but she seems to be the most scared of the killing game itself. Here’s her slide from the official Prologue Recap video: 

In Chapter 1, we honestly didn’t see too much of Eden. What we did see was mostly her being nice and friendly. It was also established that Arei picked on her. Here’s her slide from the Chapter 1 Recap video:

Notably, the creator paired all the characters up for Chapter 1. We already know Arei is going to be important to Eden’s story, whether she’s the killer or not. They did pair up Xander and Min though, so it’s not like it’s impossible that they paired a victim with their killer.

Anyways, that means that, going into Chapter 2, the things the creator wanted us to remember about Eden are that she’s nice, cheerful, and one of the people who defended Teruko. Through Arei’s slide, we’re also encouraged to remember that Arei picked on Eden specifically for baking. (Arei also manipulated Levi in that scene pretty heavily, but Eden is the one they want us to remember.)

Where does Eden’s character arc go from there? Well, I’d say that she basically doubles down. 

Eden basically spends the chapter trying really hard to prevent conflict and stay friends/befriend everyone. She blackmails Teruko for the sole purpose of actually getting to hang out with her, she washes dishes with Hu, she makes breakfast with Levi, and she invites Arei to clockmaking to make sure she isn’t left out again. 

That means that Eden’s story in Chapter 2 is that she’s trying to be the one to get everyone through this hard time.

Because of that, killing seems rather counterproductive. After all, Eden’s been trying to end the killing game on her own terms, right? 

However, it’s possible that the message the creator wants to send us is that the cast isn’t currently capable of being entirely positive and friendly. While David pretended that the point of revealing all their secrets was so that they could get along, that was a lie. Eden being the killer would fit the messaging: with this cast, in this killing game, friendships aren’t a possibility right now. 

Would it be a change in Eden for her to kill now? Yes, of course. That’s how it goes with killers beyond Chapter 1; something changes that prompts them to kill. Like I examined earlier, I believe the motive of getting back to her previous life, in combination with the constant fighting, Arturo's threats against her and her apparent inability to actually make a meaningful change in those around her, would be enough to get her to break and kill in this Chapter 2 position.

I’ve talked about motive, overall narrative, Eden’s relationships and her character arc. That’s pretty much everything, but there’s one more big point I feel I need to touch on.

Topic 5: Eden’s Breakdown

This is what I assume makes people have the biggest problem with Eden culprit theory from a writing standpoint. After all, this is a very emotional moment and feels very important for Eden’s character arc. If she’s the killer, it would all be a lie, and it would invalidate everything we learned about Eden from this moment.

Except, I don’t think that’s fully true. It’s very possible to have a killer have an emotional breakdown moment mid-trial that makes them seem more innocent, but actually very much relates to the fact that they did kill. 

Even if she is a killer, I still believe Eden is a good person. Because of that, I think that she is genuinely haunted by Arei’s death, as well as Min’s. In fact, we know she’s haunted by Min’s death, before any of this Arei trial stuff happened. 

Given the fact that Eden runs out of the room crying after this, I think it’s fair to say that Arei’s words stuck with Eden. Because of that, pairing it with Eden’s breakdown in the trial, we can conclude that Eden feels guilty for both Min’s death and Arei’s death. Because Min’s death wasn’t Eden’s fault, it’s easy to disregard both as her blaming herself for things out of her control. 

It could be genuine this time, though. If Eden is the killer, at least some of that speech has to be fake (ex. When I saw that note, I knew someone must’ve overheard our conversation). However, what’s really interesting to me is what happens after the main part of Eden’s breakdown.

David goes on a little rant about how the victim would have to be incredibly stupid to actually fall for the note– or they’d have to be Arei, who wanted to be friends so desperately that she’d believe anything “Eden” told her. Afterwards, Eden says this: 

This is Eden agreeing with David’s rant. The non-killer interpretation of this is that Eden is just repeating the same thing, saying that Arei died because of her and her weakness. But, if you look at it from a different perspective, the phrasing is… a little odd?

In her speech earlier, what Eden said boiled down to “I couldn’t defend myself, and because Arei was nice to me and tried to defend me, she died.” Then, David says, “Because Arei wanted to be your friend, she died.” That’s basically the same information and logic, right? 

But Eden asks it as a question. Even though she said “it’s all my fault” earlier, this time she asks, “it really is my fault, isn’t it?” That means that there was something Eden didn’t know in David’s rant.

This could be several things, but I think the most likely thing is that, in my opinion, this is the point at which Eden realized that Arei was genuine about wanting to be her friend. Before this, she still wasn’t sure that Arei was being real, and that allowed her to proceed forward with her plan, keeping it together. However, once David, who got to see Arei in her breakdown, confirms that, yeah, Arei did that because she genuinely wanted to be Eden’s friend, Eden realizes that it was her fault. 

Arei wanted to be her friend, but now she’s dead, and it’s all Eden’s fault.

Interestingly, immediately after that last line, Teruko starts talking, bringing us back to mystery-solving mode. However, if you look at Eden while Teruko’s talking, she’s sobbing. 

Most of the time when a character is shown to the side, they’re left in whatever pose they were last in. For example, look at MonoTV making the :| face back there despite it having no relevance to the current point of the trial. In fact, MonoTV has that face for the entirety of Chapter 2, Episode 10. The last time MonoTV talked was in Episode 9, where…

Yeah, same face. It doesn’t change from there. My point is that, switching Eden’s sprite from the face-on, holding her wrist sprite to the sobbing and wiping her tears sprite is a conscious decision. They want to make sure we know that Eden is sobbing after that interaction with David. While that could be prolonged guilt from generally feeling at fault for Arei’s death, I think it makes more sense if it’s her coping with the fact that Arei did want to be her friend, and she killed her. 

Conclusion

Well, that’s my defense of Eden culprit theory from a writing perspective. Hopefully it was fun to read, whether you agree with it or not. Again, my point here isn’t to shame anyone who disagrees or anything, it’s to provide reasoning for why Eden could be the culprit and to defend the creator’s decision if that is the truth of this case. I’d love to hear about any and all other killer theories as well in order to have the greatest chance of catching the real criminal.