#all of this can and most likely will be contradicted by the game story of course but eh | Explore Tumblr Posts and Blogs

tobi-smp · 5 months

Text

you know, with hindsight now what it is I really do think a more literal reading of c!techno's chat would have helped his characterization a Lot

and mind you, this was originally intended to be the case, and very well may have been intended all along even if it wasn't usually emphasized within the lore

youtube

and don't get me wrong, I Get why it fell out of favor within the fandom. it coincides with a Very storied ableist trope that demonizes DID and disorders adjacent to it, and Can be spoken about in a way that is essentially indistinguishable from it depending on the word choice.

but the thing is ! not only does it not Have to be an allegory for DID, I straight up don't think it is At All.

because we Know what it's an allegory for. It's His Chat. there's technoblade playing the game, and there's the thousands of people watching with expectations and wants that he's compelled to meet (or, at the very least, pacify through Entertainment).

and this makes much Much more sense when conceived of as Supernatural. be that spirits, gods, demons, or anything that could fill that role. separate entities that, for whatever reason, only techno can sense the presence of and be affected by.

and of course, to an extent this is true for all creators. everyone had an audience that they were meant to entertain and the choices they made were influenced by that fact.

but technoblade came in with a Very distinct set of expectations that heavily impacted the choices he was Expected to make and the kinds of stories that he could tell. he was more or less a living legend in real life just as much as he was in roleplay, and these things were inherently connected.

and it's like !

when c!technoblade says he was peer pressured into killing tubbo at the red festival he Is technically talking about what happened within the roleplay. schlatt was demanding it from him, there's a sort of pressure there. but schlatt was also the dictator they were set to kill, and techno has never had any trouble fighting people he considered a dictator before, and certainly not Schlatt of all people.

but he WAS being peer pressured By His Audience. by thousands of people, most of which were demanding blood Because It Was The Expectation, because it'd be Fun.

out of universe technoblade made the decision he thought would be the most Entertaining, and he was right! consistently he made choices that would let him do the most bombastic Spectacles possible. And It's Great. he's Excellent at pulling dramatics and making a compelling scene that give other people room to work off of. in that sense I'd consider techno an Excellent actor, and I have to imagine that he was fun to work with.

the problem is when you then have to justify it from an in character perspective, grounded in those mushy things like Feelings with characters that can be traumatized and sustain lasting damage, Especially Without acknowledging the out of character incentive.

mind you, it's not Impossible to Create a backstory that could justify it. why a character as consistently powerful and feared as technoblade would feel pressured to kill an ally by someone he not only Can kill but Wanted To Kill. why a character as seemingly secure and in control as technoblade would lash out the way that he does to perceived betrayal, and yet consistently puts no weight onto having killed and permanently scarred an ally that trusted him.

what that'd need is tragedy. a storied history of being hurt and having to survive. building up To an untouchable god from a much much more vulnerable position. Long Lasting trauma that's lead to this deep insecurity and paranoia. and that's Possible and that's Compelling.

but it's just not in the text.

not only did we never learn basically Anything that c!technoblade was up to pre-series, we actually know Less by the end than when we started because of the sbi retconning.

it's a Theoretically Possible interpretation that's technically never Contradicted by canon, but would have to be created by scratch. it's a compelling idea for a fan fic (and one I'd like to read) and it's compelling for a theoretical recontextualization of the character, but it's just not In The Text.

meanwhile, we have the video above.

we have the Objective Fact that technoblade's decision making was often subject to the rule of cool (very Very effectively) to entertain his audience.

and most compellingly, these concepts Don't Need To Be Separate. in fact, in my opinion they're Stronger when you put them together.

because the thing is. it's Difficult to imagine techno as ever being in a vulnerable position. he is just Objectively more powerful than everyone else on the server, both in real life And within the lore. How could he have ever been afraid when he was stronger than anyone and everyone combined? when we saw with our own eyes that techno could face nearly the whole server at once and win.

but he Is a tragic character, at least he's meant to be. and that tragedy makes much Much more sense as something Inward.

technoblade as a character who Needs connection, who Needs stability, who Needs security, who Needs friendship and community and Love. but Lashes Out, Obliterates to the core of the earth, because of something that's not only out of his control but that other people Cannot Understand.

how do you explain to a child that you killed their best friend because a chorus of the undead called for his blood and you (in all the glory that he'd idolized) were unable to do anything but comply? how do you explain to that child that you beat him senseless in a pit as the restless dead jeered and laughed?

That's interesting. That's Compelling.

technoblade is idolized like a god, feared like a force of nature, and in an instant cut himself off from nearly everyone who'd considered him an ally. and that seems to be a pattern, over and over and over again. he's left isolated, and in return he faces retaliation, and in return he's always Waiting for retaliation.

and what do you say to someone who wants to kill you for being a monster? that it's Fine Actually because you only did what you did because you have a curse that compels you to? that the supernatural guided you to destroy their homes and kill their people? (rip jack manifold you will be missed)?

That Doesn't Quite Help Your Case.

technoblade as someone who is beholden to this literal cycle of violence and Loses those things that could ground him, community, stability, People, as a result. who Tries to overcome this very fact (to become a better person, in his own words as per the clip above), but is pulled back into it as a consequence of his own actions.

that's a tragedy !! that Makes Sense. that allows him to be Both this force of nature that other characters have to survive And A Person Who Is Hurt By The Same Conflict.

"I'm a person!" that fear of dehumanization makes So So Much More Sense when you see technoblade as someone who Already fears himself. who fears being a monster, who fears losing control, who has faced isolation again and again and again.

and, importantly, it doesn't have to be anyone else's Fault.

by making the source both Internal and Completely External (something that none of the other characters have any awareness or control over), you can Have techno as a tragic character without demonizing anyone else Or erasing the impact that c!techno had on them.

and in that sense, it Can be an allegory for mental illness, but not in that direct "oooooh how scary he hears voices" kind of way that people fear it looks. but in that sometimes people Will do things that can hurt others while not feeling in control. anger and mania and paranoia, things that you can't always Control and yet that impact that you have on other people still Matters.

and the answer to that is, often, vulnerability and accountability.

I think a lot about technoblade isolating himself so near entirely from the rest of the server, and slowly gathering a support system Back by the end. and I Really Do think that framing of it through this lens is a Very impactful way of breaking it down.

tubbo, tommy, wilbur, ranboo, niki, I think they'd All understand not feeling in control. lashing out, maybe even feeling justified in the moment, but hurting people they care about and furthering their own isolation.

There's Something There, and it's already In The Text. it just needs to be expanded on.

and why not do that ourselves now?

#dream smp #dsmp #technoblade #tommyinnit #tubbo #meta #long post #back on my bullshit #I really do think that his character is just outright Stronger under this framing #and I genuinely think everything post doomsday would've been stronger if he'd leaned into this #that said this is probably messier than some of my other techno analysis #because I've been chewing on it for a few days rather than my usual of rehashing the same idea for two years in a row #but I'm rusty so give me a break #also derivakat voices is a straight up banger and you can all pry it from my cold dead hands

422 notes · View notes

linkspooky · 26 days

Text

Megumi Will Start the Merger Theory

You heard me. I know this sounds wild and out of left field, but it's just a theory. A Jujutsu Kaisen theory. I fully acknowledge it might not happen, but please stick around long enough for me to argue why I think Megumi's character may go in this direction.

This one is for all the Megumi corruption arc truthers out there. I came up with this theory when it became clear that saving Megumi from Sukuna's grasp was going to be more difficult than just giving him a motivational speech, or punching Sukuna until their souls separated. Furthermore, I believe that Jujutsu Kaisen's manga won't end with the defeat of Sukuna. There will be one more curve ball thrown at us by Gege in the late game, and this is me trying to anticipate the pitch before the baseball hits me in the face. Underneath the cut I will speculate on the direction that Gege may take Megumi's arc, the relationship between Sukuna and Megumi, and Yuji's role in the finale.

What is a Corruption Arc?

Before digging in too deep I want to explain what I mean when I say I'm a Megumi corruption arc truther. A character arc is a story arc in regards to a character where a character changes from beginning to end. That's the most basic definition, arcs can be more complex, some arcs are actually inversions of the standard character arc where a character is defined by his lack of change.

However, those still need some element change, sometimes characters around them change to show contrast. For example, Eren is a stagnant character from beginning to end in Attack on Titan, but characters like Mikasa, Armin, Jean all grow up to show by comparison how little Eren has grown. Sometimes circumstances change around a character, and their lack of growth is a failure to adapt to those circumstances.

A character arc requires a change, but it's not necessarily a positive change. Often called negative character development, these characters regress instead of grow. This happens in many ways. One of the most basic examples of a character arc is a want / need arc. A want / need arc shows an emotional hole in the protagonist's life that needs repairing and how resolving the plot allows them to fill that hole. The protagonist usually knows what they need, but they know what they want, and often what they want won't actually fix them.

For example if I'm feeling sad I want to eat donuts to lift my mood, but what I need to do is learn healthier ways to work through my negative emotions. A character who keeps pursuing what they want, instead of realizing what they need won't grow, that's negative character development.

That's just one example though, Gege gave us a blueprint for a corruption arc in Hidden Inventory.

In Yu Yu Hakusho the character Sensui (directly cited by Gege as his inspiration for Geto in an interview) once was a spirit detective like the protagonist. No one describes him as corrupt from the beginning, in fact he's constantly described as more pure and upstanding than delinquent Yusuke Urameshi who likes getting into fights. He has a strong sense of justice, but rigid black and white views that come with it. Once he's confronted with evidence that directly contradicts his demons bad, humans good paradigm he cannot cope, and the narrative all but states Sensui's purity traditionally a good trait corrupted him because of his inability to adapt and his rigidity in in his beliefs.

Sensui goes through a corruption arc, albeit one offscreen and mainly referred to in backstory.

Geto's happens onscreen in its own story arc where he is one of two main characters. Much like Sensui he's presented to us as a sorcerer like Gojo, but unlike Gojo he believes sorcerers are obligated by duty to protect non-sorcerers who have no way of fighting against curses. You could argue that in some ways Geto and Gojo are the same type of jerk, but Geto's principles are clearly set up to contrast Gojo who at that age only was a sorcerer to flex his abilities. Geto's friendship often has him lecturing Gojo about respecting others, paying special attention to Gojo's feelings in ways that other characters don't, and also not being afraid to clash with Gojo over differences in morals.

If Geto is corrupt from the beginning there's no arc there, so he's clearly set up as being the moral fiber to contrast Gojo. We are literally presented with a scene where Gojo admits he could kill the non-sorcerers who hired a bounty hunter to assasinate Riko and feel nothing, and relies on Geto to make a moral judgement in his place, that society will already punish them and their slaughter is pointless.

The irony is that later, Geto will engage in pointless slaughter killing an entire town in retribution for their abuse of Nanako and Mimiko. When Gojo confronts him about his actions, Gojo cites the same reasoning that Geto provided him to stop him from killing the cult members.

That Geto's murder of innocent civilians is pointless, because it won't achieve anything - his world of sorcerers is out of reach. Geto's clearly positioned as Gojo's moral tether, because he cites Geto's statement of only killing when there's meaning to it right back at him.

This is also where the corruption part of his corruption arc comes in, a change has taken place here. Geto hypocritically contradicts his earlier words, not just engaging in meaningless slaughter but also punishing people with his own hands instead of letting the justice systems in place take care of the punishments. Two things he held Gojo back from doing, only to do himself post corruption arc.

You could cite many things as the reason for Geto's corruption arc, but the common theme shared with Sensui is resistance to change. Geto saw the world in two distinct categories strong / weak, the same way Sensui saw humans good / demons bad. When Geto is shown that weak people are capable of bonding together to oppress strong people (the cult) and that sorcerers despite having strength are on the losing end of their society (they are expected to risk their lives and toil endlessly for curses 99% of the population can't even see), he cannot cope.

He especially cannot cope with the reality that Rika's death showed him, that he is not strong as he once believed. All of this combined leads Geto to double down, still seeing strong and weak as separate categories but now blaming normal citizens for the inherent corruption inside the Jujutsu World. Notice how Gojo a character with positive development seeks to reform from inside the Jujutsu World instead.

Geto also still wants to think of himself in the strong category, rather than facing the feelings that Riko's death and his helplessness in that moment gave him, as well as Gojo pulling he instead decides to double down on the idea that he's in the strong category, that he's superior.

Geto even remarks jealousy at Gojo's godlike power for the first time, when before this he's always been the only person to treat Gojo as an equal - because Geto doubling down on his superiority complex begins imagining himself above others and therefore untouchable by trauma. It's also a grab for agency, because in this world sorcerers are rather agenciless, forced to be cogs in an unfair system. Geto incorrectly assumes agency = power. If he possessed Gojo's power he would be able to grab his agency back (which is simply incorrect because Gojo is one of the most agenciless characters in the manga, defined by his rigid role as the lynchpin of society).

Geto also doesn't mature. A mature adult lives in the world, and accepts that the world is imperfect. Geto is remarked as childish, first by Shoko when they are smoking together "sulking because no one understands you... sounds awfully childish if you ask me", and then by Yuta "You think you're a god? You sound like a kid!"

So we have, refusal to grow up, refusal to adapt to a complex world, resistance to grief, and grabbing for agency and power instead of fixing an issue inside himself - all of these combine to make the Jenga Tower that is Geto Suguru collapse.

The central question of Geto's arc, spoken by Gojo to Yaga is "Is it possible to save someone who doesn't want to be saved?"

If Geto refuses all help, refuses to admit that he's wrong, and does not want to change then what really can Gojo do in this situation? Was he right to give up? Did he give up too early, refusing to kill Geto but also spending ten years just ignoring the problem until Geto attacked in Jujutsu Kaisen Zero? Did it not matter what Gojo did because ultimately Geto's choices are his own?

There's no clear answer, because it's a question the author is asking the audience to ponder. It's also a question directly set up for Megumi to answer, because when Gojo is unable to do a thing for Geto we see his next action is to seek out Megumi. His words imply that he sees Megumi in Geto and advises him not to be left behind, he also clearly became a teacher in order to not let what happened between him and Geto repeat in the next generation.

In spit of Gojo's best intentions, he's not able to protect Megumi from any of Sukuna's designs toward him, or basically anything that happens in post Shibuya's. Simply raising Megumi to be strong, did not prevent him from suffering trauma in his youth on Geto's level.

There's even a deliberate parallel, they both witness the death of an innocent who they promised to protect (Tsumiki, Riko Amanai) and they both have had their body taken from them, Geto's corpse is turned into a literal puppet to help advance Kenjaku's plans, Sukuna steals Megumi's body in order to revive himself in the modern era. They're both even used as tools against Gojo, Kenjaku uses Geto's body to awaken memories in Gojo and complete the sealing. Sukuna uses Mahoraga to learn the world splitting slash that cuts through Gojo's defenses.

Megumi also has a set of values that society spits in the face of. Megumi wishes to selfishly protect his sister, and pick and choose who to save. Geto believes the strong are obligated to protect the weak. Geto sees weak people who are corrupt and not worthy of his protection and also the reality that sorcerers are the exploited class, Megumi is forced to kill Tsumiki with his own hands.

These are intentional narrative parallels to show the risk of Megumi may walk the same path as Geto, especially since Megumi is in many ways a pure child like Geto himself.

Dark Phoenix Arc

There's one more corruption arc I want to compare Megumi's too, to give some idea of where I expect Megumi's arc to lead.

The Dark Phoenix Saga commonly refers to the story in Uncanny X-Men #129 - 138 of Jean Grey’s corruption by the power of the Phoenix and the Hellfire Club. It was considered incredibly shocking for its time. One thing to note is while Jean Grey is famous nowadays, in early X-Men she was the weakest character and her role was basically limited to “The Woman” of the team.

Elevating the helpless damsel woman to the most powerful member of the team, if not the entire universe and then having her turn evil had never been done before. It was a jaw-dropping shock at the time.

The reason I am citing the Dark Phoenix arc as an example, is because both Jean Grey and Megumi's character arc revolves around themes of agency, how it's stolen from them and how they reclaim it.

The basic summary of the Phoenix arc is that Jean Grey is initially given a massive power boost when she's possessed by the Phoenix. She stays behind on a crashing ship only to be saved by the Phoenix, a guardian, alien entity of immense power that was locked away in a crystal. Jean Grey returns as Phoenix with a massive power boost, but there's several ambiguous elements that compromise her agency. It's implied that Jean Grey always had a tremendous power that was in part sealed away by Professor Xavier using his telepathy (infringing on her agency) and that while the Phoenix gifted Jean Grey power, it's also an alien entity effecting her mind and body.

On top of that when she acquires the power, outside forces begin wanting to manipulate Jean in order to gain her power for their own ends.

A group called the Hellfire club begin to psychically tamper with her mind. They trap her in hallucination world where she is a woman of the 1800s, (not famously known for their agency) and in love with the leader of the Hellfire Club, even going so far as to give her false memories in order to convince her that this is reality.

The concept of agency and how it's constantly infringed upon, even by someone who's supposed to be on her side (Xavier) is central to this arc. Jean evetually escapes from the Hellfire club's manipulation, and reclaims her bodily autonomy but the story does not end there.

The subtle changes in Jean's behavior still continue, even after Jean has freed herself from the mind control. Is this the result of being given too much power at once? Is Jean losing control because she was never taught to properly handle her powers?

Jean Grey is also the character with the strongest potential in the main cast (much like Megumi) and also a character who's been prevented from using her powers to their full potential and even had her powers stolen and used by others (Much like Megumi).

It's heavily important that Jean's corruption into dark phoenix happens after freeing herself, and in response to the Hellfire club's machination to take all agency away from her. Jean instead makes a grab for power and agency by abusing her power as Dark Phoenix.

Jean even mentions that turning against her friends and trying to kill them as Dark Phoenix, will sever the last tie holding her back, will get of Jean Grey for good and cause her to fully embrace being Phoenix.

Jean has flipped entirely, overembracing the power and agency that has been stolen from her again and again, but really how could someone not desperately try to take back control of their lives after being mind controlled or having their mind violated multiple times (the phoenix itself, the hellfire club, even by Xavier).

How can someone never allowed to use her power, or given choices on how to use her power, not be corrupted when after being stepped on all of their lives the power of a god is dropped into their lap?

This is why I believe Megumi will be the one to initiate the merger, because his entire arc has been about having his power stolen away from him and what would Megumi do when given total power over the merger by Kenjaku?

Megumi Corruption Theory

The biggest piece of evidence for this theory is right here, Kenjaku specifically says to give Megumi Fushiguro the authority to start the merger.

There's a technical reason for this, Sukuna is currently in Megumi's body, and Sukuna himself was actually registered in Yuji's place because Yuji was built by Kenjaku to be a cage for Sukuna.

However, it can also be read as foreshadowing. If you believe like I do that the merger has to happen, then Sukuna can't be the one to initiate it. The simple reason why is that the main characters will have to be alive to fight against a merger, and Sukuna has set the condition that he'll start the merger after killing the main cast in order to motivate them to fight him with everything they have.

If Sukuna is going to start the merger after killing all the main characters, then he can't be the one to start the merger because the main characters have to be alive to witness the merger take place and fight against it somehow.

Therefore, logically if the merger is going to occur the only person who could possibly activate it is Megumi Fushiguro after reclaiming his body.

There's more foreshadowing then this one instance however, and a lot of it revolves around Sukuna and Megumi's unique relationship and Sukuna's role as a character.

As for why Megumi would possibly start out the merger, it's the same as Jean Grey, a character denied of agency suddenly has all the power in his hands, who wouldn't be corrupted? Especially Megumi, a character who's just been robbed of his sister and his mentor, and his purpose in life besides that (protecting Tsumiki)? Why wouldn't he lash out if suddenly given the power to? His friends are trying to save him yes, but Megumi is begging those save friends not to save him to end it all.

How do you save someone who isn't prepared to be saved?

How is the story going to answer that question, if saving Megumi is a matter as simple as just beating up Sukuna and giving his body back to him?

Onto analyzing more foreshadowing, but first a brief tangent on the nature of foreshadowing in Jujutsu Kaisen. Every major twist in the manga is foreshadowed far in advance. Kenjaku beng the one to possess Geto's body - foreshadowed by Kenjaku killing Mechamaru when Geto was against killing young sorcerers, and the fact Geto was deliberately killed onscreen with no explanation provided to the audience on how he could possibly revive.

Sukuna calls the purpose of the bath to be near evil, to submerge Megumi's soul.

If saving Megumi is just a matter of ridding him of Sukuna's possession however, then how does that allow Megumi to reclaim his agency? What agency does a damsel in distress who just exists to be rescued have?

Megumi's entire arc has been defined by the potential power that everyone sees in him, and his inability to reach that power especailly since other characters (especially Sukuna) seek to steal that power for their own ends. In the culmination of this arc, Sukuna literally steals Megumi's body, and his bodily agency.

How does Megumi finally live up to that potential if Megumi's arc ends with him being saved by Yuji? How does this make Megumi grow or change in any way?

Sensui, who is once again Gege's model of a corruption arc is referred to as a pure angel that was inevitably grew scarred and defiled, by his close personal confidant Itsuki. Not only that, but sinking deep into despair made him grow stronger not weaker.

Itsuki is also, a demon who met and encountered Sensui and then took a deeply invested perosnal interest in watching Sensui be corrupted in real time.

Megumi also has a curse that took a sole interest in him because of his talent and potential, then had a hand in bringing him closer to evil in order to make him sink into despair. There's once again the symbolism of purity being corrupted.

This panel explicitly shows white lilies (symbols of purity) being torn apart and blackened to symbolize what Sukuna wishes to do to Megumi in order to further is own ends.

There's also the heavy budhist symbolism with Sukuna's role in the story, and the way he influences the rest of the cast, especially Gojo Satoru who is our stand-in for the Budha. If the goal of Jujutsu Society is to attain enlightenment (escape cursed energy probably the only thing that will end the miserable lives of sorcerers), then the merger represents the opposite, Kenjaku's goal of optimizing cursed energy by mixing humans, sorcerers and curses to give birth to a new being.

That's also a conflict that needs to be resolved, but Sukuna by pushing forward the optimizing of cursed energy and representing the peak of sorcery living only for sorcerery and his own strength represents a Mara.

Sukuna is comparable to the Celestial Demon Mara in budhist mythology, more on it in this thread. In budhist cosmology, Mara is the “personification of the forces antagonistic to enlightenment.”

If the ultimate goal of budhism is to escape the cycle entirely and stop being reborn in the sensuous realm, Maara instead tempts people to stay in this realm. it defines impernanence by suggesting we stay in this realm forever. It defies Dukha by saying we indulge in physical pleasures in this realm, that we should seek to satisfy ourselves even if budhism argues that life is primarily unsatisfactory.

We even see Sukuna literally tempt a budha-like figure into remaining in this earthly realm. After all aren’t we shown that Gojo achieved enlightenment at seventeen and let go of earthly emotions like the need to be angry and avenge Riko’s killer because the feeling of oneness with existence was too good in that moment.

A lot of people noticed what they thought was Gojo acting out of character in the fight with him and Sukuna, by enjoying the fight and choosing his selfish desire to love jujutsu and fight as a sorcerer over his responsibiltiy to protect children. Something which Nanami says in his dying hallucination that Gojo only ever lived for the pursuit of his selfish desire for Jujutsu in the first place.

Gojo in his last fight against Sukuna forgets about saving Megumi or at least makes it a lesser priority, because Sukuna tempts him to do what he's always wanted to go all out in a sorcery fight and have the freedom to use his powers to the best of his ability. Hoewever, even after using his full strength, Sukuna cuts down the notion that he is above humanity and drags him back to the earth - literally calling him unenlightened.

“This is goodbye. You were born in an era without me and hailed as the strongest yet you turned out to be painfully ordinary…”

Does Sukuna not represent this temptation for all characters? Sukuna represents the selfish ideal of sorcerers, using his powers for himself to satisfy his hedonistic desires and because of this he has the most agency in the story and the story at times even bends to his desires.

Characters even fight for Sukuna's recognition, Hajime, Jogo and Gojo are validated by that same recognition in theend.

Why wouldn't Gojo and more importantly Megumi who are characters with very little agency not jump at the chance to be more like Sukuna, especially if it brings Sukuna the freedom he possesses?

Itsuki refers to himself as Senseui's shadows, leading him to act on his darkest impulses and enjoying watching the corruption spread. Megumi is literally a character who's Jujutsu revolves around his shadow, and summoning powerful Shikigami from it in order to fight. A character with an incomplete domain expansion (another loose plot thread with Megumi that would be unresolved if Megumi were simply saved) which is his own creation, which might surpass Mahoraga the technique handed to him.

In addition to being a Mara, Sukuna is also literally called the "fallen / disgraced one". Itsuki calls Sensui a fallen agel, but in the context of Jujutsu Kaisen there's literally a character called Angel, who's only goal is to save Megumi's soul, and there is a satan figure in Sukuna who wants to corrupt him. Literally, there's an angel and devil on Megumi's shoulder.

How is stealing Megumi's body corruption though? Megumi's not being tempted into being selfish. He's not responsible for any of the sins that Sukuna commits in his body. There's no arc there, because Megumi doesn't reclaim his agency in response to having it stolen away, he doesn't decide to do the bad things himself - it's Sukuna who commits the wrongs.

Even More Setup for the End Game

Here's where I stop referencing Yu Yu Hakusho and only use foreshadowing in the comic itself. The first is the discussion of roles, and how Yuji needs to break away from them, as much as Megumi needs to fight for his agency back.

Part of the reason Sukuna jumped bodies is because Yuji wanted to be given an easy role like a character in a story - rather than thinking and deciding for himself. He thanks Megumi and Gojo for giving him a role seconds before the body swap happens. If Yuji is immediately punished for thinking that what he needs is to be a cog in the machine, to be given a role then methinks that's a bad thing.

However, Yuji has not broken away from that thinking in any significant way. Sukuna even mocks him for finally being given a role.

If Yuji's thinking hasn't changed then no story arc has taken place. If this conflict of Yuji wanting to conform to a cog or a role has persisted since Shibuya - then it's clearly important to his arc and is something that needs to be resolved. If Yuji just solves the problem by being stronger than Sukuna and beating him in a fight, how does that resolve Yuji's flaw of clinging to roles rather than thinking for himself? I ask once again, where's the change?

Saving Megumi like a damsel in distress is still a role someone else has assigned him.

How does the decision to save Megumi right now challenge Yuji's hero complex in any way, besides the fact that Megumi has sunk into despair and would rather just end it all. Is that much a conflict that really forces Yuji to think for himself - to go against the grain of society rather than blindly following others.

If Yuji gets to rescue Megumi like a damsel, that's giving him what he wants, without forcing him to realize what he needs. That's as much of an unfullfilling end to Yuji's arc as a ending where Megumi never reclaims his agency and stands on his own feet and just has to sit there and wait and be passively saved.

Most of all the question: "Is it possible to save someone who's not prepared to be saved?" goes unanswered.

Geto wasn't just depressed and suicidal, he was actively making harmful choices and represented a danger to others. He also had no intention of stopping the path that he was on.

There's a clear parallel between Megumi and Yuji's friendship, and Geto and Gojo's past fallout. However, if it's just a conflict of Yuji saving Megumi who's simply too suicidal and doesn't want to go on living, there's no conflict there. The audience will not see whether or not Gojo was still capable of saving Geto post his burning down the village, or if there was no walking back from that choice. The previous generation won't resolve or fix the mistakes of the past generation.

Yuji remains a hero, Megumi remains a victim, as I reiterate for the thousandth time there's no change.

Megumi starting the merger, or even defeating Sukuna himself (maybe with a completed domain expansion) and then starting the merger is a change. It's also foreshadowed, Mahoraga is the technique he inherited, the technique Sukuna stole (and Mahoraga won't work against him he's already defeated it), Megumi's domain expansion is his own creation, created in his deepest moment of personal growth.

The process of individuation also literally requires a character fully integrating their shadow. Sukuna possessing Megumi is not Megumi facing his shadow or his worst traits, because Sukuna is not Megumi's shadow, he doesn't reflect Megumi's flaws in anyway, he's literally just a parasite.

There's also the 1001 Toji parallels to Megumi that have gone unfulfilled. Toji specifically a character who was abused, then chose to continue the cycle of abuse, specifically because he wanted to prove himself stronger than the peak of sorcery. Especially after a lifetime of being belittled and abused by not having the potential of his Heavenly Restriction recognized.

And what do we have here, but a scene of Toji LITERALLY EMERGING FROM MEGUMI'S SHADOW, in order to enter Dagon's domain.

How is Toji referred to afterwards? As a puppet of carnage bearing his fangs at the strongest around.

An incredibly Sukuna like description, number one because Sukuna's entire existence is simply bearing his fangs at the strongest around, and number two Sukuna is referred to as pure destruction, like a calamity, something with overhwelming sense of self and no humanity.

Not only that, but when fighting Sukuna, Gojo makes an explicit reference to Toji comparing him to Sukuna as the last time he ever felt nervous or challenged by an enemy. Sukuna and Toji are being alligned as similiar characters, supremely selfish people who hoard their agency and strength. Toji also represents the worst of Megumi, a victim caught in a perpetual cycle of lashing out against the world, a bad future path he might take if he doesn't get over himself.

Sukuna is connected to Toji wo is connected to Gojo, and all three represent a path that Megumi has been nudged down his entire life, that he should just selfishly use his power with no regards to anyone else the same way they do.

As I said before in my comparison to Jean, why wouldn't someone who's been robbed of all agency for so long, not go too far in reclaiming it? What's stopping them now that the chains are finally off?

Megumi parallels Geto, who parallels Toji, who parallels Sukuna and why draw all these lines between these characters if it's not to represent a path that Megumi could take?

In other words...

#megumi fushiguro #jjk meta #jujutsu kaisen #ryomen sukuna #geto suguru #fushiguro megumi #gojo satoru #jujutsu kaisen meta #jujutsu kaisen theory #jujutsu kaisen spoilers

182 notes · View notes

itgomyway · 8 months

Text

understanding and “applying” non dualism 🪷

there is nothing to get with non dualism because YOU ARE EVERYTHING. i am being literal when i tell you that you dont gain or lose anything. you always are being. anything that can come and go with your awareness does. not. exist. YOU are the only real thing. just be.

“well how do i be?” this seems to be what people struggle with the most. theyre thinking of techniques that are usually associated with law of assumption and while not inherently wrong, its not non dualism. “doing” anything to “get” something contradicts what non dualism is about

you always are being. even “shifting your awareness” isnt a technique it is just what you do and is apart of who you are. what is the one thing your awareness stays on? YOU. no matter what you observe, u observe it through “your” pov. this is how you experience life. this is you

everything around you, whether physical or imaginary cannot exist unless YOU, the observer, is aware of it. i dare u to try to prove this wrong. believe me, as someone who loves learning i tried to think of a scenario where existence happens outside of my awareness and came up empty!

i cannot stress this point enough. no matter how many times or different ways you ask this question, the answer will always be the same. whether you believe in “non dualism” or not, things cannot exist unless youre aware of them. so what now? APPLY!

do you want a better job? okay then be aware that you always get the best job opportunities. how? you just did it. you just said you wanted a better job so now you have a better job. since everything is you and theres no separation, this happens INSTANTLY.

there is no difference between your imagination and your physical reality. none of what takes place in these perceived differently dimensions share a different level of awareness. it all comes from YOU and YOU are one. the only thing that validates smth as real is you.

awareness has no prejudice. it’s not the one that decides what is real and whats not, you as the observer do. you can really just breathe. whenever youre aware of something you dont like just observe the opposite. how? theres no “how” because theres no process it is instantaneous! life can be a game so HAVE FUN.

moral of the story? point of this post? NONE of this is real. its all temporary that comes and goes with your awareness. your creations are not your enemy, THEY ARE YOU! stop fighting with yourself and learn to work with yourself.

#consciousness #nondualism #nonduality #awareness

589 notes · View notes

hydropyro · 5 months

Text

Raphael Theory

Raphael is not a just cambion.

Evidence –

First evidence is his ability to create contracts. We can see from the in game cambion, Mizora, who works on behalf of Zariel, that she herself is not capable of granting power or creating contracts. In order to amend her contract with Wyll she requires witnesses.

With Raphael we see regular independent contract making. From his contract with the Infernal Mason: which causes Raphael to lead an army against the Goddess of Loss, to his contract to Yurgir, a powerful baatezu (Devils, natural inhabitants of Baator) in his own right, Raphael answers to, seemingly, no one, and exerts as much power as he likes, when he likes.

Continuing with his contract with the Infernal Mason, first we see a “cambion”, which tend to fall quite low on the hierarchy tree of baatezu, *having*, *controlling*, and *mobilising* an army of fiends onto the mortal plane to contradict a goddess’s will. He addresses Yurgir as ‘commander’ before the fight in the House of Hope, indicating that Yurgir has significant status among the Baatezu. Orthons are commonly used as personal guards, bounty-hunters, and generals for Pit Fiends, Infernal Dukes/Duchesses, and Arch Devils.

In the fight with Raphael in the House of Hope we also see Raphael command a personal army of fiends which he’s able to summon to himself from elsewhere in the Hells.

Final evidence, Raphael’s Ascended form. While it’s something we haven’t seen elsewhere in the game, his form does actually align with a Pit Fiend: and a powerful one. In baatezu hierarchy the devil’s *form* changes based on their rank. They are ‘purified’ in the fires and emerge a more powerful self, with an accompanying form.

Raphael’s Ascended form best matches a Pit Fiend, the second highest rank in the hierarchy.

I posit that Raphael is an Infernal Duke. Not only that, but he is powerful enough in himself not to need to serve a specific Arch Devil. (((When meeting Haarlep he says he sometimes takes the shape of Archduchess Raphael. This is not confirmation of my theory, rather it is a testament to his ego and ambitions, as he is in no way an ARCHduke — yet)))

If I’m correct, this *most likely* explains why Mephistopheles would send Haarlep to distract, and potentially spy on, Raphael. The only rank above Infernal Duke is Arch Devil. Raphael, then, is a genuine threat to the current ruling of the Hells: Mephistopheles included.

If Raphael was born a cambion eons past, which we have no reason to believe otherwise, he has torn upward through the infernal ranks. This is not only difficult, but would be incredibly painful for Raphael himself, as each evolution would require his previous form be burned away and purified by the fires.

Raphael revels in subverting expectations, and likely enjoys being underestimated. He masquerades as a cambion because they are nobodies on the infernal plane — but he is far from nobody.

I believe that Raphael chose Avernus for his House of Hope because Zariel isn’t able to kick him out, nor is she able to subjugate him. While in Avernus Raphael has the freedom and power to do what he wants, when he wants.

A cambion wanting the Crown of Karsus to achieve godhood is laughable. But an Infernal Duke, son of Mephistopheles, wanting the Crown to achieve godhood is *possible* and *terrifying* for all of the baatezu.

I haven’t found any answers regarding this final thought: but I don’t think we’ve seen the last of Raphael, whether we killed him or not. His story shows that he is crafty, has backup plans for his backup plans, and has ambitions that can feasibly topple the hells.

Raphael *was* a cambion. He is *now* an Infernal Duke, and the only ‘rank’ above him is Archduke (that — and God)

#baldur’s gate 3 #baldurs gate 3 #haarlep #raphael #theorycrafting #theory

393 notes · View notes

last-flight-of-fancy · 9 months

Text

hi hello i hope you don't mind but Special Interest Infodump Mode has been activated please keep hands and feet inside the vehicle at all times-

this explanation comes to us courtesy of Dark Road! You know, that cutesy little mobile game where literally the whole cast except the two protagonists dies. This is on brand bc the explanation has it's own fridge horror levels to it if i think too hard about it tbh.

So, worlds have hearts. We've known this since KH1, seen what happens to a world that loses its heart, and how they can be affected. It's rarely been expounded on beyond that however, aside vague allusions to the titular Kingdom Hearts being/harboring the Heart of All Worlds.

(which has. other implications now that i think about it but that's stepping into theorising territory. im sorry im trying really hard to stay on track honest)

fast forward to Dark Road, where we have a bunch of kids venturing out into the worlds for the first time, and as such have to have things explained to them (and thus the audience). NOW i will note here that KH looooooves unreliable narrators and characters imparting incorrect information without knowing it, so there is always the possibility that this could later turn out to be wrong, but currently I see no reason this would be the case and thus for now i feel safe in taking their words at face value unless otherwise contradicted.

Why are there no people? Because each world is alive, and after the Keyblade War sundering THE World into MANY Worlds, each needed to recover and restore what was lost; life, time, movement.

This bit here is important, bc as a result

All of this is the direct result of the Keyblade War of old. Even after so much time, the bits of worlds are *still* recovering, and I do think there's something to be said about how like... the repition between worlds and their apparent stagnation often *stops* after Sora visits them. I don't think it's because Sora's special(tm), but rather just because of who he is; the Dark Road kids are told never to interfere, and as a result the worlds they visit that Sora also visits later are exactly the same to Sora as they were 80+ years before.

But when Sora visits the same world only a short time after his first visit, things CHANGE. Hercules' story moves forward, Simba is having a crisis about being king, Jack Skellington has learned his lesson about Christmas and is on to new shenanigans. And that's only in kh2! in kh3 we see Twilight Town fill with people, barren Olympus expands into a full town (and there's more there too with BBS and how the Wayfinder Trio may have been Olympus' start towards restoring itself completely, and Sora's later arrival more speeding things along)

my point here is *connections*, which is a consistant and overarching theme of the series. Empty worlds are baby worlds, still healing and restoring from being broken away from the rest, and what helps along that healing? Being connected to others.

Which is to say that the keyblade weilder's doctrine of 'do not interfere' while most certainly well-intentioned (as Dark Road also points out, one persons darkness is anothers light, and morality is not a solid truth across worlds, so interfering is risky at best and dangerous at worst), the flip side to this is that without being connected, without that ''interferance'', the world's restoration stagnates and struggles. It will still get there eventually (the Tangled world seems to be doing alright for example), but chances are it might've been a little easier/faster if someone had done a little interfering.

tldr keyblade war broke the worlds and reset them all to zero. As the worlds heal time stops until it's People finally pop back into existance and their stories can resume. And that's how the invisible crowds in early kh games are canon.

#I HOPE THIS MAKES SENSE INFODUMP MODE IS NOT ALWAYS GOOD AT BEING CLEAR #and also i kept slipping into speculation mode #im sorry i cant help it kh does this to me #its just so juicy #stop talking to yourself flight #kingdom hearts #meta

659 notes · View notes

kirain · 3 months

Note

what do you think of this post about Gale? I saw it today and idk how to feel about it. h t t p s : // www. tumblr. com / galahadwilder / 741497332636467200

I couldn't disagree with it more, to be honest.

First of all, and I can't stress this enough, Mystra doesn't care about her followers. She cares about the state of the Weave and nothing more. If her followers don't worship her, if they're not useful to her, if they don't serve her purpose, they mean nothing to her. After she abandoned Gale, she had no interest in him until she realised she could use him to stop the Absolute—and she only wanted to stop the Absolute because it threatened the Weave. In general, Mystra doesn't care what people use magic for either, be it the most admirable heroics or the most depraved insanity you can imagine.

Case and point: Lorroakan. He is an arrogant wizard, far worse than Gale could ever hope to be, who uses magic for pure evil. When he beat Rolan, he undoubtedly used magic to do it. Do you think Mystra cared? Nope. You can help that nutjob achieve his goals, kill a demigod, turn him immortal, and give him free reign to abuse magic any way he wishes, but do you think Mystra cares? Nope. She doesn't. She doesn't care about people unless they benefit her. In fact, all three iterations of Mystra have a vast history of grooming, flat out 🍇, and the forced impregnation of unsuspecting mortal women. Despite being neutral good, Mystra is and has always been extremely vain, selfish, jealous, and problematic.

With that in mind, I'd like to break this post down piece by piece. Also, please be aware that when I use the word "you", I don't mean you specifically, anon. I'm more so addressing anyone who might be reading.

PS: Please no one harass this person's post. Their opinion is their own, and it's very respectful. At the end of the day, we're just talking about a video game.

Mystra didn't tell Gale not to juggle the torches. She didn't even tell him it was a torch. She let him go on believing it was a part of her missing Weave. Had she told him the truth, he would've stayed away. That's why he's so shocked in Act 3, when she finally reveals it's the Karsite Weave. He had no idea, and she likely never intended to tell him. She didn't before he went off in search of it, and she didn't the entire time he was locked away in his tower, scared and suffering. I can't for the life of me figure out why she wouldn't warn him, but I can only assume it's because she expected absolute obedience, or because she was getting bored of him and wanted him to mess up.

Whatever her reasons, she didn't tell Gale to leave the orb alone because he was "worthy" already. He clearly wasn't in her eyes, because he wanted her to see him as an equal. He wanted her to share her knowledge with him, which is perfectly fair in a healthy relationship. If you're dating a god and they treat you like a worshipper—that's all you are to them. A worshipper. A plaything. You're beneath them. You're unworthy. She told Gale to leave the orb alone because she wanted him to be complacent. She wanted to keep him in servitude. That's what she wants from all of her followers, though it's even worse when it's her lover.

In almost every story where a mortal loves a god, the mortal is either ascended into the heavens or the god gives up their divinity. And this isn't even specific to gods, but also vampires, werewolves, elves, and so on. Arwen, for example, gives up her immortality to be with Aragorn. Bella becomes a vampire to be with Edward. Hercules gives up his divinity to be with Meg. Elisa Esposito becomes aquatic to be with the creature. These are common tropes because it makes the couples equal.

Mystra contradicts herself by saying Gale was "always worthy", because her actions don't reflect it. He was a worthy distraction from her job, sure, but not worthy enough for her to treat him like an equal. So in order to prove it to her, to prove his love and devotion, he went after the one thing he knew she wanted—her missing Weave. Yes, she told him not to, and I agree he should've respected that, but this is on par with a woman telling her husband not to buy a bracelet she really, really wants because it's too expensive. If your husband worked extra hours and saved up enough to buy you that bracelet, would you divorce him?

Gale was completely unaware of the danger. He basically thought he was getting Mystra a bracelet. Had she taken the time to explain it to him, the whole catastrophe could have been avoided. He was just a hopeless romantic who wanted to surprise his girlfriend and prove he belonged at her side. The same girlfriend who very well could have made him her equal and shared her knowledge, but chose not to. Why? Because she's selfish. She didn't want an equal, she wanted a servant. We know this because, if you romance and ascend Gale, he will ascend you alongside him and give you your own domain! Mystra had the power to do this, or at least the ability to slowly ease him into it, but she refused. No matter how much he pleaded and proved his devotion to her, she refused.

Mystra did not save Gale when the orb embedded itself in his chest. He survived only because it fed on his gifts. He says as much, and so does she when you go to see her at the Temple. That's why, when we first meet him, he admits he used to be better at magic. He was once exceedingly powerful, but the orb basically knocked him down to level one. Mystra was perfectly happy to let him scramble to find items to absorb, knowing that he would inevitably run out and erupt. When we give him his third item in Act 1, the orb is becoming quenchless, and he knows his time is nigh. Mystra has nothing to do with satiating the orb until Act 2 and 3, and only because he becomes her wild card.

Gale: Mystra will consider forgiveness?

Elminster: She will consider ... what she considers to be forgiveness.

Even Elminster, her most faithful Chosen, knows her "forgiveness" isn't really forgiveness. It's an ultimatum. Do this for me and be welcomed into my hall, or die and literally go to hell. Why would Mystra make this offer? Well, because why else would Gale agree to kill himself only to end up in the Wall of the Faithless? How would that motivate him? Mystra didn't make this offer out of the kindness of her heart, she made it because she was desperate. Had the opportunity never presented itself, she would've let him die and suffer for all eternity, and possibly take hundreds of innocent people with him in the blast. She. Doesn't. Care. 🤷‍♀️

Now, one could argue Gale was asking for too much, but I'm going to have to call bullshit on that. First of all, Mystra showed him things no mortal has ever seen. It's only fair he'd want to share her world and learn as much as possible. Imagine if the Doctor from Doctor Who picked up some random people and took them on breathtaking adventures, but the audience got mad at them for wanting to see as much as they could. Amy, Clara, Rose, etc.—none of them could live a normal life after meeting him, and they wanted to learn as much about the universe as possible. But everyone loves those characters. They don't get mad. There's even several episodes where the companions call the Doctor out for not treating them as equals, and he admits he's wrong for doing that and adjusts his way of thinking.

I would argue that the only real divide between Mystra and Shar/Vlaakith is that Mystra doesn't inflict physical pain ... most of the time. That's it. Vlaakith and Shar only care about themselves and the effectiveness of their followers, but the exact same applies to Mystra. She is the Weave, and she only cares about the Weave; therefore, she only cares about herself. She had ample opportunity to help Gale or tell him the truth, but she didn't until it was convenient for her. The gods of D&D are basically the Greek Pantheon gods—a bunch of assholes toying with mortals, regardless of their alignment. The odd one is decent, but most are only out for themselves and their rule. Now, I will concur that Mystra is hardly the worst deity (in fact, she's unfortunately one of the better ones), but she's still not great and Gale is her victim.

To get a little controversial, I think the writers made a mistake. I know what they were going for, but I think they lost it along the way. At first, I was ready to stand with everyone and admit he belonged in the quintessential "overreaching wizard full of hubris" category, but upon researching the lore, getting to know Gale better, and doing several different playthroughs, I've come to vehemently disagree. First of all, before 5E (the current D&D edition), becoming a god was the ultimate goal for a lot of players, and that was perfectly acceptable, with many DMs providing celestial paths to make it possible. Moreover, many of the current gods were once human themselves, including Mystra!

Second, it's only hubris if you fail. Gale can ascend. He can succeed. Although it's not the canon outcome I would choose for him, he is right about the crown. He does his research and figures out how to reforge it. And he doesn't seek godhood to be worshipped, he seeks it to either free himself (and all mortals) from Mystra's chains, or for her to acknowledge and love him as an equal. His arrogance stems from insecurity; an insecurity Mystra herself planted and cultivated, and in the end he's not really arrogant atfter all. Does him wanting to be Mystra's equal make him selfish? Well, I suppose that depends on how you answer these questions:

Is your partner equal to you? If you don't think so, why are you leading them on? Why wouldn't you take steps to help them become your equal? Why are you holding them back instead of propping them up? If they show interest in your life, in your world, in the things you can do, why would you keep it to yourself, especially when you have the time and resources to share it?

Just some ambrosia for thought. 😉

#bg3 #baldur's gate 3 #gale of waterdeep #gale dekarios #bg3 tav #mystra #all my homies hate mystra

155 notes · View notes

y-rhywbeth2 · 5 months

Text

D&D Vampire Lore Dump #4

Weaknesses and Cures Featuring that pesky sunlight problem, and how to get around it. Overview of other limitations and weaknesses of their condition (running water, invitations, etc) and how to get around those, vampires being extremely annoying to kill and how to make them stay dead, and the four ways I know of that can cure vampirism.

OBLIGATORY DISCLAIMER FOR FIRST TIME READERS: D&D is decades old, spans five editions, several settings and hundreds of writers. One guy establishes a piece of lore, and then the next picks it up goes "nah" and writes something else. I collected info from four different source books, all from different editions, which naturally don't entirely agree on how vampires work. Lore never stays consistent and may contradict itself. You may see information somewhere else from a source I don't have that contradicts what I wrote here. If you read this and like some of this stuff but not other bits, take the good and ditch the rest. Larian themselves have not written BG3 totally compliant with some established D&D lore or the original games. If you want canon to work a certain way in your headcanons/fanfic, go ahead.

Feeding | "Biology" | Hierarchy | Weaknesses and Cures | Psychology

Sunlight is basically instant death and will kill vampires within moments of touching their bare skin. Even if vampires can walk in sunlight, vampires can't access their abilities while the sun is still in the sky. A sunstone, if left in the sunlight to "charge" take on an energy that will rebuff vampires with an effect much like sunlight exposure (but weaker) if they attack an individual wearing/holding the gemstone. This disorients them, cuts them off from many of their powers and inflicts a small amount of damage.

There are ways that allow vampires to walk in sunlight, although their powers will be disabled during daylight hours.

Liquid Night is a vampire sunscreen that will protect the wearer from sunlight.

Clearly, going off of BG3, the Netherese had magic that could do it. (Netheril, according to one story, was an empire whose initial magical foundation was specifically the school of necromancy, under the guidance of the priests of Jergal/Withers)

Fiends are happy to take/destroy your soul in exchange for the ability to walk in the day, as the Greater Vampire creating succubi can attest.

Vampires grow more powerful with age. One of those ways used to include that they became increasingly resistant to sunlight with age, and by the time they were 1000 years old they were fully immune to it. After almost two centuries of undeath, Astarion may be strong enough to avoid immediate death and this may be why he doesn't burn to a crisp immediately when the netherbrain dies.

Necromancers can create enchanted objects that protect vampires from the sun. One example being the Cloak of Dragomir in BG2.

They can also just keep to the shade or wear clothes that provide enough shelter to keep the sunlight from touching them. A deep hood or a parasol can help.

Vampires don't usually consider such things worthwhile, as they don't see much point if they lose their powers. They generallyhave no desire to be in the sunlight for its own sake as most vampires instinctually hate sunlight.

Vampires instinctually recoil from mirrors and hesitate to step in front of them. This hesitation will typically pass in seconds or moments. In 1e they had reflections, but their reflection turned the hypnotic properties of their gaze back at them or at least, they thought it could. After that they lost the reflections, and it's thought that the absence causes an instinctual distress for the remnants of the vampire's human psyche (reminding them that they're an accursed dead thing who's lost everything).

In a similar manner to their lack of reflection, vampires also do not cast shadows upon their surroundings.

Vampires who don't rest in/on their dirt-bed (usually a grave or coffin, sometimes a bed with a mattress stuffed with the appropriate type of soil) are destroyed. A vampire that can't get to its sanctuary before sunrise is utterly screwed. They tend to have multiple safe havens with prepared resting places, just in case. Vampires who will be traveling sometimes use a bag of holding, essentially taking their grave with them.

Some have suggested that the dirt dependency is actually just superstition and a vampire can sleep wherever it wants, but nobody's successfully convinced a vampire to take the risk of testing that.

As said previously, vampires are healed by negative/necrotic energy and harmed by positive/radiant energy (including heal spells)

Holy symbols can repel them, but the specifics can vary based on source. On the one hand there's one that says that the faith and belief in the holy symbol is what gives it power, and on the other there's one that says that the symbol is only useful in the hands of a priest. Only the symbols of Good and Neutral aligned deities have repelling properties. Evil clerics can still try to Command Undead however (the evil variant of Turn Undead - instead of repelling/destroying the undead you seize control of them.)

In terms of clerics and paladins attempting to Command/Turn Undead, vampires are susceptible to it, but are also the most resistant of undead, so it's difficult and risky.

Vampires are repulsed by garlic - it doesn't harm them and can't keep them at bay forever, but a vampire will hesitate before approaching. Some vampires also randomly develop other "allergies". Salt, rose petals, rice, mistletoe, lilies, small children singing, dove feathers… could be anything, really. It's generally linked to the individual vampire's own personality and beliefs. If they believe it should repel them then it may have warding powers against them.

Vampires will dissolve in bodies of running water like rivers or the ocean, because the running water forces them to turn into mist and washes them away. However, running water's only a problem if they're immersed in it. They can fly over it (be that with the fly spell or by shapeshifting into a bat), be carried over (bodily carried by a person, or in a boat, or by bridge, whatever) or use the water walk spell and just walk across like a basilisk lizard.

They are however, blocked from crossing a body of running water over three feet wide in mist form, for some reason. There's no answer for this, but I'd guess the vampire cloud picks up water particles and grows heavier, eventually sinking onto the water or something...?

At least 3/4 of the vampire's body must be submerged for it to count as immersion - and it must include the entire torso (the heart in particular must be below the water). The vampire must be held under for three minutes. It doesn't exactly kill them, but as their body is now thousands of particles distributed through the waterways, unable to reform, the vampire is effectively gone for good.

Vampires are also extremely annoying to kill. They can only be damaged with enchanted weapons or weapons plated with silver.

Upon death their body turns to mist and they return to their resting place, where they reform their physical body but are rendered vulnerable. A vampire can be paralysed by piercing their heart with a wooden stake... and then, sometimes, you get the unusual ones who need to be staked with a specific wood...! Once they've returned to their coffin the body must be damaged enough to be considered destroyed. Decapitation is a favourite method, but the main point is just to inflict as much damage on them as possible. Vampires begin to regenerate once they return to their coffin, and need to be dealt with quickly, hence the stake to pin them down while you start hacking them apart. Luckily for their would-be-killers they often wake up disoriented.

Vampires can't enter houses, or holy sites of residence like monasteries without permission, and can't enter sanctified graveyards of religious organisations. They can't enter temples, as these count as the residences of the deity worshipped there. A guest cannot invite somebody in, the invitation must come from a permanent resident.

Unless the owner of the house is the one who extends the invite, the invite only counts as a one time offer and the vampire needs to be invited again once it leaves the premise - so you can get invited in by a child, but for the ability to come and go as they please, a vampire needs permission from the parents/guardians in charge of the family and house. An invitation taken through use of enchantment magic or just plain coercion counts as a legitimate invitation.

They can also just take a third option and find a way to kill everyone inside from afar and then just walk through the door once there's nobody left alive to own the property. Also if the building no longer exists, for whatever reason (like if it mysteriously burns down), then they don't need an invite to get to whatever's inside. Or buy the building - if the vampire legally owns the house, and the residents are their tenants, then the vampire does not need an invite.

Public areas, inns, public graveyards and non-residential buildings do not count. Vampires can come and go as they please here.

Other people's graves can also count as privately owned residence upon which the vampire cannot intrude, hilariously. The final resting place of the deceased counts as belonging to them - providing they received burial rites. Vampires can however just animate the corpse and have it leave, at which point it ceases to be a resting place and they can do what they like. It's not stated whether they can also use speak with dead to ask permission.

---

There are four ways off the top of my head to cure vampirism. Most of them aren't cheap:

Firstly is the wish spell, which can be used to cure vampirism in one of two ways:

Using the spell to rewrite reality. You force reality to bend to your will and turn the vampire into a living being. Using wish this way is extremely taxing on the caster and may harm them permanently. They will basically be bedridden for a given amount of time and there's something around a one in three chance that you'll never be able to cast the spell again.

In its 5e variant, wish can replicate the effect of any spell below 8th level (including resurrection) while ignoring all the requirements of the spell itself.

Next up is divine intervention. Deities can remove vampirism, though the extent and conditions may be limited by their portfolio.

Amaunator (the ancient Netherese sun god, precursor to Lathander) had a temple over in Amn. You have to take the vampire and the heart of the vampire who turned them to the statue of the ancient sun god in an abandoned temple, place the vampire in the arms of the statue with the heart and it completes a ritual that restores them to life. This was part of a quest in Baldur's Gate 2 where your love interest (who may have been Jaheira) was turned into a vampire and needed curing.

Eldath, a minor goddess of peace, has also been known to restore some level of mortal life to unhappy vampires.

And then resurrection spells. The time limit on resurrection exists because when calling a soul back to its body there are numerous obstacles.

The body needs to be in a state fit to go on living. If it's too damaged or decayed putting the soul back is a waste of time.

The soul must be both willing and able to return. It has to still exist, to start with. If the soul has a new life it probably can't be recovered (be that by being sent back to the material plane for reincarnation in another life, or remade as a fiend or celestial). If the soul has been absorbed by their deity or into the fabric of the planes it can't be recovered. If the soul has been destroyed then you're shit out of luck.

The longer the target has been dead, the more likely the above scenarios are true and that the spell will fail. Also restoring a body and calling a soul from across the planes is extremely powerful, taxing magic that's hard to pull off, which makes it harder to succeed. Hence the time limit.

Vampires have the advantage that their body is perfectly preserved and intact and the soul is still on the material plane, and there's an argument to be made that this makes them resurrect-able.

Greater vampires are not resurrect-able as their soul is either annihilated or has been taken to the Lower Planes and tortured until the person has been turned into one of two varieties of barely sentient blobs of rancid flesh trapped in eternal agony. Wish may still work, but it may have a 50/50 chance of failure.

There's also the elven High Magic spell Gift of Life, which as it says on the tin, restores an undead being back to life. The catch with this one is that knowledge of high magic is dying out, so finding an elven archmage who can and will cast it on you is extremely difficult and probably involves a lot of favours and proving yourself.

#bg3 #baldurs gate 3 #astarion #astarion ancunin #excuse me while I have flashbacks to the vampire crypts in BG2 #Cazador you're such a fucking disappointment of a vampire villain #WotC DE-NERF THE VAMPIRES #Half of playing D&D is arguing about the Rules As Written VS The Spirit of The Rules

193 notes · View notes

project-sekai-facts · 7 months

Text

Hatsune Miku broke space-time and here's how

a somewhat off-the-wall theory by tumblr user project-sekai-facts

SEKAI are... mysterious, to say the least. They're worlds made out of the emotions of teenagers, only accessible through a song on a phone that cannot disappear, and most importantly, inhabited by the main 6 Crypton VOCALOID characters.

So, what exactly is a SEKAI? For one, they're not magical or supernatural, as confirmed in Len's Street SEKAI 2*. According to Len, SEKAI are just mysterious, as previously mentioned. He also mentions in that card story that the Virtual Singers that inhabit SEKAI are not that much unlike humans, although they have the innate ability to help people discover their true feelings, and nurturing those feelings is at their core.

That's the thing, how are they able to maintain a humanoid form if they're not magical or supernatural, and not holograms either? Well, with magical worlds and the concept of people teleporting inside of their phone ruled out due to the phones going with them, the only option I can think of would be an alternate dimension. A parallel universe, if you will.

An alternate, parallel universe actually makes a lot of sense. Because there's still the big question of how a selection of characters came to be physical, sentient beings. It's made perfectly clear that in the world the main human characters live in, the Virtual Singers are simply Virtual Singers. They're just characters designed for vocal synth software, exactly as they are in the real world. So to me, the most likely explanation is that the SEKAI exist in an alternate universe where the Crypton VOCALOID characters exist as real "people".

It's not a perfect explanation, and doesn't really account for the fact there are several SEKAI, and several incarnations of the VOCALOID characters across those. While the SEKAI are presented as planet-like objects in a void (the "Between SEKAI"), as the game calls it, there's also the fact that SEKAI continuously grow, in a similar style to a universe. To be honest, I don't think the writers care that much about the physics behind SEKAI and the contradictions present.

They actually play with a bit of a "god" dynamic with the Virtual Singers. They aren't tied to a specific SEKAI, instead residing in the void between SEKAI and watching over "themselves" and the humans who inhabit the SEKAI.

All of that aside, how did the SEKAI come to be, and what's so special about the Virtual Singers? Why are they playing god in this alternate dimension?

Well, it's well-established that SEKAI are created from feelings. Specifically strong and unwavering ones, that have to maintain their strength in order to become a full fledged SEKAI, and not just a small fragment of what could be. But, where do the Virtual Singers come into this?

Well, it's hard to say. Considering how closely tied the Virtual Singers are to the SEKAI, I'd say it's pretty safe to say that they have an impact in the creation of them. Which places 2006 as the earliest a SEKAI could form, the year MEIKO was released. Although, considering how Miku is put at the forefront of it all, 2007 might be more likely. Perhaps the SEKAI were created by staff at Crypton, who were happy with Miku's outcome, and that's why she's at the forefront? It's plausible, though I think there's a more likely theory.

The game places a heavy emphasis on what VOCALOID means to people, the way a community has formed around it, and creators will put their feelings into music that can then be enjoyed by people worldwide. From an out-of-universe perspective, I think this provided the inspiration for the idea of SEKAI, though I think it works from an in-universe perspective too. By some reality-shattering phenomenon, when VOCALOID (particularly Miku) started to really explode in the late 2000s, the feelings that people entrusted to these Virtual Singer characters managed to create entire worlds based on their feelings. Obviously Miku being the most popular and well-know VOCALOID character ended up being at the center of it. Thousands of people conveyed their true feelings through her, and probably hundreds of those people felt strongly enough for SEKAI to be born from their feelings.

And that's all it is really. SEKAI are just a metaphor for the worlds that Vocaloid producers create with their songs, and the feelings they put into those songs, the feelings they entrust to the VOCALOIDs. It's a very literal representation of it.

#i didn't know what to post for today and then i was just like. yeah that'll work. post the header.#project sekai #theory #i know kaito and meiko aren't part of the character vocal series but saying they're vocaloid characters would still be correct right?#happy 3rd anniversary ig

224 notes · View notes

janmisali · 2 months

Note

Serious question: should the "lore" of the Mario games affect if they count for the Super Mario series? For example, the only convincing argument I know for why Yoshi's Island counts is because it's the origin of Mario and his brother Luigi, his first contact with Yoshi, and his first confrontation with Bowser. And while characters in the Super Mario series have their debut in Mario games that are non-Super (Toadette appearing in Double Dash before her cameo Galaxy and playable in Deluxe/Wonder, etc), these are substantial elements to Mario's mythology. (I know this question might come off as a joke, but I am being sincere).

you're right this does sound like a joke

mario games have almost never cared about their lore. whenever a game establishes some fact that fans interpret as having lore implications, it's rare for it to ever have the opportunity to be contradicted in later games, so there's a lot of fanon built out of confirmation bias. yoshi's island certainly is an origin story for mario and luigi, but it's not necessarily the origin story.

but on the subject of characters! this is actually something I've put a lot of thought into and plan on discussing in how many Super Mario games are there part 2 (please get all your friends to take that survey if you want to see this project completed!), but let's briefly explore this line of reasoning.

let's take it as an axiom that SMBW is mainline. let's also declare that any game which introduced a named playable character in a mainline game is also mainline, for lore reasons. (specifying "named" here so we don't have to worry about the specific different color yoshis and toads. the implications of including them as part of this are left as an exercise for the reader.)

so then, we have:

Mario: Donkey Kong (arcade)

Luigi: Mario Bros. (Game & Watch)

Peach, Toads: Super Mario Bros. (NES)

Daisy: Super Madio Land (Game Boy)

Yoshis: Super Mario World (SNES)

Toadette: Mario Kart: Double Dash!! (GameCube)

Nabbit: New Super Mario Bros. U (Wii U)

now, most of these games don't have any playable characters that aren't themselves also playable in SMBW, but double dash has quite a few! ignoring all the ones that are from games we've already established as mainline, there's:

Catherine: Doki Doki Panic (NES)

Toad (arguably): Super Mario USA (NES)

Wario: Super Mario Land 2 (Game Boy)

Diddy Kong (arguably also Donkey Kong): Donkey Kong Country (SNES)

Baby Mario, Baby Luigi: Yoshi's Island (SNES)

Waluigi: Mario Tennis (Nintendo 64)

King Boo: Luigi's Mansion (GameCube)

Bowser Jr., Petey Piranha: Super Mario Sunshine (GameCube)

the lore implications of including doki doki panic as canon are pretty significant, but let's sidestep that by counting catherine as being from mario 2 usa instead. the big one here is mario tennis, which gets us:

Donkey Kong Jr.: Donkey Kong Jr. (arcade)

Shy Guy: Doki Doki Panic again

Boo: Super Mario Bros. 3 (NES)

Alex, Harry, Nina, and Kate: Mario Tennis (GBC)

and that's finally a dead end. all the playable characters in mario tennis (GBC) are either from games already covered or original to that game.

anyway look at all these Implications! so many games get grandfathered in Just from this idea that "a game that establishes a character who would later be playable in a mainline game counts as mainline". and like, you certainly could say that all of these games are important enough to the lore of mario to count as mainline. but from what I can tell this is categorically not how most people classify mario games

#jan misali #super mario

85 notes · View notes

jonathan-cranes-mistress-of-fear · 10 days

Text

Why do we gatekeep comics?

Seriously. I've been in this fandom (well, the batman rogues side of it) for years, since '15 actually. It's crazy how often I run across a post that basically says "fandom has bad reading comprehension and valid interpretations of these characters come from me"

Do ya'll realize how snobby that sounds?

Let me tell ya, comics are NOT an easy medium to get into. I'm going to be using Jonathan Crane as my example, because that's my blog's whole thing. Speaking him alone, there's at least eight origins, dozens of verses, multiple versions and stories -- and yes, some do contradict each other. And that's a medium popularity rogue, what if we're talking Jason Todd or Joker? Even Bruce Wayne's set in stone origin can vary from comic to comic.

While I understand comics need to be read to understand a character to it's fullest, and in no way am I arguing that you SHOULDN'T read comics. What I am saying is, there's more than just the fandom popular ones, and comics are not a cheap medium to get into. (and yes, you can 'yo ho ho' comics if you catch my drift, but finding the obscure issues can someone be impossible even taking that route) Comics costs add up quickly if you want to collect, ranging from two to six dollars an issue and god forbid you wanna collect something out of print that never had a big release to begin with. eBay prices can get crazy, and not everyone lives near a comic book store.

I get asks all the time asking me where to start with Jonathan Crane and reading, but really....does it matter? Pick an origin, pick a handful of stories that may interest you and with maaaybe six to ten comics you'll have a solid understanding of the character. This works for any character btw, you don't have nor should you have to read everything or whatever the fandom considers "the most correct"

ALSO! There's more than just comics, maybe you watched the animated series as a kid and that's all you know! That doesn't mean your thoughts are lesser than someone whose read hundreds of comics!! You're allowed to stick with the meidum you like best, like the Arkhamverse video games or Teen Titans cartoon.

Why do we even push the idea that you gotta research comics for years before you can have an "acceptable opinion" on these characters? Comics are a special medium, they can tell multiple stories from multiple artists and writers. No one comic is above the rest, no matter what the fandom tries to tell you

Just. Have fun with it. Make your headcanons. Read the story everyone hates. Take the horrible canon (Jervis Tetch being a predator, for example) and throw it out the window!!

Do what makes YOU happy. I promise, you're never going to be alone in a fandom like the comics fandom. You're allowed to do what you want, I mean--half the time the professionals wing it and bullshit it, so why can't you???

Anyway, I'm getting off my soapbox for today.

#Moffy Speaks #DC #DC Comics #batman

55 notes · View notes

a-small-batch-of-dragons · 1 month

Text

How Romantic

what if a side did get forgotten? they got pushed to the side enough (maybe by the others being in a relationship, maybe by other conflicts) and the mindscape started to remove the "unnecessary" influence – doteddestroyer

Read on Ao3

Warnings: fading/ducking out, but he's fine

Pairings: none, so gen

Word Count: 4777

Romanticism emphasized the individual, the subjective, the irrational, the imaginative, the personal, the spontaneous, the emotional, the visionary, and the transcendental. When Roman is forgotten as a part of Creativity, well, what use does the Imagination have for a prince when it can simply put the Romantic into its work in other ways? Remus has a few things to say about that.

It shouldn’t be all that surprising, really, to think that if a Mind forgets something, it will no longer manifest. Or rather, to not think of it. Or, one could imagine the consequences of not imagining something.

Listen, Roman’s already mostly out the door, he doesn’t have enough cognitive function left to think his way in and out of all the contradictions that arise from the things he says.

The basic principle is this: if a thing is no longer relevant in the Mindscape, which is a consequence of people not thinking about it, then it ceases to exist. The Mindscape doesn’t put the energy into making it a thing. Think of it like a video game. The game only renders the part of the role that the player is currently in, there’s no use for it to render the secret dungeon buried in the third level of the side quest that hardly anyone knows about. It’s more efficient if it doesn’t and in the incredibly slim chance that the player does end up there, then the game can render it and it’ll be fine and it’ll de-load as soon as they leave to go back to the main game.

Got it?

Great.

So, that’s where Roman is right now. In his room, waiting to be de-loaded. He has his Prince costume on, because that’s the version of him that’s going to fade last, his room is all made up in his signature red: red curtains, red comforter, red pillowcases, red notebook laid on his desk. He’s even got his sword out for a final sharpening—no, that’s not a dirty joke, he’s not that Creativity, he’s literally just taking care of the katana—as he waits for the telltale shudder of the Mindscape forgetting something.

He hums absentmindedly to himself as the whetstone sings against the blade. Really, it’s surprising it’s taking this long. Well, not really. Forgetting things is a slow process, it’s not like you can snap your fingers and poof, something’s gone. At the very least, it has to be long enough that something else has taken its place in your mind, and then when you look, you can’t even tell that something was ever missing from it.

Remus has that handled. And Roman will fight anyone who says that’s just because he’s intrusive thoughts, or whatever, no, Remus is memorable all on his own, thank you very much. He’s far cleverer than they all give him credit. And Roman wishes he was half as quick as Remus.

Again, not an innuendo. That’s not his thing, remember?

And Remus isn’t bound by the same creative limits he is! He can run wild—literally, if they let him—and come up with the most incredible things that open up all sorts of new possibilities for what they could do, what they can talk about, what sorts of things they could explore. Isn’t that so much better than just regurgitating the same story idea, over and over and over, doesn’t that get exhausting? How can you imagine something new when all you’re able to do is ricochet around the same blank boring box?

His hand shudders a little as it moves back up the blade. He never liked creative blocks.

And how nice would it be to have a Creativity that wasn’t bound to the fragility of the Ego? How much better, how much easier would it be if you didn’t have to worry about getting bruised and hurt every single time you got feedback on something you made? Making things is hard, you know, it’s vulnerable and terrifying and mortifying especially when you’re showing the end product to someone—and even if you aren’t! Even if it sits on a shelf in your room or a folder on your computer and it never, ever sees the light of day, that’s still scary! You’ve made something, it exists now because of you, and now someone could look at it and see you through it and—and—

Well. You get the idea.

Roman sighs, pinching the bridge of his nose. He puts the katana away and places the whetstone back in its little box. As he goes to pick it up, it falls through his hands and hits the floor with a low thud.

Ah. So it is starting after all.

He leaves the box on the floor and goes back to the bed. He lies down, not sinking very much at all into his red covers. He folds his hands on his chest and stares up at the ceiling.

It makes sense, after all, that the parts of him the others don’t know about—or have already forgotten about—are going first. The whetstone. They know he has a sword. They probably don’t know how he takes care of it. His bed is red, and he’s the color red, so it’s still here. His room, his prince costume, his desk, all things he needs to be Creativity, or at least half of Creativity, so it will probably go last too.

He lets his head loll to the side, staring at his red notebook. bits of grey begin to enter his vision, the red notebook standing out like a sore thumb. He wonders if any of the things written on its pages would still be there if he looked.

He did love that notebook. It was his friend when no one else would be his friend. It was there for him when it wasn’t okay for him to have someone there for him, when he’d messed up too much to deserve comfort from anyone else, he would go to the notebook. Mainly because the notebook didn’t have a choice.

He’s written a small thing the other day about that, actually. He wonders if it’s still there. If he closes his eyes, maybe he can remember it.

Why don’t you talk to me?; you’re unkind to me; why don’t you talk to me?; I tried and you turned it into a lecture; why don’t you talk to me?; you make fun of me when I try to express how I’m feeling; why don’t you talk to me?; I tried to ask you for help and you turned it into a game of who could mock me the most until I ran away; why don’t you talk to me?; because you were still laughing when I ran away crying; why don’t you talk to me?; because you made me feel guilty for needing help; why don’t you talk to me?; because you made me feel ashamed for wanting support and comfort; why don’t you talk to me?; I don’t want to be in trouble; why don’t you talk to me?; I want to be hurt and upset and have that be okay because I got hurt by something; why don’t you talk to me?; the loneliest time in the world is right before you tell someone else what you did wrong because you know they won’t want to comfort you anymore; why don’t you talk to me?; it’s cold here; why don’t you talk to me?; I just want to be alone now; why don’t you talk to me?; I learned my lesson already; why don’t you talk to me?; what would I have to say?; why don’t you talk to me?; tell me the right words to use so you’ll actually care about me; why don’t you talk to me?; I don’t want to; why don’t you talk to me?; I don’t trust you anymore; why don’t you talk to me?; why would I talk to you?

Ah, that’s it.

His melodrama will probably be the last thing to go too.

He sighs, rubbing his cheek half-heartedly against the pillow in search of some meager comfort. He hasn’t been forgotten enough that the pain that lingers in his chest and hands has gone away, though he’s not sure how. He doesn’t think anyone knows about that—except maybe Remus.

Oh, Remus.

Roman’s chest burns and he gasps, sudden tears coming to the corners of his eyes. He doesn’t want to leave his brother, not after everything they’ve been through, not after all the work they’ve done to get back to the place they’re at now, after all this time, not when they’re finally brothers again. He sniffles, going to wipe his nose and his hands just start to ache. He curls up on the bed, around his pained hands, weeping for himself, for his brother, for Creativity.

Enough of his mind remains to put the pieces together and realize oh, of course. In forgetting everything else, I have been left with the things that I am at my core.

Pain in his chest and hands and an undying love for his brother.

A more complete Creativity might’ve called it Romantic.

***

Thomas sighs. To say that most of these meetings go well would be a lie, but this meeting is not going well.

“Look, all I’m saying is that—“

“Well, that’s your problem right there, you’ve been doing an awful lot of ‘saying’ and not a lot of ‘listening.’”

“Your sass, as delightful as it is, kiddo, is not helpful right now.”

“Oh, really? And here I thought it was the most pivotal thing at the moment.”

“No, it’s not, because it’s taking valuable time from—“

“Sarcasm, Patton. That was sarcasm.”

“And see! That’s another thing—“

“Oh, for the love of Archimedes…”

Yeah. not going well. Thomas pinches the bridge of his nose, trying to figure out what this conversation started with and how exactly they ended up here.

Right, okay.

He’d gotten a text from a friend about a thing they wanted to go do. The problem was, the thing cost money to do and the friend hadn’t said anything about paying for Thomas to come. His finances weren’t awful but it wasn’t like he had the amount of money to just…spare. Logan had suggested they ask and confirm who would be paying the entrance fee, Virgil had worried that it was rude to ask something like that, Janus had proposed a number of ways they could ‘surreptitiously’ ask about it, and Patton had worried about going at all if they were going to be guilt-tripped into it or if the friend had just assumed Thomas would be fine paying for it.

It had…developed from there.

“Look,” Logan says, “there is a very simple way to ask whether or not Thomas is to pay for his own entrance fee. We simply text or call them back and ask.”

“But what if they freak out about it? That’s a weird thing to ask!”

“How is it a weird thing to ask?”

“They might think we’re trying to freeload, or that we’re going to ask them to pay us back, or what if they think that we’re broke?”

“Hey!” Patton puts his hands on his hips. “You are not broken, kiddo, and I won’t stand for you saying that you are!”

“…not what I meant, but thanks, I guess.”

Janus rolls his eyes. “Well, if we’re this stressed out about a simple invitation to something we want to go to anyway, perhaps we should reconsider whether we want to be friends with them at all.”

“Now that’s a bit of an overreaction.”

“Sarcastic! I was being sarcastic!’

Yeah. That’s about where they are now. Out of sheer desperation, if nothing else, he glances over at Remus. Remus’s arms are hanging over the TV, swinging his hands as he grins at the chaos unfolding. He catches Thomas’s gaze and tilts his head in a silent question. Thomas gestures weakly around and Remus shrugs.

“I voted we just go without paying, but apparently that’s illegal or something.”

“Yeah, buddy, that’s…we’re not gonna do that.”

Remus shrugs. “Suit yourself.”

“Alright, look,” Thomas says, raising his voice enough to speak over the current argument about—you know what, he’s not even gonna ask— “this isn’t going anywhere. If we’re going to figure out what we are actually going to do, we need to think about this differently.”

“It’s a simple issue, Thomas.”

“And yet, we’ve been talking for close to an hour and we’ve made zero progress.” Thomas rubs his forehead. “Look, where’s Roman?”

There’s a pause.

“Roman?” Patton frowns. "Why would we need Roman?”

“Well, you know, he’s…also Creativty? Maybe he can help us think of something we’re not thinking of?”

“Remus is also Creativity,” Logan says, indicating Remus who gives a cheery little wave. “His suggestions have been…well, we’ve ruled them out.”

“That’s because you guys are no fun.”

“Yeah, but Roman is a different Creativity. Doesn’t it make sense that what he’d come up with would be different.”

Logan adjusts his glasses. “I suppose so.”

“Why didn’t he show up today, does anyone know?”

“Perhaps he is working on another video idea.”

“Maybe he got lost in the Imagination? Happens to me all the time.”

“Maybe he slept in. God knows he harps on about his ‘beauty sleep’ enough.”

“Janus? Remus? What about you two?”

“Why would I bother to keep track of anything Roman does?” Thomas narrows his eyes at him and Janus sighs, rolling his eyes. “No, I don’t know where he is or why he didn’t bother to show up, nor do I much care.”

“Janus!”

“What?”

Patton puts his hands on his hips. “Don’t be so dismissive, how would you like it if someone said that about you?”

”I don’t know, Virgil, how would I like it?”

“Hey, leave me out of this, I don’t have anything to do with whatever the heck this is.”

Thomas just barely suppresses a deep sigh and looks over at Remus. Remus, however, is not relishing in the argument breaking out between the three of them. Instead, he’s staring off into the corner, frowning hard.

“Remus? You okay, buddy?”

“Why can’t I remember the last time I saw Roman?”

Thomas frowns. That manages to get the attention of the others—somehow—and a hush falls over the room as they all think about it.

“Well, it can’t have been that long ago,” Patton says, “we saw him for movie night on the, um…when we watched the…”

”No, it was more recent than that,” Logan says, “he had come down to breakfast to make us those muffins.”

“Right, right, that’s right. When, uh, when was that?”

“Well, it was…”

Logan trails off into silence. Remus looks around at all of them. “Think about it: when was the last time any of us actually saw Roman? Can any of us actually remember?”

Thomas watches with muted horror as all of them slowly shake their heads.

“Fuck.”

“Language, kiddo,” Patton scolds, “anyway, I’m sure this is just a big misunderstanding.”

“That’s right,” Logan says, “after all, it’s hardly the first time Roman has been absent.”

“Yeah, but he normally tells someone where he’s going,” Virgil mutters, “especially if it’s gonna be for a while.”

“Okay, the last time I definitely saw Ro was three weeks ago when we fed Ollie.”

“He helped me put up new cat posters in my room. I think it was…it was before we did that full moon thing, so that was a month ago?”

“He—jeez, I think I passed him in the hallway at, like, stupid o’clock around a week ago, but I was…pretty out of it.”

“We had a brief meeting about the upcoming script last week. That’s the last time I remember seeing him for certain.”

“Don’t look at me,” Thomas protests when all eyes turn in his direction, “I don’t see him outside of these meetings and the last time we had one of those was like, two months ago.”

“Janny? What about you?”

Janus sighs, idly examining one of the seams on the tip of his finger. “I think you’re all being overdramatic.”

“Roman is missing, Janus,” Logan says with a bit of bite to his words, “I don’t think ‘overdramatic’ is an accurate description.”

“Yeah, especially since none of us can remember the last time we saw him.”

“Oh, please,” he sighs, “it’s Roman. Do you really think something so horrible could happen to him that he’d disappear and he wouldn’t tell anyone about it?”

A beat.

“…shit.”

“Yeah, that sounds like Roman.”

”Alright,” Virgil says, getting up, “Thomas, don’t respond yet. They’ll think you’re working or something. Remus, go check the Imagination.”

“On it!”

“Logan, go see if he’s in the library, J, check the Dark Side’s living room.” The two of them nod and sink out. “Pat?”

“Yeah?”

“We’re gonna go to his room and see if he’s in there.”

“Okay.” Patton glances at Thomas. “Can you…can you feel anything?”

Thomas frowns, putting a hand on his chest. He moves it to the other side.

“Are you checking for your pulse or something?”

“No, normally when I think about Roman, like I’m gonna summon him or something, there’s this, like, warmth? It’s like something in my chest that just—it’s hard to explain.” He moves his hand back. “But I can’t…I can’t feel it right now.”

“Oh, that’s probably not good.”

”We should go.”

“Hey, if it ever feels like you can summon him again? Do it, then get the rest of us back.”

Thomas nods, watching as Virgil grabs Patton and they sink out. He sits slowly on the couch, staring into the middle distance as he keeps moving his hand around his chest. It’s strange; he normally doesn’t even have to put a hand to himself to feel where Roman is. He wasn’t lying before, it really is like this warmth that just lives in his chest, like a second heart almost, one that doesn’t really beat so much as just exist there. Like it’s reminding him that he’s, you know, a human with feelings and wants and desires and that’s okay.

Oh, Roman, buddy, where are you?

***

Remus steps into the Imagination and his knees almost buckle immediately.

Bluish-black storm clouds gather and bruise a dark grey sky overlooking a massive craggy cliff rising impossibly high. Vividly green grass and terribly purple flowers bloom deep inside the crevices of the rocks lining the path in front of him, the smell of fresh rain hanging so heavy that it seems it would fall any moment. In the distance he can see evergreens, smell them even though they must be miles away, and another mountain rising behind them with thin, wispy clouds stretching red fingers over its peak. The ground is warm under him, as though he were standing over an active volcano, but he can see and hear and smell the river that flows by just to the side of him, and the breeze that comes from it is cool and damp. His fingers twitch. So does his nose. He takes a deep, deep breath and takes a step forward.

With every step he takes, the more an uncertain feeling takes root at the base of his stomach. it’s too sweet to be panic, too frenzied to be melancholy, and too lonely to be wonder. He keeps walking. The Imagination is always impossibly vivid, impossibly beautiful, but something about this feels…different.

His chest feels tight.

As he moves past a larger collection of boulders, he rounds the corner as he spots a tree. A massive tree, one where the branches curl outwards and upwards like color diffusing into clear water. Some part of Remus—a part that sounds a lot like Logan, if he’s being honest—mutters how a tree like this couldn’t exist, not in these mountains, not with its roots in these rocks. And yet, here it grows all the same. He moves toward it, the tightness in his chest growing with every step.

At the base of the tree lies the hilt of a katana.

“R-Ro?” Remus collapses in front of the tree, shaking hands touching the trunk. The bark flakes away under his fingers and the smallest glimmers of gold shine up. “Roro…oh, Ro, what happened?”

“Remus? Remus!”

“Whoa, what the hell is this place?”

Remus can’t tear his eyes away from the tree long enough to see them but he can hear the others rush up behind him. He just paws weakly at the trunk and Logan’s muffled gasp is all he needs to hear before he starts sobbing.

“Oh, no,” Logan mumbles, “Roman’s…something’s happened to Roman. He’s—Remus, has he Faded? Or is this something else?”

“He’s been Forgotten,” Remus sobs, “the—the Imagination put him back where—where he wasn’t Roman anymore and he’s—he’s—“

Another sob leaves his throat.

“I want my brother back!”

“But we remember him,” Patton says, “we—we do, he’s Roman, we want him back, why—why is he here still?”

“I don’t think he knows we’re here,” Virgil says, glancing around, “I think he’s—I think he’s here sort of, but not in the Roman we know.”

“So what do we do? How do we get him back?”

Remus is still touching the tree. The clouds overhead start to rumble with distant thunder. He presses himself up against it, hugging it tightly.

“Come back, Ro-bro,” he mumbles into the bark, “came back, I want you to come back.”

“Logan? What do we do?”

“There has to be a reason he’s manifesting like this, doesn’t there?” Logan turns around, looking at the mountains, the sky, the river, the rocks, the tree. “Nature, the natural world, he’s become a tree so some kind of growth? Reincarnation? Transcendence?”

“Maybe it has more to do with Roman?” Janus’s against the bark near Remus’s head. “Creativity? Ego? Romance?”

“Romance…Romance…Romance, of course, Roman’s Romance!”

“What about this seems particularly romantic to you?”

“That’s it, it’s not romantic, it’s Romantic. The Romantic movement, the whole—oh, Roman,” Logan says softly, resting his hands on the trunk too, “I’m sorry that you didn’t feel like you could talk to us.”

“How in the hell are you getting all of that from Roman being a tree?”

”The Romantic period was in reaction to the balance and calm of the Classical. Heightened emotion, the irrational, the subjective, all of these became key themes. It was far more important to preserve the spirit and individuality of the artist rather than any sort of adherence to strict rules or traditional procedures.” Logan’s hand runs over the bark. “As well as a focus on the inner struggles of the exceptional figure.”

“And Princey’s the exceptional figure?”

”In a manner of speaking.” Logan presses his other hand to the tree too. “Roman? Are you here?”

A breeze ruffles through the leaves.

“Was that him?” Patton rushes forward and touches the tree. “Roman? Roman, kiddo, are you there?”

Another low boom of distant thunder and it starts to rain.

“Quick, everyone touch the tree.” Everyone puts their hands on it. ‘Roman? Roman, can you feel that? We’re all here, we’re all right here.”

The thunder grows louder. They wait there with bated breath as the tree rustles in the breeze, until Janus, who hadn’t clutched down with the rest of them, hears a crackle from up in the clouds.

“Get back!”

They all fling themselves away just as lightning strikes the tree, the very top of it catching fire as the trunk splits down the middle. Jagged bits of wood just into the open air like fractured ribs. And there, in the center of the splitting trunk—

—is Roman.

“Ro!” Remus howls and dives forward, wrenching his brother’s body out of the tree and dragging him to lie on the flat stone. “Ro, wake up, wake up, you have to be okay, you have to be!”

“…Re?”

Remus sobs again, throwing his arms around Roman who looks up at them with quiet confusion.

“What’s going on?”

“You left,” Janus spits, “you vanished and we didn’t know where you were so we had to come look for you.”

“J,” Virgil says lowly, before crouching down, “you went missing, Roman. We couldn’t find you. Why, uh, why were you in a tree?”

Roman frowns. “I don’t know. I…I was in my room, and you were forgetting me—“

“What do you mean, we were forgetting you?”

Roman blinks. “You were forgetting me. You were going to Remus. Remus is the Creativity that’s helping more. You weren’t thinking about me.”

“That’s not true,” Patton mumbles, horrified, even as Roman gestures around with a wordless if it wasn’t, we wouldn’t be here, “we…we love you, Roman.”

Roman just shrugs. “Maybe.”

“What do you mean, ‘maybe?’” Janus splutters. “That’s not a thing you get to say maybe about, Roman.”

Roman doesn’t even flinch, just turns slightly so he can rest his head against Remus’s.

“You don’t even have anything to say for yourself?”

“Janus,” Logan says sharply, “that’s enough.”

”Roman disappears, he turns into a tree, he says we’re forgetting him and that we don’t love him, and we’re just supposed to accept it?” Janus throws his hands up. “How are you three so calm about this?”

“I’m not calm, but I’m not going to make this about me right now!”

“Janus,” Roman says softly and they instantly fall quiet, “you’re right. I’m sorry. I don’t know how I became a tree. I didn’t mean to imply you guys had forgotten me entirely. I shouldn’t have said you don’t love me.”

Janus’s eyebrows raise in surprise. He huffs a little awkwardly and folds his arms. “Well. Good.”

”Are…we done now?”

“What? No, Princey, we’re not done, we—“ Virgil runs a hand through his hair— “you turned into a tree. After you vanished. How the hell are we—what do we do now?”

Roman shrugs.

Remus, who has been lying on top of Roman for this whole thing, feels one of the hands under him begin to meld with the stone. He draws back, alarmed, only for Roman’s fingers to come free and lace with his. He squints at Roman’s face, noticing the barely-there tremble of his lip, and whips around to face the other three.

“You three. Fingers. Ears. Song. Now.”

‘What?”

“Do it!”

It takes them a second but they begrudgingly put their fingers in their ears and start mumbling things to avoid listening. Remus glares at them for a moment longer before turning back to Roman.

‘Hey,” he whispers, “what’s wrong?”

Roman’s lip trembles again. “They’re still here,” he whispers back, “I just—I just want to hurt.”

‘What do you mean?”

“They’ll be mad at me for whatever’s going on, they’ll—I don’t want them to explain or tell me how what I’m doing is bad, or anything like that. I don’t want their—I don’t want their comfort,” Roman whispers, his voice getting thick, “I just want to be hurt by myself and have that be okay.”

“Of course that’s okay, Ro.”

“Because they did forget me. It’s not your fault or anything but they did and it hurts, Re—“

“I know, I know, shh, shh, hey, hey,” he says, “let’s do this: we need to go tell good old Thomathy that we found you, so let’s you and me go do that and then we can have our own cat pile wherever you want, okay? Just you and me. The others can you suck a tree branch.”

“Won’t they be mad?”

“Tell you what: you go to Thomas right now, I’ll deal with them, and then I’ll come after.”

“…I’m sorry I left again, Re.”

“Pshh. Water under the Kraken.”

***

Thomas shoots up from the couch as Roman rises up in his normal place.

“Roman! You’re okay!” He yes the scratches as bruises from the tree. ‘Well, mostly.”

Roman rubs the back of his head. “Yeah. I’m…sorry.”

“Whoa, hey, it’s okay, buddy. As long as you’re okay.”

Roman blinks. “Wait, really?”

‘Yeah, bud. You, uh…it looks like you’ve been through some stuff.”

“…that’s one way to put it.”

“Do you, uh talk about it?”

“Not really.”

‘Okay.”

“Wait, you’re sure?”

‘Yeah. It’s your business. I, uh, I’ll be here if you do want to?”

“Thanks, Thomas.”

“Of course, buddy. You’re great.” Thomas scratches the back of his head too. ‘I know we, uh, haven’t always been the best at saying stuff out loud to each other, that’s normally what the others do, but…you know I’d never replace you for anything, right?”

Roman smiles. He really, truly smiles. And for just a moment, the entire Mindscape fades away, leaving just the two of them standing in this one little room. A man and his Ego, smiling at each other.

The setting sun peeks in through the blinds and the room glows with a rich, bright red.

General Taglist: @frxgprince@potereregina@gattonero17@iamhereforthegayshit@thefingergunsgirl@awkwardandanxiousfander@creative-lampd-liberties@djpurple3@winterswrandomness@sanders-sides-uncorrect-quotes@iminyourfandom@bullet-tothefeels@full-of-roman-angst-trash @ask-elsalvador @ramdomthingsfrommymind@demoniccheese83@pattonsandershugs @el-does-photography @princeanxious@firefinch-ember@fandomssaremysoul@im-an-anxious-wreck@crazy-multifandomfangirl @punk-academian-witch@enby-ralsei@unicornssunflowersandstuff@wildhorsewolf @thetruthaboutthesun @stubbornness-and-spite @princedarkandstormv @your-local-fookin-deadmeme @angels-and-dreams@averykedavra @a-ghostlight-for-roman @treasurechestininterweb @cricketanne @queerly-fluid-fan @compactdiscdraws@cecil-but-gayer@i-am-overly-complicated@annytheseal@alias290@tranquil-space-ninja @arxticandy @mychemically-imbalanced-romance@whyiask@crows-ace @emilythezeldafan@frida0043 @ieatspinalcords @snowyfires@cyanide-violence@oonagh2@xxpanic-at-the-everywherexx@rabbitsartcorner @percy-07734@triflingassailantofmyemotions @virgil-sanders-the-gay-emo@cerulean-watermelon@puffed-up-bees@meltheromanstan@joyrose-fandomer@insanitori@mavenmush@justablah65@10paradox10@uhhh-hi-there-i-am-nervous@cutebisexualmess@bella-bugatti-frogetti-baguetti@ultrageekygirl

#dragonbabbles #sanders sides #fic #roman angst #roman sanders #roman sanders angst #logan sanders #remus sanders #sympathetic remus #virgil sanders #patton sanders #janus sanders #deceit sanders #sympathetic deceit

61 notes · View notes

thecarnivorousmuffinmeta · 17 days

Note

deathly hallows is so weird. i remember even when i first read it at 12 being kinda like ???? because really? this? this was supposed to be the big hyped up grand finale?

obviously book 7 isn't the only book with plotholes but there are so many more than in the others ones and they were really obvious things that just felt so lazy. like suddenly people can be their own secret keepers? meaning that the plot device that kicked off the entire series now doesn't make sense? or jkr forgetting harry canonically knows how to cook. just basic stuff like that that felt so sloppy. or harry and co breaking into the ministry to steal something that umbridge might just as easily have left at home in a drawer in her house. ?? or they somehow don't have food when they're camping even tho they can do magic and can duplicate food so they could just take a ton of stuff from a grocery story and copy it forever?

plus the pacing. it has some really good moments towards the end but omg a lot of it has no sense of urgency. or i remember as a kid after reading book 6 being super hyped to see the other cool and difficult to defeat enchantments guarding the horcruxes like we saw in book 6. but nah. in book 7 they're just lying around anywhere.

it's like jkr set up this whole horcrux hunt thing and then got bored with it and wanted to get thru it as fast as possible. and then added a bunch of poorly thought out wand stuff that contradicts prior canon. there were a ton of cool things that could've been done with book 7 and instead most of it feels so rushed.

It seems we all have secret trauma revolving Deathly Hallows.

The beautiful thing about the being your own secret keeper, of course, now means that if that was the case then someone didn't tell the Potters this or they were dissuaded from this path for some reason makes Dumbledore look very suspect.

Though I personally love the idiotic plan to bust into the Ministry to get the Horcrux rather than try to find out where Umbridge lives or trying to get a hold of her when she does her shopping in the country's one shopping district of Diagon Alley. It's just so dumb.

Or the fact that the gang suddenly survives only on mysterious mushrooms they gather deep in the wilderness of Great Britain or the time they look for blackberries in the middle of winter. Ron knows there aren't going to be blackberries, tells Harry as much, but since he's come back from abandoning this very stupid mission he now believes that Dumbledore must have had a plan.

Dumbledore had a plan.

Right?

Dumbledore?

DUMBLEDORE?!

WHY DID YOU TELL US NOTHING DUMBLEDORE?! WHAT IS THIS BOOK OF FAIRYTALES EVEN SUPPOSED TO--

(But yes, anon, it's just a bad book filled with beautiful stupidity that felt like it should have been a video game and was oddly written as if it was a video game where most of the chapters are boring cut scenes you want to skip and the game play is things like "raid gringotts" or "fetch the sword from the bottom of a pond to destroy the horcrux".)

#harry potter #harry potter meta #deathly hallows #anti deathly hallows #opinion #meta

55 notes · View notes

kiragecko · 1 month

Text

cherrystainedknuckles

I guess the only problem with being asked to take a “marie kondo approach” is that in order to find any fanfic that appears to be based in actual canon timeline and plot points and characterization (which does exist, and I’m not sure why fanon fans seem insistent that it doesn’t), I literally have to search for hours. I’m not joking, I consistently make fic rec lists, and I have to search for hours and hours for actual canonical basis. same thing with character tags on tumblr.

I’m not saying fanon fans have to stop enjoying fanon or making up their own content. I’m just saying that when the tags used for both fanon tim drake and canon tim drake are the same tag it just becomes incredibly annoying sometimes, and I understand why people who like to engage with canon (me, often) become frustrated

I have definitely had periods where I got incredibly frustrated with fanon! Around 2019, I was wondering if I needed to leave the Batfandom, because it had been so long since I read a new fic where the characters felt 'right'.

But, if you're willing to, I'd like you to consider what you mean when you divide 'fanon' from 'canon'. Because I struggle to find a hard line between the two, for several reasons:

1. Fandom is transformative. Every fanfic is going to have some interpretation of the source material. The line between what is too much interpretation and what is acceptable is different for every person. For me, I find it can even vary based on writing style or other odd things - lighthearted fic can have more noncanonical stuff in it than heavier fic, and still seem true to canon.

2. 'Canon' is subjective. I do not consider the movies or video games to be 'canon', and it annoys me when things from those creep into the fic I'm reading. (I'm okay with SOME Battinson.) Some aspects of the cartoons are okay. I consider precrisis Jason Todd to be an alternate reality version, but Donna's precrisis origins are more canonical than the dumb retcons. Wayne Family Adventures isn't my main version of the characters, but I'm not bothered if some elements show up in my stories. I'm ignoring most of the nu52, but I like Duke and I'm still watching this new Lian to see what happens. I doubt your divisions are identical to mine.

(Also, some things that I think of as 'fanon' have shown up in nu52 canon! I do not accept them as any more canon because of this.)

3. Most 'fanon' is based on canon. Canon Tim has weird sleep habits. 90s Dick is really lighthearted and joking around some characters in ways similar to fanon. Dick can canonically not be trusted to take care of himself if his mental health gets low enough. Jason likes classical literature. Etc.

These are exaggerated and/or twisted in a lot of fic, but where is the line where they stop being canon? I wouldn't bat an eye at a lot of this stuff, if it didn't show up SO OFTEN.

4. Most 'fanon fans' do know some canon. What line are you going to set where it will be 'enough'. And are they allowed to mention parts of the canon they haven't read yet? Is anyone allowed to talk about Dick's early Robin days, or only the tiny amount of people who have read the golden age stuff? A lot of the 'mistakes' I see are obviously made by people who have read ABOUT canon, but don't know quite how it fits together.

5. 'Canon' is FULL of contradictions. Yes, there are canon events. Yes, there is characterization that is consistent across 3/4s of comics. But. I'm still working on my sidekick timeline. I've devoted days to figuring out ages and passage of time. I've spent over a decade trying to figure out Jason Todd's motivations, and why Tim treats him the way he does. I've read all the 90s and early 2000s CANONICAL character assassination of Jason.

I spent years thinking that Donna's death was almost as foundational as Jason's, only to later discover that I had just happened to read the specific comics that focused on the fallout, and she only stayed dead for a short time. That happens to fans ALL THE TIME! We read a character summarizing an event we haven't directly read, and just accept it as what happened. But characters have biases, and not all writers care about accuracy.

I've read some Tim Drakes that I consider to be almost entirely 'fanon'. And quite a few that were so scarily 'canon' that I got chills. (Not all of which were similar to each other.) But the vast, vast majority have fallen somewhere in the middle.

I definitely do not want the responsibility of deciding which ones count as 'canon'! And I think I would strongly dislike anyone who tried to decide for me.

Being frustrated is logical, and I empathize. But the original post was about the impossible expectations some fans feel. The expectation to read thousands of comics, synthesize all the contradictions, and come to conclusions that match the 'true fans'. That's a perfectly reasonable thing to be complaining about.

If that's what some fans are experiencing, of course they're not going to want to engage with canon! There's no way for them to succeed, so why should they even try?

When you join THAT conversation to discuss your frustration about fanon, it strengthens that perception. When you call them 'fanon fans' it emphasizes their belief that you don't think they belong. And rather than trying to change, it's more likely that they'll double down. Canon is full of gatekeepers, so they'll avoid it.

#gatekeeping #fandom policing #fanon #canon vs fanon #usually don't do stuff like this anymore #I'm old and tired #but sometimes the words want to come out

71 notes · View notes

androids-insides · 9 months

Text

Another thing I’d like to explain! What can I say, I like explaining things ¯\_(ツ)_/¯

Todays explanation is on my theories (I guess?) on, you guessed it:

The Stanley Parable!

(I like other things, I swear! I’m just very irrationally afraid that everyone who follows me won’t like the other things, so I usually don’t post about it :,] )

A summary, so I don’t lose your attention, is that I like to think that most theories are correct! Now, allow me to explain! (Yes there will be pictures)

Put in different terms, all endings are “cannon,” in what they imply. For example,

This is a helpful and much needed picture of Stanley and The Narrator.

From here, the story could go anywhere! From following directions, to jumping out a window, anything and everything is on the metaphorical table.

This is the Confusion Ending. Here, The Narrator had a story and a point to it all, but has lost his control to a yellow line^tm and self-contradicting revelations.

One of the few examples where The Narrator has no control. The story, the parable and the outcomes are all at someone, or something, else’s command. This is currently cannon.

This, however, is the Countdown Ending. Here, everything had gone exactly to plan, aside from Stanley’s last decision. The Narrator, seemingly on a whim, rewrites the ending in a moment, and has the omnipotence to detonate the entire facility.

At this point, The Narrator is in control of everything. Nothing stands in his way from destroying both Stanley and the story’s outcome. There is no question of who or what has altered the story, as it is most certainly The Narrator himself. This is currently cannon.

If that understands it, then let it be. In some endings, The Narrator is the only one who controls the story, in others, control is left to someone/thing else. In some Stanley has a wife and a kid, and in others he’s just a boring no-body (or, no legs at least). In some The Narrator works the boring office job and created Stanley to entertain himself, in others Stanley miraculously became part of a dark and twisted game that both gave his life meaning and took it away.

On a cosmic scale of “what is the parable and where did it come from,” I honestly think there is no real answer. It’s lazy, I know, but hear me out:

Think of it as Past, Present, Future. We, as spectators or consumers, know very clearly where the story currently is. As well as that, we know several of the ways that it ends. We know it started at some point, is currently existing, and will stop existing after that loading screen, right?

Each ending answers the burning question of “what about before this?” However because of the inconsistent variation, there can’t really be a solid answer. We arrived at the middle of the story, where Stanley works in a big office building and decides to try and figure out where his coworkers went. We don’t know how long Stanley and The Narrator have been in this loop, as it is, you can play The Stanley Parable as many times over as you want. Therefore, the beginning can really only be where we know the story picks up, which is at a time where there is no definitive answer of What came first, The Narrator or The Stanley. A question that no one can truly answer.

It’s sort of like the concept of Gender Fluidity, in a way. Where however the person feels that day is their decided gender, is as to however The Parable ends is how it begins. In conclusion, The Stanley Parable plot is a close second Gender Fluid icon, right behind Nimona.

Joking put briefly aside, I think The Parable is just a huge concept. Did/can/could Stanley talk at some point? Maybe. Isn’t The Narrator supposed to be the “physical” representation of divorce? Probably. Is The Narrator a figment of Stanley’s imagination, or the other way around? Who knows. All I can guarantee, is that the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never the end is never

#I forgot to add tags somehow???#the stanley parable #the stanley parable art #the stanley parable fanart #tsp art #tsp fanart #tsp fandom #the stanley parable ultra deluxe #tspud #iknowitsagooddaywhenConnorEatsTrousersthreatenstoeatmyart #whatdoyourhinkittasteslike?

192 notes · View notes