#and like obviously there are characters who do not choose to inform

[straight-to-the-pain]

I don't know if anyone else in the whump community has read 'A Constellation of Vital Phenomena' by Anthony Marra but it is genuinely a really good book and also has some of the best depictions of torture and its aftermath that I have read in fiction.

I wanted to share some of my favourite quotes, hopefully without too many spoilers as it is out of context, but maybe skip this post if you don't want to know anything at all going in.

To give a brief summary, the book centres around the lives of people in Chechnya during the first and second war between the Russian government (Feds) and the separatist rebels. The main story focuses on a man (Akhmed) who is trying to save his neighbour's daughter from being killed by the Feds after her father is taken away in the middle of the night. He does this by taking her to a hospital where he then volunteers. One of the people in his village (Ramzan) becomes an informer for the Feds after being tortured, and this is explored in the excerpts below.

‘Information the Feds would torture them for was written here on the walls for all to see. It was well understood among the men that the Feds had as much sense as two bricks smashed together. It was also understood that pain, rather than information, was the true purpose of interrogation.'

'During his first detention in the landfill, in 1995, in the first war, he had refused to inform. They had wrestled down his trousers, shown him the bolt cutters, and still he had said no. Screaming, thrashing, with his manhood half severed, he had said no. He had done that, and now he was ready to start saying yes.'

'He would have confessed everything, but they didn't ask, weren't interested, threatened to cut out his tongue and put pliers to his teeth if he spoke one more fucking word. Electric wires were wound around his fingers. A car battery was drained into his bones. God might have been watching, but it wasn't God's finger on the battery switch. The interrogating officers didn't speak. Instead he was an instrument they played, performing a duet, and in their own way they conversed through his sobs. They both wore very shiny shoes. That was all he would remember.'

'He had trouble walking, He had forgotten torture could be so exhausting. The new interrogator, the one with less shiny shoes, held him upright, using his whole body as a crutch, and helped him walk. He carefully wiped Ramzan's forehead with a handkerchief before opening the door to the next room.'

'The interrogator with less shiny shoes crouched behind him. His hands were wet. Ramzan promised everything, and the interrogator, like the parent of a child too old to believe in ghosts, watched him with disappointment, his clear eyes saddened by Ramzan's sincerity. The interrogator took off his jacket, rolled up his sleeves, laid the live wires on Ramzan's chest and mapped the border of their shared humanity. Ramzan offered his soul. He begged to be enslaved. The known universe contracted to the limits of the cement floor, and on it, the interrogator was both man and deity, prophet and god. By ten o'clock the interrogator with less shiny shoes asked his first question. By eleven the electrical wires were unwound from Ramzan's fingers. By noon he was allowed to dress. By one he was on the FSB payroll. He kept thanking the interrogator with less shiny shoes.'

‘Greed didn’t motivate his informing, at least not primarily; primarily he informed by necessity, to survive, for his love and hate and above all awe of the power wielded by the interrogating officer with less shiny shoes.'

'That was his greatest fear. Could he stay silent? Could he withstand what awaited him? He told himself that his love for the girl should fortify him against any torture, but this, like so much of what he told himself, was a lie. After all, he was squeamish at the sight of blood, what would he say when lying in a puddle of his own? But he saw no other way. He would pray for the strength to stay silent, for a quick heart attack, and leave the rest to God.' (This is Akhmed POV)

'When they threatened to beat me, I said nothing, Akhmed. When they threatened to beat me, I said nothing. When they threatened to electrocute me, I said nothing. When they threatened to castrate me, I said nothing. I said nothing, Akhmed. Whatever you think of me, you remember that once I said nothing when a wiser man would have sung. And the interrogators, they couldn't believe it. They called in others to examine me. I was there on the floor, and above their faces were dark ovals silhouetted by the ceiling lights. They had beaten me hard and I couldn't hear right, but I kept saying no, with every breath I had. The main reason they let me go, the only reason they didn't shoot me right there was out of perverse respect, some sort of professional courtesy. But I wish they had shot me, Akhmed, because the good part of me died there, and all this, everything since, has been an afterlife I'm trying to escape.'

‘I knew what was coming. I knew it never stops. They put a shame inside you that goes on like a bridge with no end, the humiliation, the fucking humiliation of knowing that you are not a human being but a bundle of screaming nerve endings, that the torture goes on even when the physical hurt quietens. People treated me differently when I came back the first time.'

[trashfangirlsworld]

Hello! I've been inactive due to the current events in the mcyt community, but I've been keeping up with the qsmp admin situation and I thought I'd share some opinions because the amount of doomposting I've seen the last few weeks has been more than I've seen in any fandom in a while and I feel like it's reached the point where people really need to chill the fuck out because they're not thinking straight and actively not helping. Everything I'm gonna say is based on stuff I've seen on both tumblr and twitter.

they should not promote/release merch! : one of the things that baffles me the most tbh; how do you expect any employee to be payed then? Merch is so far the only big source of income for the server besides q's own cc salary or whatever income they get through the official qsmp channel on twitch and youtube (which I don't think is a lot). "I get that they said they have no funds, but still it doesn't feel right"... sorry but at this point I don't know what to tell you, do you expect them to pull money out of their asses? You can't demand that they stop making merch and then complain that they can't afford the twitter admins at the same time. If you don't feel comfortable buying anything from them it's fine obviously, but if your reason for it is that you're helping the admins then I have bad news for you. I have seen people propose that quackity sets up a patreon, and while I think it would be a good idea, I understand why he's not doing it, since with the merch he can at least give something back to the people that choose to support his project instead of people just giving him money for free, especially with what's happening now. Also with how much hate he's been receiving simply for the merch I can't imagine that a patreon would be recieved well.

we don't know if the money is going to the admins/ they should not use pomme's likeness! : the money is definitely going to go to the employees and admins because otherwise the server would not last. And as much as I understand people feeling protective over pomme's admin, quackity studios is very much allowed to sell merch of the character because it is not the likeness of the admin, it's a minecraft model made by the people that work there. Would you have rathered they skip her character entirely? Do you really think that would have been okay?. Also correct me if I'm wrong, but I've seen posts and tweets saying that pomme's admin has been confirmed to come back with the other eggs whenever it happens by pierre, who talked with her admin.

the admins of the update accounts got fired, it means they want to fire everyone, they aren't making things better! : it sucks that the updates accounts had to end and I feel bad for every twitter admin that clearly cared a lot about the project, but unfortunately it had to happen if there simply isn't enough money to pay them adequately like they deserved and ultimately the update accounts were not essential to keep the project going, so it makes sense that they were let go unfortunately. This is not gonna be the case for the egg admins because if they got fired (which they didn't), the server would basically end. Just because a cc does not know when they will be back does not mean it's not gonna happen. Just because tubbo randomly said that he's not sure if they will be back does not mean they were fired; tubbo is normally not a reliable source of information, even less so when he's been live nonstop for the past 20 days, which is prior to everything happening. If you genuinely didn't expect a reduction in non essential staff considering everything, then you have unreasonable expectations on how this stuff goes. As I write this, I'm seeing people saying that "they would understand this decision if q had set up a patreon to pay the admins", and once again I don't understand how people don't realize why quackity might not be keen on the idea of having his fans pay his own employees for his own project instead of, you know, doing it himself; and, again, do not fool yourself into thinking it would be recieved well. That being said, it's fair to criticize how everything was communicated to the admins, but I'll get to this in more detail later.

quackity should not have uninstalled social media, he's trying to avoid everything! : he's not avoiding anything, he's been off social media for a while now, which is why it took him that long to remove wilbur from the server. He has every right to not want to look at social media, as his focus should be on restructuring his server instead of doomscrolling on twitter because people think he needs to see how much people dislike him. The only people that he should talk to are those that have important information to tell him, like josè with the document. He explicitly said on stream where to contact him if you have helpful information and I'm sure that despite multiple well liked posts saying not to spam his email, people are definitely doing it anyway, which is probably gonna slow the whole thing down even more. I hope josè's document is able to be seen with pierre's help as well.

quackity studios is not communicating with their employees and leaving them in the dark and that's not okay : I agree with this. i think a huge chunk of doomposting lately has been due the lack of communication not with the audience, but with the admins, and they deserve to know what is happening behind the scenes more then us since this is about their current or future job.... that being said, I do kind of understand why they're being so secretive and shutting everyone out, and that's due to all the "leaks" that have been spread online. I understand the anger but I really wish some people would realize that discussing leaked bts lore stuff in ccs discord servers does not help the situation at all and instead makes it seem like they're only doing this to rile up the fandom against quackity studios by using the lore of people's fav characters.

At the end of the day, I think people just aren't used to dealing with a situation that does not have a clear cut solution and someone to clearly hate, so the result is this doomposting and the over aggressiveness toward anything related to the project. Personally, I haven't witnessed anything that made me lose faith in the qsmp like some people have been saying, as every change that we've seen so far coincides with what quackity said on stream a while ago. I only wish things were communicated properly to the admins clearly, as they're the ones most affected, so I hope that's resolved soon. Ultimately quackity is singlehandedly restructuring the server from basically zero, has had to fire people that were misusing money and power and, depending on what josè's document said, is probably gonna have to fire some more. This is not an easy process, nor a quick one, you're not gonna hear about sunshine and rainbows for a while and doomposting about everything you hear because you expected quick change is useless. Think before you speak, have a clear head and most importantly have empathy.

[crudely-drawn-ben]

Introducing Trilogy

Yesterday I released Trilogy, a new tabletop RPG crafted to support you in having grand adventures in worlds of your own making.

There are several reasons I started writing Trilogy, but the biggest one is that I ran a Dungeon World podcast called Crudely Drawn Swords for seven years and that was a lot of time to think about what we were playing. To a degree Trilogy is the game I wish that we could have had to run the podcast.

Starting from the question "what would a purely PbtA game for epic fantasy look like?" I started thinking more widely - what do I want from a fantasy game? And the truth is that I want a game that supports the structure of characters and their interactions but doesn't tie itself to a specific setting.

Trilogy begins with The Appendices - conventionally in epic fantasy these are at the end and document information about the wider world that might not have made it into the story, but here it is where you sit down as a group and decide what tone you want your game to have, and your world looks like. What kind of place is it? What magic is there? What is religion like? What are the major cultures where the story begins? How would it feel to be in this world? Trilogy doesn't tell you any of these things, it gives you the tools to think through how you want your world to look.

This creates a secondary challenge - without knowing what the world looks like, how could I design character classes for this type of game? Trilogy answers this by going back to the fundamentals - instead of a conventional character class, the playbooks in Trilogy represent a narrative arc. Some of them, like The Fighter, The Priest, or The Magus, look like familiar classes. Others, such as The Volunteer, The Mentor, The Weapon, or The Defeated, are a little different. Character arcs have a set of turning points, story beats that allow you to advance along your arc after you have collected a certain amount of experience. Some are positive and others negative, you choose which ones you want to hit and when, but every character's story has its highs and lows and to get the most from the game you need to lean into both. A character can pass through three arcs as they grow and change, like the three volumes of a trilogy.

The aim of the game is to create a slower but satisfying sense of progression - instead of hit points characters take Stress and Harm like in other Powered by the Apocalypse games that can have both mechanical and narrative effects. That makes combat feel dangerous, but the game also offers more ways to solve problems without getting into combat - I have played games where the player characters never got into a fight, instead resolving confrontations through an ingenious selection of alternative strategies including "lying" and "vomiting magic ink all over the floor." I'm genuinely enthusiastic about this game - I think I would be as excited about it if somebody else had written it. It leans hard into the joy of discovery and the excitement of adventure - you can play it as spooky and whimsical or gritty and hard-edged and anywhere in between.

Because I was writing it I even got to make most of the examples of play roll out as the story of someone's game, something I always appreciate when I read it. It also contains every technique I use as a GM in the hope that even before people get the chance to play it (heaven forbid any TTRPG afficionado have books we haven't got around to playing yet!) people who read it will still be able to use that advice in their other games. So that's Trilogy, the game I've been working on for the last few years. I think it's pretty great and I hope you will too:

Obviously it's a full-priced game and that's a big gamble from an unfamiliar creator - if you want an idea of what it's like in practice we've got the CDS team back together and we're starting a streamed campaign so you have a chance to see it in action. You can find that over on Youtube: https://www.youtube.com/watch?v=NxpXacko9Nc

The first episode includes me notably failing to use OBS at both the beginning and end, and I can't make any promises things will improve in that regard, but it should be a good opportunity to see how the game shapes up from this start and with this crew I know it's going to be funny and take some wild swings. If you're interested in reviewing Trilogy or you really want to give it a try but you can't afford it, drop me a message

[lovelybrooke]

I imagine that Athena or Artemis would probably be the first of the gods to notice Zagreus's obsession with the player. Can I request what their dialogue would be like?

Below is how I think all the Gods would react to the player, listed in order of who figures it out the quickest.

Athena:

Of course, the Goddess of Wisdom, would notice her cousin's obsession first. She, and for the most part all of her family, are used to strange and extravagant displays of affections. It doesn't take a genius to figure out Zagreus has been pushing himself harder though the layers of hell and when gracing him with a boon, Athena comes to realize just how deep his obsession truly is.

Her dialogue doesn't directly address you like some of the others, but it's no less strange.

"Dear cousin, do you realize how risky your goal is? Once your father figures out, this won't end well. Regardless, perhaps this might help you in your task."

Artemis

Artemis is the Goddess of the Hunt, and so when Zagreus power and hunger for battle starts to surge, she notices right away. Though, Zagreus is hunting for something deeper, something far away, that not even she can trace. It entices her, and she can't help but grow a small interest in Zagreus's prey.

Her dialogue, like Athena, doesn't directly address the player, but instead Zagreus's obsession.

"Hmm--Zagreus, there is a hunger deep inside of you, I can feel it. It yearns for something greater. Greater than this hell you're trapped in, greater than Olympus, greater than yourself even. Maybe one day, this hunger will be quelled. Until then, here's something to hold you over.

Ares:

Like Artemis, the God of war is able to sense the bloodthirsty urge for battle growing inside Zagreus. At first, he simply believes it's due to his strength growing as he continues his attempts at escaping. It doesn't take him long to realize how deep, how primal, his cousin's urges are. Every time he strikes down an enemy, Ares is able to feel the darkness within Zagreus growing.

Ares is the first character to openly acknowledge the player, though it's subtle compared to some of the later characters.

"Zagreus, cousin. You are aware of this...feeling inside of you, what it is, right? I hope you know that if you choose to pursue this, your father will never approve. I, however, am rather interested in this endeavor and would like to see how it plays out. Here--take this, maybe it will be of use to you.

Hermes

If you ask Hermes, he swears he's been aware of the player the entire time. No one really knows the truth though, as he doesn't divulge information about you often, even to his ever-curious family. Hermes is a trickster by heart, and he takes great pleasure in asking Zagreus question after question about you, most of which Zagreus doesn't answer, for many reasons.

His dialogue is much more concerning, and it's most likely the first time you think there's something seriously wrong with the game.

"Hey coz, you think you're ever gonna reach them, this...person of yours. 'Cuz if you do, I would love to meet them as well! Thinking about it, it might just be easier to get to them myself. You wouldn't like it if I did, would you coz.

Zeus

The God of thunder obviously notices the shift in his children's behavior, though he's one of the later Gods to notice the players presence. This could be because of weak connection the Olympians have to Zagreus down in hell, but he doesn't mind. In fact, Zeus takes more of a supportive father like role when he comes to understand Zagreus's obsession.

His dialogue is strangely paternal, dark undertones seeping through every word.

"Dear Nephew, I have to say, you're proving steadfast in your devotion towards this unknown figure, it's comforting to see you so enamored with someone. I have to say, if you ever do find a way to bring them home, they would be swifty welcomed into Olympus along with you."

Poseidon

The God of the Ocean waste no time providing Zagreus help to get to you. Like his brother, he takes a fatherly outlook on Zagreus and his obsession. He doesn't see a thing wrong with encouraging his nephew's feelings, even if they're less than savory.

Poseidon's dialogue is similar to Zeus's, but heavier handed in its message.

"Come on, little Hades, escaping my brother's domain won't be that easy! You have to work harder than that if you want to reach your beloved. I know your father is probably less than pleased to hear about them, but don't worry, your better uncle will support you. Here--take this, it will surely aid you on your journey!"

Dionysus

The God of wine takes a while to notice the player, whether from his own ineptitude or drunkenness, no one knows. What they do know, is Dionysus loves to talk on and on about the player. Once he first takes notice you, he never shuts up about it. His siblings assume it's a product of drunken ramblings, but they couldn't be more wrong.

Honestly, his dialogue is the most unnerving, since he's talking to you, not Zagreus.

"Hey you. Y'know you don't have to hide behind the prince here, me and my family on Olympus will wholeheartedly except you. Just say the world and will find a way to get to you. Hey--hey! Zagreus, I was just kidding."

Aphrodite

Aphrodite finds out last because she isn't actually related to Zagreus, and so his connection to him is much weaker than the others. She probably finds out when Ares expresses his interest in you. Though when she does finally set her sights on you, she becomes enamored. Not just with you, but with the deep adoration Zagreus feels for you. It's a type of love so raw, that it could bring her to tears.

Her dialogue, like Dionysus, directly addresses the player, and it filled with sweet words that could quickly turn dark,

"Oh, you truly don't realize how enamored the little prince is for you. It's cute, really, sooner or later you're going to have some gods wrapped around your fingers as well if you're not careful. Oh--don't worry little godling, no one is going to take them away from you."

---

A/n: I know I didn't include Demeter, but I couldn't really think of anything for her since I still haven't gotten passed Hades second phase (I know, fake gamer alert). Anyway, I hope the dialogue is convincing, I really enjoy writing it. Please let me know if I forgot anyone.

[burr-ell]

Putting Terms on the High Shelf: Main Character Syndrome

As I'm watching C2, one thing I've noticed about Caleb's various sidebars to talk to different people is that he's still very much involving them—the conversations reveal various different priorities not just for Caleb, but for the people he's talking with. Liam's RP is often geared toward encouraging character work out of the other players at the table; it's something you see with Vax early on, and it's very present with Caleb.

So I find the accusations and warnings of Liam having Main Character Syndrome, which started during C1 but really ramped up in C2, to be rather shallow. Look at the contrast between the tables during this:

and this:

In C1x27, Orion adds pressure to the cast's already-frayed nerves with him, compounded from previous incidents of bad behavior, by taking up several minutes of time purely to himself—his only interaction with anyone else at the table is to ask Keyleth for help with alchemy mechanics (fun fact, early Keyleth was into alchemy!). This included:

An attempt to buy 1500 mirrors to build a light array;

A request to his father to send in his home country's army to Whitestone; and

An attempt to combine a fog spell and a sleep spell after being told point blank that it was mechanically impossible

This was all very obviously an attempt to make himself the hero in what is clearly set up to be a Percy-centric arc. (Worth noting, for the record, is that up to this point Percy had actually had very little focus and largely kept himself in the background, while Tiberius had been in focus for most of the show's run up to that point.) Laura snarks that he's like the giant eagles in Lord of the Rings and can just do everything, and if you actually watch the clip that I've giffed above, Travis's tone is genuinely aggravated. This, by the way, is all after Tiberius was notably not present for Percy revealing his backstory to the rest of the party in episode 24; while everyone else voiced concerns for him and went down to his workshop to check on him, Tiberius largely ignored this and went off to do his own business.

That is a selfish player. That is selfish behavior and a clear example of someone who thinks the story should revolve around them. There are several reasons Orion was asked to leave, not just because he fudged his dice rolls.

C2x62 is a completely different story. None of the conversations Caleb has within that episode are just a way for Caleb to gain information; he's engaging with what the other people are doing. When he asks Nott and Jester about the letter they wrote to Astrid, he reveals a little about himself—something he is particularly reluctant to do with Jester—and they are given an opportunity to respond. His conversation with Beau gives time for both of them to check in on each other and where they're at and lets Beau give her own perspective on the politics of the Empire, the Cobalt Soul, and Xhorhas. The discussion with Fjord lets them both level with each other a little and does more work for Fjord's character, letting him open up about his insecurities and issues, than it does for Caleb's. Caleb is still initiating these conversations and he still gets something out of them, but both the players and the audience still get the benefit of the other characters pushing and pulling against that in response.

Like many terms that get thrown around in this circle ("player agency", "manipulating", "metagaming", "going dark", to name a few), Main Character Syndrome has been so misconstrued and warped to fit a heavily biased perspective as to be almost meaningless. Main Character Syndrome is not when a character initiates a lot of conversations, even if you personally don't like the conversations for whatever reason. Main Character Syndrome is not when a character chooses to take a risk or push a big red button, even if you personally don't like the choice for whatever reason. Main Character Syndrome is not when a character has an arc or aspect of lore heavily focused on them, even if you personally don't like the character for whatever reason. (Particularly considering that arc focus is entirely out of the player's control; Taliesin, Liam, and Laura did not in fact force Matt to focus a significant portion of each campaign's lore on Percy, Caleb, or Imogen's backstories respectively.)

Main Character Syndrome is specifically about player selfishness—it's a player inserting their character into scenes or roles where they do not logically belong in order to make them the center of the story, as we see with the example of Tiberius. The camaraderie at the current table versus what was going on back in 2015 does not suggest that anyone currently sees anyone else like that; everyone is laughing at the jokes made at someone's expense, and everyone is getting something to do. Your favorite character may not always be flashy or in focus all the time, but then again, you wouldn't want them to have Main Character Syndrome, would you?

[percheduphere]

LET'S TALK ABOUT WHO LOKI CHOOSES

I've previously discussed romantic tropes in the Loki series in my meta here. This meta supports the former by counting each of Loki's decisions with each of Loki's love interests (Sylvie and Mobius) and where those decisions occur in the progression of the overall story of S1 and S2 combined. The end of S1 is the midpoint of the whole story. Bear this in mind as I track how Loki's decision-making shifts. You can even choose to view Loki's decision-making with respect to Mobius as platonic if you want. It doesn't change the plot, count, or character development.

I have to give Sylvie attention and credit where it is due. To not do so would not only ignore her legitimate importance in the series and Loki's development, but it would also undermine my own credibility as an essayist. Feel free to comment, but here are my ground rules: no hate and no yucking other people's yum.

S1E1: Loki chooses himself. We could make the argument Loki chooses to trust Mobius here, but I don't think we see Loki start to like Mobius as a person until S1E2.

S1E2: Loki straddles between choosing himself and choosing to help Mobius because he actually wants to. It helps that the latter serves self-preservation. Loki most obviously chooses himself when he bullshits Mobius at the RenFaire. His choice is more gray when proposing the apocalypse theory. To be conservative, I won't count this in Mobius's favor. However, I feel fairly confident Loki chooses to help Mobius (1) sift through the possible apocalypses because of this genuine reaction:

Loki is starved for praise. He's a centuries-old god for goodness sakes.

When a third option presents itself at Roxxcart, Loki chooses himself and Sylvie (1).

S1E3: Loki chooses to: 1.) help Sylvie through "attempting diplomacy" with the widow (2), 2.) help Sylvie with his "shit plan" disguise (3), 3.) be vulnerable with Sylvie on the train (4), 4.) sing Sylvie a song (5), 5.) help Sylvie get to the arc (6).

S1E4: Loki chooses to comfort Sylvie by holding her hand; their feelings for each other trigger a giant Nexus Event (7). Loki chooses to tell Mobius the truth about the TVA; if he didn't care about Mobius, he would have withheld this information (2). Loki chooses to trust Mobius (3). Loki chooses to reciprocate Mobius’s feelings of friendship (4). Loki chooses, with Mobius, to find and rescue Sylvie (8). Loki chooses to combat Renslayer with Sylvie (9). Loki chooses to confront the Timekeepers with Sylvie and gets pruned (10).

S1E5: Loki chooses to share a blanket with Sylvie (11). Loki chooses to stay in the Void and follow Sylvie to the end of time, "Where you go, I go" (12). Loki chooses to hug Mobius (5). Loki chooses to trust Sylvie's insistence that he intrinsically knows how to enchant (13).

S1E6 (THE MIDPOINT): The confrontation with HWR is tricky. Loki chooses to slow down and think about the consequences because he's learned the value of slowing down and thinking from Mobius (6). Loki chooses to kiss Sylvie back (I realize this is debatable for many Lokius fans, but I'm not going to argue this; 14)

S2 NOTES: For the sake of my own sanity, I am not counting Loki's unconscious and conscious timeslipping. You can refer to the counts for that in my meta here. I will also not be counting the near-infinite number of loops Loki refuses to kill Sylvie for "the good of the multiverse."

S2E1: Loki chooses to seek out Mobius for help (7). Loki chooses to be vulnerable with Mobius in the hallway (8). Loki chooses to trust Mobius's judgment that they only have one shot at stopping the timeslipping (9).

S2E2: Loki chooses to protect Mobius from Brad (10). Loki chooses to help Mobius reverse-engineer Brad's TemPad (11). Loki chooses to comfort Mobius in the pie automat (12). Loki chooses to follow Mobius's intimidation plan for Brad (13). Loki chooses to convince Sylvie to join his and the TVA's cause (Sylvie declines #1; 15). Loki chooses to hold hands with Sylvie to combine their blast power (16). Loki chooses to follow Mobius back to the TVA (14). Loki chooses to ask Sylvie to stay and help (Sylvie declines #2; 17). Loki chooses to comfort Mobius in the Control Room (15).

S2E3: Loki chooses to humor Mobius's sightseeing (16). Loki chooses to try cracker jack (and hates it; 17). Loki chooses to prioritize the Loom per Mobius’s advisement (18). Loki chooses to give into Mobius's tandem bike request (19). Loki chooses to plead with Sylvie to spare Timely and asks for her help (NOTE: this is Loki's 3rd request; writers love the significance of threes and Sylvie turns Loki down all three times; 18).

S2E4: Loki chooses to defend Mobius in the Pie Automat (20). Loki chooses to compare (through implication) Thor's relationship with Jane with his relationship with Mobius (21). Loki chooses to use this same comparison to assure Sylvie that her mercy on Timely was an act of mercy for all people on all timelines (19).

S2E5: Loki chooses to look for Mobius in the Pie Automat (22). Loki chooses to look for Mobius in the Control Room (23). Loki chooses to recruit Mobius (24). Loki chooses to quote Mobius's "form and function" to Don (25), Loki chooses to help Mobius through the time door (26). Loki chooses to promise Don (Mobius) that he can return him to any point in time (27). Loki chooses to recruit Sylvie (20; she turns him down a 4th time). Loki chooses to argue with Sylvie that Mobius should have a choice (28). Loki chooses to listen to Sylvie that his friends are better off without the TVA (21). Loki chooses to let Don go for Mobius’s own good (29). Loki chooses to control timeslipping upon hearing Sylvie say "Do you think what makes a Loki a Loki is that we're destined to lose?" (22). Loki chooses to rewrite the story to save Sylvie and Mobius (23 / 30, respectively).

S2E6: Loki chooses to reenact all of Mobius's small gestures of kindness even though they cost precious time: he chooses to hold Victor's glasses (31), he chooses to compliment OB's "not to scale" model (32), he chooses to recite an abbreviated version of his and Mobius's bickering over "who's in the suit?" (33), he chooses to finish Mobius's joke about taking OB's job (34). He chooses to seek out Past Mobius for guidance and comfort (35). He chooses to shake Mobius's hand (36). He chooses to talk Sylvie out of killing HWR (24). He chooses to sacrifice himself to save Sylvie and Mobius (25 / 37, respectively). He chooses to listen (and watch?) to Mobius say, "Let time pass" (38).

Loki chooses Sylvie: 25

Loki chooses Mobius: 38

If I missed any decision points for either Sylvie or Mobius, let me know and I'll update the meta and counts accordingly.

Ultimately, Loki's sacrifice is for BOTH Mobius AND Sylvie. BOTH ships are important to the narrative and Loki. However, between the two of them, there is only one person who has consistently chosen Loki since S1E1, never rejected Loki and his requests for help, and who has, in turn, unknowingly been chosen by Loki in kind. Need a meta for Mobius’s decision-making? Here it is.

[explodo-smash]

End of manga sees Izuku create his own 'vestige realm' (theory)

[Originally written on Twitter by @wolvesandvisions]

This theory was something I'd kept close to my chest for some years now that I think may actually have the potential of coming to fruition.

I believe by the end of the manga Izuku is going to have created his own 'vestige world'. Alongside letting go of OFA, the “cursed” power, we'll see the birth of a new society. This will indicate the birth of truly making his power, his heroism, his own.

What we’re witnessing in the manga at the moment is the complete destruction of OFA as we know it. In a metaphorical sense and in the visual sense that Yoichi and the other holder’s prison is literally falling apart thanks to Shigaraki.

Now something I noticed, is that this visual of a park we kept seeing All Might at, I think may be the same one in the manga Chapter 96 (2016), redrawn in the anime, and referenced to again in an art by Umakoshi at Comiket (2019).

It keeps coming up. The chapter 96 version of this page reads as translated: “I wish that we could always sit and bask under the soft light filtering through the trees…☆Inherited spirit and pride!”

Izuku and Katsuki have absolutely inherited the spirit and pride of All Might, they are both the start of this new era. However, Izuku is the one with the burdens and wills of 9 people on his shoulder right now. At the end of the day… OFA is cursed, it can't stay the way it is.

Whether he’s quirkless by the end, or gets some crazy new power, the removal of OFA is also the removal of the curse/burden.

He needs to be able to be a hero on his own terms, without the beck and call of other people’s expectations in his ears. That’s why I think symbolically him truly “making the power his own” will entail him creating something entirely new with it.

@kikibats' language when I shared with her actually surmised it well:

“The part that’s OFA and AFO connected crumbles away, but Izuku’s own realm stays.”

And Chapter 412 just happened to give a ton of supporting information for this potential.

1) The idea that Izuku sees a correlation in ‘being without a personality’ and not having a human heart. His ability to overcome his feelings of worthlessness.

[X]

Choosing to believe in himself and others beyond that assertion IS his power.

2) Another thanks to @kaname_clan and @kikibats who helped me get a greater understanding of this; what we may be witnessing with Star and Stripes - and these odd lines - are Izuku “going beyond singularity”.

Which from my current understanding is the function of generational quirks becoming “too strong” or going beyond what the average human can take on the body.

Izuku appears to be on the verge of death, a big theme in this final arc of the manga has been everyone getting their quirk awakening. So far, every character but him has gotten one. He obviously got one in the most literal sense, but all of OFA’s various quirks aren’t his.

OFA, bless his heart, is like a series of hand-me-downs that in all his brilliance he made work for him. However...in a series about generational trauma, responsibility, and heroism, I think it's really his turn to overcome all of this.

I think the release of OFA will allow him to have a “quirk” awakening. The “awakening” of his personality, individuality, his heroism. And I do think this may visualize itself in his origins manifesting in that same park under the tree.

This is just what I'm thinking! Being hit with that visual of the park metaphorically or literally since 2016 has my eyes wide open...so we'll see!

[that-nerd-who-writes-fanfiction]

I need a fic where Merlin doesn’t know he’s Emrys and doesn’t know about his destiny, he’s just a good person who sees someone constantly almost dying and saves him because he can’t just sit and do nothing.

Kilgharrah doesn’t exist. Plot holes aside, the bitchy basement gecko can go to hell.

Anyway.

This all takes place during The Beginning of The End episode.

Mordred doesn’t call Merlin Emrys, he just cries out for help (and for his dad). Merlin steps in, the rest of the episode is the same but Merlin is determined to help the druid boy he found. Without crusty dinosaur harping on, he gets to choose the right thing for his own morals and critical thinking. Gaius is unsurprisingly resistant, so Merlin is being extremely careful, then Arthur finds him in Morgana’s chambers while he’s healing Mordred.

Let’s go with Morgana already knows about Merlin’s magic and he’s been helping her too against Gaius’ advice.

Arthur feels betrayed and is upset because Merlin can’t seem to give him a straight answer about anything. It’s all still new to him, but he’s learning that Merlin is good even if he doesn’t answer any of Arthur’s questions about magic or why he doesn’t use spells or anything like that. He’s angry but he can’t punish Merlin and free Mordred without being hypocritical, so he mostly sulks.

In all the perceived lies, Arthur snaps and instead of punishing him, he doesn’t let Merlin leave his side until he tells the truth.

So when Arthur takes Mordred back to the Druids, Merlin goes with him. Iseldir greets them as “Emrys and The Once and Future King” They’re both confused, but obviously Arthur is the future king so Arthur asks who Iseldir thought Merlin was.

Iseldir reveals their destiny that Merlin is the god of magic. Merlin is silent and Arthur is so confused and hurt about why Merlin didn’t trust him.

Iseldir answers all of Arthur’s questions about destiny and the prophecy while Merlin doesn’t say a word. He takes it to mean Merlin is ashamed or something similar about the truth coming out, meanwhile Merlin is grappling with the fact that he supposedly isn’t human. After days of Arthur picking on him for “lying” and all the unintentionally cruel jibes, when Iseldir tries to say Merlin was blessed with his power and that it was something he should be grateful for.

Merlin breaks down in a Percy Jackson style “I’m not a god! There’s something wrong with me! I get that whatever I am isn’t supposed to happen, I know I’m a monster, believe me. I never even learned magic and every time I’ve tried to get rid of it, it’s almost killed me! So don’t tell me that this is a blessing, that this curse is something I should be happy about because it’s the reason I’ve spent every single day of my entire life terrified!” Then he stops for a second and the tears roll down his cheeks, “I’m sorry, but I’m not what you think I am. You need to find someone else to believe in.”

(Skip to the end for a happy ending, this is angsty. Warning for dark!Arthur and major character death)

Arthur thinks Merlin is lying and banishes him on the spot. Iseldir warns against it, but Merlin is just so tired so he doesn’t fight it. He’s left broken and believing he’s a monster, so be leaves to protect his friends.

Until a month or so later Arthur is on a hunt when he gets separated and lost, then injured by bandits. Merlin finds him, (he’s been sent off by the druids for failing this destiny he knew nothing about, in search of a solution but they’re not very forthcoming with information) and Merlin heals him. Then they get all the diamond of the day moments while Merlin is nursing Arthur back to health until he succumbs to infection.

Merlin gives his life for Arthur, knowing that he’ll be a good king. This leads Arthur to become really dark, he kills his father and takes over Camelot, welcoming magic but killing anyone with a different opinion. No one is safe, war breaks out and Camelot falls. When Arthur dies, young and during an uprising, he meets Merlin again in Avalon. Merlin doesn’t recognise Arthur with all he’s become, and Arthur is punished to watch all his people suffer with his old mind while watching Merlin continuously pushing him away because “he’s waiting for Arthur, he shouldn’t be alone when he gets here. He would’ve been a good king, he needs someone to take care of him now.” And it breaks Arthur’s heart to hear it every time.

That’s all I got so far, it could be that they’re both driven mad waiting, Arthur by watching his people and Merlin by waiting for a man he’s doomed to never recognise again. I’m not sure, I haven’t gotten that far.

Or for less angst, hurt/comfort where Arthur has to realise that Merlin is just as in the dark as he is, he really doesn’t know any of the questions Arthur had and he’s probably been looking for answers a lot longer. They work together to fix everything and while it’s difficult, Merlin still has issues with lying to protect his friends (intent/outcome issues) Arthur is too trusting still and they have to deal with Morgause and all the other threats but they overcome it together. Albion is united and they live happily ever after.

[lo-fi-charming]

so i've been keeping up with TMP as it's airing, which has been fun, it's actually really nice to experience this kind of story weekly since i came into TMA late and listened up to the s4 finale in like, a month or two. i've been enjoying the new characters and statements, and while i was worried i'd have trouble actively listening (my attention span/executive functioning can be really variable when it comes to podcasts), it's been surprisingly easy for me to actually listen to each new ep the day it drops publicly

all this to say im enjoying the show! but i've found myself feeling increasingly frustrated with a couple things i keep seeing when it comes to discussions of it

to me, it seems... there's been a pervasive reluctance to take TMP as what it is. and i do understand that. it'd be stupid to pretend TMP doesn't exist exclusively because of TMA and that show's success, that it's a successor that was pitched as being similar. it's a story being written by the same people (plus guests), in the same universe (roughly), going for about the same tone and maybe themes.

i just feel like it's a bit of a shame, though, that so many folks seem unwilling not to carry TMA with them when they're engaging with TMP

i don't know where or when it was said, but i swear there was a comment made by jonny and/or alex about how TMP will have some commonality with TMA in terms of world-building, but also, people who listened to TMA first may find themselves theorizing in the wrong direction because we're judging things based off what is no longer concrete, reliable information; things are going to work differently in the world of TMP, and since we have preconceived notions on what is relevant or how things work, that's going to influence how we engage with information presented in TMP if we let it. and that's not even considering the fact that they've been explicit in conveying the idea that TMP was written so you can experience it fully without having listened to any of TMA at all!

i'm very much someone who tries to engage with media on its own terms, largely taking things at face value until i'm given reason to suspect otherwise. that's something i'm trying my best to still do with TMP, even though obviously, i've also listened to TMA and am basing some of my thoughts and personal theories on what we know from that

but that's what i mean to say i guess, it's something you have to actively choose to do. and it feels like, just based on what i've been seeing in fandom spaces, that a lot of people are having a bit of an odd time with TMP because of a reluctance to do that?

i think the easiest way to explain what i mean is to point to a general acceptance, already on the level of fanon it seems, to interpret the computer voices as Our Jon and Martin (+ Jonah/Elias, maybe). now obviously we have the actual real world reason why their voices are present in TMP, because of course jonny and alex were going to come back as voices in the show in some way. and i 100% agree it's a perfectly logical conclusion to then interpret their inclusion as being related to Jon and Martin somehow. i'm personally very into the theory that it is in no way them - not in any way that matters - but specifically their voices that have been stolen (by the Web?) as a means to help spread fears in other realities. but that's really not how i've been seeing people play with the concept? it seems largely 1:1. and again, i totally understand where people are coming from with that - especially when you consider how it can be a super fun concept for horror and angst, or even just the fact that folks want an excuse to carry their favorite characters into this new show and still play around with them. i promise i don't mean to bring this up as a means of making anyone feel bad or like, chastised for interpreting things a certain way and playing in the space!

it's the biggest example of what i mean though, and was a huge point of frustration for me when we were first being presented with TMP. it's not just that i don't want the voices to be Jon and Martin proper (i am very into their Ambiguous End, i believe it's best to leave that as a space for fans to play in); in all honesty, i think it's kind of a shame and maybe even a bit boring (im sorry!) to be engaging with TMP this way

and it's not just stuff like that - i've been seeing a fair amount of people expressing frustration and feeling disappointed with how TMP is hitting, but i mean, i feel like that's inevitable when you're going into it expecting More TMA? i saw at least one person basically say "ive been waiting for it to make me feel the way TMA made me feel, and it hasn't yet", and i really just feel like that's setting yourself up to be dissatisfied! beyond the fact that we're only 5 episodes in and the story has barely gotten a chance to happen yet, a huge element of this new show is that it's being approached as a largely collaborative effort, it seems, with lots of guests coming in to help shape the story and more writing and plotting influence that isn't jonny

obviously it's fine to not be super into that! undoubtedly it's a question of taste. but you do have to acknowledge that that's the case and adjust your expectations accordingly, or else you're not going to have a great time

i really like TMA, i had a great time with it, but even if TMP is a sequel to its parent podcast, it's not the same thing - and personally, i don't want it to be! i do hope that's a sentiment that is able to be more widely felt by some fans as we gain more distance from TMA while TMP is airing. i just think more people would be able to enjoy it that way, and come up with more interesting theories and interpretations of things! but those are really just my own personal thoughts

[writingquestionsanswered]

Hey this is pretty out there but I'm a virgin who's trying to write sex scenes and my biggest concern is I won't be able to convey the emotions and feelings right... any tips?

It would be super helpful 💖

Writing a Sex Scene Without Experience

The thing about sex is it's not just one thing that's experienced one way. No one can say "write it like this" and you're good to go. The whole act--the build up, the actions, the feelings, the emotions--all depends on the specific people involved, who they are, what they know, how they relate to one another, exactly what happens, past experience, even personality and mood. And to top it off, all of those things matter for the person writing it, too.

This is why experience is really helpful if you're trying to write a sex scene, because you can take that experience and knowledge and put them through the filter of your characters' personality, mood, experience, etc. And obviously, you can't really do that without experience because you have no baseline to filter through your characters' own point-of-view.

So... that said, there are two alternatives you can fall back on if you need to write a sex scene without experience:

#1 - Get Fictional Experience - Believe it or not, fictional experience does make a difference, and by "fictional experience" I mean watching TV shows and movies with sex scenes, reading books and stories with sex scenes, and reading informational articles about sex scenes. You don't even need to read or watch anything explicit... there are various "spice" levels to all of it. How explicit you get into things is entirely up to you, so you can match the level of fictional sex scenes you experience to the level of what you want to write. Just be sure to pay close attention to build-up (including what the relationship and interaction are like beforehand), body language, facial expressions, actions, etc. (And when reading these scenes, pay special attention to word choice, pacing, and sensory detail.) Also: although I'm not going to write such a guide, there actually are writing guides out there (including whole books) that go into detail about how to write these types of scenes. You'll still want to filter the information through your own characters' POVs, however.

#2 - Fade to Black - Some writers without sexual experience choose not to write sex scenes at all, instead using some form of a "fade to black." I talk about different ways to do that in my post Non-Explicit Sex Scene. There's still plenty of opportunity for exploring the deep romantic feelings that lead up to and follow intercourse, but you don't have to worry about fitting those feelings into the actual sex act. I have a lot of posts in my Relationships: Romance master list of post that can help you with all of that.

Happy writing!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[metaben]

The Astral Prism Isn't Grindr!- Why the Emperor didn't catfish you.🦑

Very long, rambling post I wrote while manic at 4 am. Enjoy!

I feel like the worst thing you can actually say about Emp in regards to his actions towards the player is that he lies by omission. But even then, to consider it lying you basically have to work from the perspective that you as a player, person, character or whatever, are entitled to know everything about someone you just met, who might have some very good reasons for not wanting to reveal certain things

He didn't "catfish" you the prism isn't grindr lmao?! And the game/companions/etc repeat to you over and over that the Dream Visitor is some kind of manufactured vision. You all have one and it's specific to your individual minds. He wasn't exactly doing some deepcover shit with a fake backstory to get your cryptowallet information or whatever real-life equivalence you keep trying to make. As if you run into alien squid monsters every day or something!

It's doubly bizarre because there is an extremely popular companion character whose entire arc is ACTUALLY lying to you about who they are, only admitting it when you catch them attacking you in your sleep, and then goes on to try to ACTUALLY manipulate you with sex and intimacy while at that point, not actually feeling it. This is the most popular character in the fandom btw- Astarion.

Emperor's morality is held up to a ridiculous standard. Not even the companions are held to that level- not even close!

A better equivalence to his situation than "catfishing" (a term completely exclusive to our world) would be if a sentient, alien creature was stranded on our planet and had to use a disguise to y'know....not be shot at and killed by confused humans? Why the heck would your brain first jump to catfishing? Girl if you approached your DG as a tindr date that's on you! Lliterally the only prompt the game gives you before creating them is "you need a guardian" (At least currently that's how it works, after official release.)

if you met a kind of weird guy and fell for him and he then revealed he's actually a sentient squid monster, I don't think your first response would be "OMG YOU CATFISHED ME?" I'm pretty sure it would be "HOLY FUCK A SQUID MONSTER!" because it would be very obvious and apparent (by virtue of them being a squid monster) that the intent was not to "catfish" you, but to survive a world that would be actively hostile towards him, on sight.

We accept this type of "ambiguous morality for the sake of survival" from characters like Astarion who are traditionally attractive, but we don't accept it from a being whose very appearance, forces them into that position of moral ambiguity. Emperor is not afforded the same privilege of even being able to consider full honesty, because just one look at him could make someone hysterical. Hiding himself from you is not an active choice he's able to make, anymore than a turtle can choose to break open it's shell- it will die.

Even if YOU wouldn't kill him, what about companions like Lae'zal, who are already suspicious of him and will definitely cut him down at that point? Even if you think that would be a good thing, you would then lose your protection from the tadpole/the Absolute. The game basically wouldn't exist without the Prism.

Let's also not use "well Astarion is traumatized" as an excuse here. Emperor is pretty obviously traumatized as well, in addition to being a brain-eating squid monster and having to manage that part of his nature, the way Astarion has to handle his. Yet he's still more up front than Astarion was. Astarion can accidentally kill you while drinking from you and he still doesn't reveal who he is to the others, AND pretends he doesn't know what happened to you lol.

Note my point here isn't "Astarion bad" but simply that if you have room in your heart to sympathize with characters like Astarion, then there's no reason you can't squeeze my man Emp in there too. He doesn't do anything significantly worse than any of the other main characters but is the most hated, and it's literally because of this ridiculous perception of him "catifshing" the player. The most media illiterate take I have ever seen in my life, honestly

Like first off, he's a squid, and secondly! ☝️ Read all that again.

tl;dr if you feel "cafished" by the Emperor you simply weren't paying attention for more than half the game. Fantasy might not be for you if you can't remove the plot from real life circumstances and turn complex fantasy monsters into human romance scammers, as if they're actually alike in any meaningful way.

Read more books maybe. That might help.

[lesbianphan]

The Myth of Sisyphus and PHILosophy (lol) - a brief essay on two nerds playing a game that might not be that deep but hey who's gonna stop me from pushing this boulder up the hill of writing this?

Disclaimer: it's finally my turn to use my useless degree that included a lot of literary analysis for something extremely important to society: analyzing Dan and Phil content!!! yay!!! This is about to be incredibly nerdy and waffly, but like what else are you doing with your time anyway on phannie tumblr?? (pls read it, I just reread Camus for this for the first time in years okay I'm dedicated to my craft)

"The struggle itself towards the heights is enough to fill a man's heart. One must imagine Sisyphus happy." Albert Camus

As a part of Camus' essays on absurdist philosophy, The Myth of Sisyphus deals with the pointlessness of existence, through retelling the story of the greek myth about the titular character who, as a punishment for defying Death, was condemned to spend eternity pushing a boulder up a hill just to watch it fall back down. That may sound bleak, such is the futile nature of getting up every day and doing tasks, after all.

However, that's not really what the essay conveys. As the quotation provided in the beginning shows, Camus' takeaway about the myth of Sisyphus isn't about how easy it would be to take the option of not engaging at all with the repetitive tasks that make life what it is, or even focusing on how disappointing this pointlessness is. It's about how the journey of getting up everyday and motivating yourself to hit the peak of the hill is all there is to life, really. The absurd conclusion is, ultimately, that pushing the boulder up the hill everyday is what true revolt against the senselessness of the universe is. If there is no reason, we make the reason by climbing up with our rock everyday.

We choose to be happy every day and appreciate our rock, our hill, our existence as a whole. We choose to believe Sisyphus is happy, and, as disappointing at it may sound at first, it's worth it to live your existence, as long as you decide to appreciate your present more than your future (the destination, that elusive peak of the hill).

In Dan's words, you decide to have "just one good night" together every night on tour, you appreciate the journey of climbing out of that mental health hole again. You climb up that hill again and again, because it's worth it, and there are things - bigger than yourself or your personal boulder or even your destination, - that are worth fighting for every day. You embrace the void, and have the courage to exist today, not tomorrow atop the hill.

As Camus' Myth of Sisyphus was, admitedly, one of the inspirations behind We're All Doomed (and it shows!), it makes it even more intriguing to inquire about how much of their reactions to that particular game about Sisyphus informs their perspectives on the world and their personal philosophies.

As a disclaimer, I must add: I don't claim to know Dan and Phil personally, and I only have acess to the parts of them they decide to share, the performing side of them. So, quite obviously, I can be fully off the mark on this one. Still I think it's interesting to dive into, if not for accuracy, at least for better understanding of the personas they portray online, and how their worldviews bleed into it.

The first big point a lot of people brought to the table is the shift in Dan's philosophy ever since writing and performing We're All Doomed and (most likely) a lot of therapy and work on himself over the years. Gone are the days of existential crises being treated as a joke, or mental health in general being discussed without care for what the audience may take from it. During the video, it's quite apparent that he tries very hard to mantain that voice of reason (sometimes breaking it out of frustration, which is fair!), to somehow guide us into an understanding of what this philosophy means to him personally and to his self-proclaimed magum opus WAD.

This is relevant, of course, insofar as this becomes the thesis of the video, silly gameplay and jokes aside. So I couldn't not mention it here, as it's extremely noticeable and commendable of him to now have a different kind of perspective towards the topic of mental health, in this more mature era of their content. You can tell it's relevant to him to try to get the point of the myth across, in a way that tells his audience, as much as it tells himself, that giving up isn't a choice. You must keep pushing that boulder and you must believe that Sisyphus is happy, and so will you be during that journey up the hill. Even when it falls down again and you meet frustration, you pick yourself back up and keep trying to enjoy the present once again.

Secondly, regarding Dan's behavior during the gameplay, it's notable that he gets extremely frustrated when the boulder falls down (who wouldn't?). However, he always tries to catch it and put it back in the path upwards, instead of throwing his hands and giving up like Phil seems to do. This shows, very loosely, how he handles frustration in his own life: trying to fix things and get them right on path again. It's sometimes the most difficult choice to make, but it's extremely corageous to just keep trying in face of extreme frustration. We've seen it all over gaming videos, but also on his own personal projects getting shut down, and Dan still insisting on carrying on creating things that are personal to him, even in face of rejection.

Phil, however, seemed to give up out of frustration extremely easily, so much so that Dan kept pointing it out how he'd let go of the controls and let it happen. It might not mean much, but since he himself claims he gives up on things that are too difficult, it might just be an aspect of his personality to literally let go in face of things he perceives as impossible to achieve.

It is also notable that when he made a mistake, no matter how competitive they usually are on the surface, Phil decided to ask Dan for help, or try to tag out entirely and hand it over. This may not only be related to frustration, but also to knowing how to ask for help, and also a belief that Dan is "the strongest one out of both of us" and he will be there always to help (quite adorable). Dan's tenacity in front of difficult situations is a great complement to Phil's anxious eagerness to hand over the controls when things get overwhelming.

It's interesting to point out how their personal worldview influenced their gameplay as well. Dan was focused, sharp, driven to get to the top of the mountain by keeping in complete control of the boulder at all times. He held on tight to the challenges and kept going, and he wasn't afraid to run back and catch himself enough to try again. Phil's style showed something very interesting about him that is notable in gaming videos in particular: Phil's propensity for making little goals and celebrating the little things in the path to a goal.

Getting through one obstacle that was once difficult is enough to make Phil seem content with his progress. He celebrates every little step of the journey and, in that way, it's easier for him to appreciate it naturally. He's focused on the little tasks more than the big picture, and that makes the experience more enjoyable. His goals shift, of course, as they progress through the level, and the difficulty ramps up. Even so, he's still more likely to point out that's the farthest they've gotten and, hey look at this ramp, let's get through this ramp and then we've won, because that's my goal right now, and that's enough to make me happy in the present.

This counterbalances Dan's more bleak outlook wonderfully as well. While Dan is focused on making it to the top of the hill, and gets extremely discouraged seeing there's a lot more ahead they'll never get to experience, Phil's view is that they got through that one challenge and, surely, next time they'll get through one more, and so on and so forth. Focusing on smaller things is, ultimately, a good way of finding happiness in the process of pushing up that boulder.

Moreover, Phil's brief comment about how you could "make up little stories in your head" is also extremely telling of the kind of person he is. As Camus' philosophy claims: the only way to live with an absurd world is by living through it and learning what it means to be happy in a world that doesn't make sense. In Phil's mind, a bearable way to get through the harrowing experience of every day existence is making up stories, which matches up with his creative mind. Art and creation are indeed things that can make life worth living, and it seems that even subconsciously, that's the path he'd choose against the pointlessness of repetition. The joy of creation is, certainly, and extremely human and beautiful way to find meaning in life.

The most interesting point I'd like to raise, though, is how they got through that game together: as much as Dan accused Phil of distracting him, it was interesting to see that he didn't notice that's entirely the point. The boulder falling down is nothing compared to the stories we share, the conversations we make. What is important is the journey you take, and hearing about your best friend's weird school inter-sports anecdotes, even if you have to start over because you got distracted.

And that's entirely the point I'd like to leave this of with: pushing up that boulder is only worth it if you learn to live, if you learn to love, if you learn to enjoy the present moment, instead of focusing on that ever elusive destination. Therefore, what makes not only the video interesting, but also the game bearable at all, is their interaction with each other. Much like in life as partners, Dan and Phil would, obviously, climb that hill together. They would find the joy in the little moments together, laugh, yell, get frustrated, pick each other back up again in moments of frustration, and keep going up that hill together.

The only way to live is if one imagines Sisyphus happy. The only way to exist is if you decide that, no matter what, you'll create your own meaning. The only way is to find joy in the now instead of later. The only way to make those grueling day to day tasks happy and fun, is by choosing hapiness. Dan and Phil have, in every sense, decided to keep climbing up that hill of existence together. It may be slow and clumsy and loud at times, but it's their own experience. Ultimately, the only way to experience that gaming content is by imagining Dan and Phil are happy to make it for us, and that we can all share a little bit of our hill in moments of laughter and community. That's what makes life worth it in the end.

A/N: this may be the weirdest thing I've ever done, pls accept me for who I am, thank!

[relicsongmel]

Thinking about Iris' very open disdain for spirit channeling and how it seemingly contradicts many other elements of her character.

Let me explain—Iris prior to the end of BttT is a woman who only knows facades, covering up the truth, and only presenting herself exactly as she wants others to see her. We see this over and over again throughout the course of the story: she hides her real identity while dating Phoenix, she does damage control for Dahlia and Godot to help them avoid blame for their crimes, and she is extremely selective about which information she chooses to disclose to specific people depending on whatever role she finds herself playing in that moment (daughter, girlfriend, accomplice, etc). Her demeanor as a whole is also rather meek and unassuming, and she's shown to be exceptionally kind; she expresses favorable opinions on most everyone she meets, even those continuously treated poorly by other characters (like Larry) or those that have objectively done reprehensible things (like Dahlia).

All of this stands in stark contrast to her saying in no uncertain terms that she hates spirit channeling:

This stands out to me because it is one of very few things that Iris is completely forthright honest about in the early portion of this case. After spending all day avoiding Phoenix and now carefully dodging his questions towards her in hopes of preventing the truth of her deception from coming out (all of this while actively avoiding her responsibilities at the Inner Temple because of Larry's "blackmail" letter which also threatened to expose her "secret"), why is this the one bit of truth she chooses to divulge here? Or rather: why is this the one thing she seemingly cannot lie about?

Obviously the answer lies in Iris' past and the permanent damage that was done to her and her family due to the politics of the Fey clan, with the Kurain Channeling Technique at the root, and the DL-6 incident as the event that brought everything to ruin. Iris bore witness to her mother Morgan losing the title of Master of Kurain due to her inferior powers and the despair that caused her, then three years later saw her aunt Misty who, despite purportedly being so much better than her mother, made a mistake while channeling that led to an innocent man's conviction, disgracing the Fey name and causing her to flee the village in shame. With this in mind, it makes sense that Iris would feel so strongly about spiritual powers doing more harm than good; after all, she has firsthand experience of the damage that can be done to the women that have it.

But what of the women that don't have it—namely, Iris herself? What happens to a spirit medium, born of the Fey bloodline, daughter of the then-master of her channeling school, when she's shown to not have any spiritual powers? I'm of the opinion that Iris' hatred is not only a product of what she's seen happen to her mother and aunt, but also very closely tied to what is, essentially, her earliest failure in life—after all, what good is a medium who can't channel? Fey women are raised to believe that their worth is linked to how well they can perform the service of their clan, which is the same reason why Maya beats herself up for failing to channel Mia in Turnabout Goodbyes and Pearl does the same with Dahlia later in this case. In a sense, Iris' hatred of spirit channeling is an externalization of her own self-hatred—unlike Dahlia, who mainly copes by lashing out and seeking revenge on those who wrong her, Iris is far too gentle and loving to lay blame on any one person. But all that repressed guilt and anger still has to go somewhere—and it manifests through this one small crack in her otherwise flawless facade. The one thing she cannot bring herself to find beauty in no matter how much she tries. The one thing that should have given her purpose but didn't—leaving her no choice but to mold herself beyond recognition over and over into roles that aren't truly her own, but at the very least give her meaning where she was denied it before.

And knowing her? She probably hates that flaw more than anything.

[rriavian]

So I'm sure this point has been made already but something I really enjoy about the Corinthian (specifically in the show as I haven't read the comics) is that the entirety of season one is just him finding increasingly elaborate ways to avoid interacting with Dream.

And I love it because it's the smartest thing he could have done.

Desire technically does something similar but that's a different point. Typically the 'villain' plots to have at least one moment to gloat over their fallen enemy. Arguably we should have seen this in episode 1, once Dream is trapped, because it's the perfect moment for the Corinthian to saunter down to the basement and be like 'haha I've just told Burgess all of your secrets and I'm going to leave you here in this glass cage I told him to build'.

But the Corinthian doesn't do that.

For an antagonist that enjoys indulging in his vices the Corinthian shows impressive impulse control when he chooses to. He keeps away from what is perhaps the biggest temptation of all.

There is so much I could say about that specifically, but I might come back to it another time. The point is that even though there shouldn't really have been any risk the Corinthian leaves as fast as he can, hoping to never come back, and while I'm sure he felt tempted to taunt his creator he never does. Then when Dream is free the first thing he does is try and get someone else to confront him, and when that doesn't work he follows Ethel to where John is. But the Corinthian only interacts with him enough to make sure he's on his way to the ruby, doesn't go with him, because he's not interested in getting caught up in the battle himself.

And the Corinthian doesn't even want to make it obvious he's helping at all.

Yet he's still prepared. Though the Corinthian only acts when Dream is free he still knew exactly where to find Ethel, who she was, what she'd stolen. That confrontation may have sent him back to the Dreaming (arguably the first time the Corinthian indulges a little of his urge to taunt though he only says he'll fight Dream if he comes after him, not that he's already making a move) but Ethel's amulet doesn't really do much to slow him down.

It's a near miss for sure.

It could have put him directly in Dream's path if timings had been different but the Corinthian doesn't lose his cool. In fact, as soon as he realises Dream isn't in his realm he slyly starts seeing how much information Lucienne might tell him. Her neutral greeting already made it clear she wasn't outright suspicious of him. It's a great scene!

(Again I could ramble about it.)

The Corinthian knows that he doesn't have the power to defeat Dream himself but he's smart enough to consider what else he can do. He knew enough about how to hypothetically keep Dream trapped to the point of advising Burgess on it, had obviously thought about it, and crucially ended up being right. Diving into the second half of the season would make this post way way too long, but the Corinthian is still trying to play things from behind the scenes, figuring out who else he can use to attack Dream.

He spends the whole season trying to stay hidden and at no point did I think it made him seem weak.

Alongside all else he is the Corinthian is shown to be methodical, patient and calculated. Realistic. It's a really nice demonstration of character for them both - for him and Dream - the Corinthian understands how powerful Dream is and never lets himself forget it, which means we as the audience never forget it. The inequality in power is built into the story, he constantly treats Dream as the biggest threat, someone who could wipe him out of play if he revealed himself. It makes for a very satisfying antagonist, one who actually seems to use their brain, because the Corinthian knows exactly what he's up against.

And it shows how terrifying Dream is to his enemies.

Because he's the antagonist of the Corinthian's story. One the Corinthian refuses to give in to, rejecting every opportunity he might have had to manipulate his way back into Dream's good graces, to return to the Dreaming with the rest. While I do think the Corinthian believed he wouldn't be forgiven no matter what, I still love how he stands by his own convictions, and though there are similarities with Gault I find his reasoning more complex and compelling. However we might consider the morality of both characters, however we might weigh the merits of their perspectives, from the Corinthian's point of view Dream is very much the villain. And he isn't an easy one to defeat.

The best chance anyone has against him is to run, to hide, maybe try and delay him with a trap if circumstances permit, but you better hope he has better things to do then give chase.

The Corinthian doesn't try to fight him.

Instead he does everything he can to stay out of Dream's way right up until there are no other options.

[changeling-fae]

You know, thinking about how Raphael and the Emperor fill similar roles but with different methods and how Raphael’s “better the devil you know” takes on a double (triple?) meaning. Raphael straight up tells you what he is and uses that as leverage against the Emperor who deceives you pretty much the whole time.

And for a lot of people it works, people in general prefer honesty up front and while Raphael is absolutely a shady devil, most people would respect his candor over being lied to from the start. Not everyone of course, the Emperor’s tactics still seems to work on a lot of players, given how many never learn he was manipulating them from start to finish.

But I really do like the scene of Raphael laying out all his cards and giving you an opportunity to compare them against the Emperor.

The Emperor could argue he lied about who he was because no one would trust an illithid (which is likely true) but he now has the disadvantage of another shady being persuading his target because said shady being was up front with who he was.

I do vibe way more with Raphael (obviously lol), and I recognize a lot of it is, yeah he was upfront about who he is and his motives. And while arguably headcanon territory, it’s still pretty clear that Raphael has some “affection” (in his own way) for us versus the Emperor who the moment you break through his facade, clearly cannot feel affection.

When he tries to seduce your character and if you turn him down, the narrator actually makes a pretty clear note of planting suspicion about how fast and suspiciously quick the Emperor changed tactics and words despite 5 sec prior talking like he cares about us.

Actually I wouldn’t say it’s that headcanony that Raphael has an attachment to us, all the jokes aside about him having a crush, we get the evidence that he has an attachment from other places aside from Raphael’s mouth.

The diaries and plaque (if you sign the contract) proves it in the sense that in game, Raphael never expected us to see his writings or his vault. And the archivist in the vault says something along the lines about how special we are to Raphael and how Raphael has a “softer spot” for mortals than most, and the archivist says all this to us thinking we’re just some random devil in disguise. Information that wasn’t meant for our ears technically.

Meanwhile you got the Emperor over here who is very good at faking affection and sympathy until you start to examine him more. Then he drops it like a rock, it’s almost scary how quick he can.

Raphael is oddly relatable because he is kinda pathetic in his own way. You can see where and how he got to being who he is. The Emperor is, well, alien. He’s definitely very good at utilizing his old memories of when he was mortal to his advantage, but that mortal is dead and he’s basically just another illithid, just one who happens to be more independent than most.

And while this is all speculation on my part, it’s clear that Raphael both hates but is attached to mortals, likely because of his own existence. He’s half mortal but lives and is bound by the rules of hell like a devil. I think he envies some of the freedom to choose that mortals have, and that’s why he’s so insistent that mortals don’t have choice. He wants that freedom to choose but can’t because of his nature (“hell, hell, hell has its laws”) and he’s trying to convince either himself and/or mortals that they don’t have a choice either, to cover up that envy he feels.

Imagine being the child of one of the big bad archdevils who rules over a layer of hell. There probably is a level or feeling of helplessness that he never had a choice but to be what he is.

And you can contrast that with the Emperor who is no longer mortal and while definitely fighting for his own independence and freedom, is quite content to be what he is.

Considering the whole game has strong themes about choice, fate, and freedom, it’s just fun how even the antagonists shares those struggles same as our characters and the companions.

[raven-at-the-writing-desk]

Hey Raven! Hope you're doing well, and I hope you had a great holiday, if you celebrate, that is.

I hate to clutter your ask box with something like this, and you don’t have to answer, you can just read this with an open mind, but I feel you're the only one I could go to with this without being straight-up attacked. It's also why I'm asking anonymously.

But, what's your stance on the whole war between the JP and EN versions of the game? I'm not asking you to pick a side or anything, I just wanna know your thoughts.

Obviously, I'm an EN player, and idk if you seen, but there's some hateful things out there about us, and honestly, it's hurtful and disheartening to every time I get up here. And it's always on this we as players can't control. Mainly the dialog translations and it's changes.

I've seen people calling us dumb and weak, saying we water down everything because we can't take it, etc. I've seen people saying we don't know how to really correctly and analyze characters and that we're not even playing the same game. They say we've ruined the game, the fandom, and that they wished it was never localized. I've also seen quite horrible things, but I don’t wanna repeat the things said, but yeah.

And the kicker is, it's only the JP side I've seen post this stuff. I've seen more hate come from that side more than anything, and of course not all, like you. You're my fave btw.

So yeah, thoughts?

Hello, hello! ^^ I’m not really a super big celebration person but I’m hunkering down for a cozy hibernation this winter ❄️ I hope everyone had/will have a good 2023 holiday season~

Before I provide my response to the question posed in this ask, I want to make sure we're all on the same page for this discussion first:

Please be advised that my perspective is coming from that of someone who started off playing JP in March 2020 and then picked up EN when it came out in January 2022. I have played on both servers since their initial launches.

When I refer to TWST JP and EN fans in this post, I am only referring to the English speaking fans (as in, English speaking fans who play JP and English speaking fans who play EN).

For the sake of simplicity, I will be disregarding “hybrid” fans (English speaking fans who play both JP and EN) as a separate category and will lump them in with “JP” fans (English speaking fans who play JP). This is because I assume most mixed fans started off with JP and then adopted EN later on.

I am not talking about ALL English-speaking JP and/or EN fans here; I am only talking about the ones Anon described in their ask.

As the Anon said, I ask that you go into this post with an open mind; do not assume that I will bash JP and/or EN, take sides, defend or condone toxic attitudes, or that this post exists just to “stir the pot”. That is not the purpose of my response. The purpose is to have a meaningful and constructive discussion about TWST’s fandom culture, particularly as it pertains to English-speaking fans. I hope that in talking about this, we can better understand “the other side” (however you may personally define that) and work toward making the fandom space more welcoming for all.

Please read the entire post and think about your own choice of words before commenting and/or sending in an ask about this topic, should you choose to.

To the Anon that submitted this ask and to anyone else that plays EN and may have had similar thoughts: I’m sorry to hear about the negative experiences you’ve had in the TWST fandom. I hope that this post brings you some peace of mind, if not at least some catharsis for what you may be feeling.

Firstly, it’s important to understand the mindset of both JP and EN fans. As such, I will delve into the background and the development of each side. It is NOT meant to justify either side, but rather to inform you on how each perspective originated and grew to what it is today.

The animosity and opposition to an official English version of TWST has been present for a while. An English version of TWST has always been contentious, even long before the localization was announced. Some wanted it to happen for accessibility reasons (as some people find it tedious to hunt for translations) or were supportive of the idea because it means a larger fanbase and thus more potential to make friends or to discuss the game. Others were more apprehensive of the quality of a localization (as much tends to be cut or censored to make the content more palatable) and/or claimed that expanding the fanbase in such a way would bring in more “bad apples”.

When EN first came out, it did, in fact, expand the fanbase. However, many were quick to notice the many (and I do mean many) errors and short sightings present in it: frequent spelling and grammar mistakes in the game and on official social media posts, inconsistent phrasing, incorrect translations, game-breaking glitches, frequent censorship, half-hearted promotions, etc. EN also became infamous for its absolutely brutal pacing of content in the early days, particularly related to the limited story event schedules (including back-to-back Halloween events). This, in combination with EN’s constant pushing of paid gems (which occurs far more frequently than in the JP server) has left a bad taste in JP fans’ mouths. To them, TWST EN did not make a good first impression and continued to misstep again and again. This is especially true of the many dialogue changes to make the TWST localization more “culturally appropriate” (which is the definition of what a localization is; there is a reason why TWST is not called a translation, which would be a more accurate/“faithful” or direct translation of the dialogue).

The claim that “EN fans are weak/can’t handle the real story” likely arises from how EN has removed or altered details which may offend western audiences. This includes things like the term “master”, the mention of Azul’s weight, Kalim’s “30-40” siblings, etc. These are conscious decisions made on the part of the game localizers to make TWST more broadly appealing and appropriate for a western audience, where such topics are contentious or considered taboo. This is adapting TWST to a new culture so that it can (in a dry business sense) perform well. However, I also want to mention that some cultural changes EN made do significantly alter the story/characters (such as Jamil no longer stating his family will be on the streets if they defy the Asims; in EN he only says his parents will be mad at him), particularly if you are viewing through an EN-only lens. Unfortunately 😔 as much as I can point the nuances of localization out, there will always be fans who still oppose any sort of censorship. This is also true of the anime and manga community in general, and this post isn’t large enough in scope to tackle those issues. I only mention this here to help you, the reader, better understand the changes from Disney/Aniplex.

A lot of the original negative feelings that were there before EN was announced were then confirmed by the official release, and this strengthened the dislike of EN on the part of JP fans. These JP fans may then become hostile toward EN fans who defend the localization (whether or not they have the context of TWST JP) because, in the eyes of the JP fans, the localization is not as good as it could be. Ultimately, it seems like their intense feelings stem from passion for what they love and not wishing to see it “desecrated” rather than an actual hatred of fellow fans. JP fans are upset because they fear EN fans are not getting the full scope of the characters and a story they enjoy, and they want others to appreciate those aspects of TWST as well.

Of course 💦 the fact is that EN fans are not responsible for the localization. But EN is there and that is what is the easiest and the most time efficient for English-speaking audiences, so most people will go with that rather than alternatives (ie hunting down fan translations). The issue is that some JP fans conflate simply consuming the localization as being bad or the “wrong” thing to do, and thus, by proxy, extend this frustration to EN fans themselves (especially those those are EN only and have zero prior knowledge of JP) and not just the product. Again, this is because they tend to see JP as the “full” version, without the changes or censorship present in EN. This inevitably leads to discrepancies in understanding between JP and EN, whether due to staggered release of new content or how the characters are presented differently between the two servers. To those who say “the versions are basically the same except for minor changes”, I disagree. There are several dialogue changes that appear small in isolation, but because TWST’s narrative is told primarily via dialogue, those “small” changes are actually very large and can drastically modify how one perceives a character or situation without explicit knowledge of JP to balance it out. When Jamil is made an “employee” rather than a “servant” and worries about his parents being mad at him instead of his entire family literally being on the streets for defying the Asims, it takes away the bite from his motivations. When Cater inserts a #WOW that wasn’t there in JP while Riddle is breaking down sobbing, or makes him come off as far more insensitive than emotionally aware. These are just a few examples, but they are very prominent ones that can change how an EN only fan sees things. The idea that “we aren’t even playing the same game” can ring true to some JP players because of this.

It cannot be helped that EN fans would interpret the characters and stories differently when the localization is their only or primary source of TWST content. Not everyone has the time or the desire to look for more accurate fan translations (not all fan translations are the same quality), as some JP fans have suggested. If EN fans want to, that’s great! It’s nice to expand one’s knowledge and to be cognizant of the changes between the versions. There are many blogs out there dedicated to educating people on these matters, and many EN and JP fans alike flocking there to be informed. But that level of engagement shouldn’t be demanded of anyone. To deem those that don’t engage in “further research” as “lazy”, “dumb”, or a “fake fan” is not acceptable, not in the name of love or otherwise. The expectation to “do homework” only puts pressure on EN fans to be a certain way or else be rejected by the fandom, and that only breeds more hatred and negativity. It makes EN fans feel “not worthy” of being a fan unless they study up, when the truth of the matter is that no matter how much we like TWST, it’s… media at the end of the day. People are free to consume their choice of media however they like, and that includes casually or at their own pace. It’s not fun to be in a fandom where others are breathing down your neck and policing everything you do, especially since these spaces are meant to be a temporary escape from reality. If JP fans meant to gatekeep in an effort to make others recognize the “real” greatness of TWST, then it’s failing because this kind of attitude only serves to drive new fans away.

Among EN fans, there is this idea that “JP fans are stuck-up”. I can understand where this thinking comes from, as I have witnessed hatred for EN myself which comes unprompted and has killed many conversations. Admittedly, some points are geared toward the company themselves (and those are valid), such as rushed and/or inaccurate translations or the pushing of paid gems, but I’ve also seen my fair share of nastier, invalid comments directed at EN fans. There are JP fans who actively hope that EN will shut down or who outright dismiss EN fans because of the version they play, thinking of their thoughts and opinions as “lesser” or doubting their media literacy skills. It’s true that this behavior is out there in the fandom, and that is unfortunately a sad reality.

That being said, JP on EN hate is not the only form I see, and nor is it the majority. It goes both ways (and I would say about equally for all, although this is just based on anecdotes and not objective data). There is plenty of JP on JP hate (particularly when someone spreads mistranslations around as though it were the truth) and EN on EN hate (arguments over what is and is not appropriate to ship, differences in headcanons, harassing fans that fall outside an “acceptable” age range, etc). There is also EN on JP hate which feeds into a dangerous back-and-forth with JP on EN hate. I briefly mentioned before that EN fans tend to believe JP fans are elitist, and this leads to assumptions being made about anyone that critiques EN and sometimes lashing out about it. I myself have previously been accused of “hating” EN because I often make posts commenting on the changes made between EN and JP (which ones I think work and which I think don’t). This preemptively defensive behavior drives another wedge between JP and EN fans, making JP fans reluctant to engage with EN fans, which then fuels the belief that JP fans think they’re “better” than EN fans (when really, some JP fans may be intentionally distancing themselves for their own wellbeing). Additionally, a lot of behavior deemed more acceptable in western oriented fandom spaces (such as moral justifications, taking pictures without crediting, callouts of other fans, and incorrect use of fandom tags) are not so for JP spaces (or those familiar with JP spaces). There have also been times when EN fans harass the actual Japanese-speaking side of the fandom (be it Japanese fans or the devs themselves) and demand (not ask, but demand) content that caters to them or free translations of fan comics they make. When EN fans fail to observe such “basic fandom etiquette”, it leads to JP fans thinking them rude or entitled, which makes JP fans reluctant to interact with EN fans and, again, feeds into confirmation bias. It’s a viscous system.

What is “ruining” the fandom is not just one side. There has always been turmoil present in fandom spaces. It just appears more visible now that TWST’s popularity has grown to this scale. Right now, both sides (JP and EN) are antagonizing each other because of a loud minority that’s attacking the other side. That minority then gets extrapolated and assumed to be behavior of the entirety of the other side, and that is what keeps the hate going.

If I’m being entirely honest 😔 I don’t think these tensions will realistically ever die out; the fandom is too large to “stomp out” what has already been established in its culture. When both sides are fueled by something so strong—a passion for TWST—it’s hard to seek out and/or to consider alternative perspectives. We become fixated on their own negative experiences and fail to think about where the “others” maybe be coming from, and then close ourselves off from discussion. That promotes isolation and contempt rather than friendliness and cooperation.

If we want change, then it starts at an individual level and in smaller TWST communities. We shouldn’t assume the worst of “JP” or “EN” fans; we are all TWST fans. Let’s keep open-minded and welcome other fans and their diverse schools of thought. And if you don’t feel comfortable with that, that’s also fine! You’re allow to keep a distance and curate your online space as you like; just please don’t go out of your way to disparage others, you have your own lane and others have theirs. Don’t encroach on other lanes.

Maybe we don’t necessarily agree with each other or we think may hold different opinions—but that’s good, isn’t it? The freedom of thought and the open exchange of ideas promotes flexible thinking and can lead you to see things from a new angle, or perhaps develop a new idea of your own. If we all thought the same way, then life becomes boring or it can cultivate an “us versus them” narrative that sparks online wars.

Let me put it this way to close off the post: isn’t this the message that Twisted Wonderland itself is trying to teach us? The true value of attending Night Raven College isn’t just about receiving a good education. Countless times it has been stressed to us (and often by Lilia, the oldest and wisest of the core cast, someone who used to be resistant to opening up to outsiders) that it is vital to understand other people in spite of how different we may be. Let’s take a page out of the students’ book and try to live up to that ^^