He got embarrassed bc Sanji keeps annoying him with "not" knowing about that face ( which he does on purpose just to get that same reaction from the Marimo )
dan SPECIFICALLY picking that top for phil because it said ANGEL. because of phil's established angel energy? the biker jacket phlonde reveal?? dan saying "are you my angle?" while gently flicking phil's face in the bday livestream???
and him going "WHAAAT" bc phil didn't like the top or even notice that it said that 😔 dan's genius will never be appreciated in its time smh
so there's this post that talks about how people call jason's curved knife a kris but it's not a kris 'cuz why would he have a southeast asian knife? and op's tags say if you're gonna give him an 'exotic' weapon at least make him malay or something. a later reblog adds a filipino kris as an example, and then i was like, 'omg, jason in a barong tho.' SO i tried designing a bat-barong inspired by his hood logo, for a filipino jason haha. and now here we are! 😊✨️🇵🇭
quite aside from the fact that this is an absolutely brutal parallel, I'm obsessed with how Faulkner cannot stop himself compulsively making the people around him into ghosts in his grand narrative. and yet he never escapes them, never assumes power over them. he's the one who remains haunted.
he assumes that an insubstantive Carpenter will be easier to wrangle, easier to narrativise, easier to fit into the Verses. but when it comes to it he can never quite make her into who he wants her to be, even when he really is imagining her. even when he believes he can hear her shouting back from beyond the torrent she still can't save him.
and, after all-- who will remember Faulkner? he killed his sibling. his sister is almost certainly dead. his faith have schismed and fled and will surely write him out of their holy texts.
he'll be a gap in the story of the destruction of Glottage, the division of the Parish, the rise of the Wound Tree. an absence-presence, almost invisible, helplessly and endlessly reshaped by other people's grand stories.
considering how much isat is a deconstruction of the rpg genre in itself i love the way they handle smaller rpg tropes like. rpgs let you go into people's houses, but they're rarely more than one room (since they mostly only exist to build the world and provide side quests). going into people's houses is normal in vaugardian culture, but only the first room. the broken bridge that serves as a way to prevent you from going a certain direction can be leapt over really easy, actually. you don't need to pay for food and equipment, because of course people will be happy to help the group trying to save their country!
but isat still understands why these things are the way they are, and uses them anyways. the houses are still used for sidequests, and the game really wouldn't gain much from letting you explore more anyways, so why bother? the bridge still serves as a barrier for progression, because the story wouldn't work without it. you can still try to pay for food, but you're too broke so you just get it for free anyways
in any other game it'd feel like a cheap jab at the genre's quirks (despite the game falling into the same pitfalls), but isat isn't making fun of these tropes. it's just acknowledging them for what they are. and well.
here's what lies at the core of in stars and time: all of the grindy, miserable repetition of an rpg's endgame; optional conversations and sidequests that you won't gain anything from seeing; dying to the same boss over and over, and either fighting it again and again out of stubborn willpower or grinding on weaker enemies; cutscenes that you've already seen before and skip without a second thought; a path you cannot stray from, because you can not and will not choose to jump over that broken bridge.
and it's about revisiting that same story, again and again, because for all its flaws, you can't help but love it. it's about finally putting that game down when it stops bringing you joy. it's about how, even if you've moved on from something, the love you had for it was still real.
and it's about how you can still go back and revisit it, even if it's no longer the part of your life you wished it would always be.
You're never truly alone with vessel's voice pouring poetry straight into your ears. The frequnecy of which wraps its way around your heart, and you can't help but feel comfort, even in some of his agony, in some of his pain, and all of his love.