#at least the more meta ones

[mundanemiseries]

“That district’s composer should have done something...odd that he didn’t”

“Perhaps it was some force from a higher narrative layer affecting this turn of events? At least...if Pataphysical models of reality are to be believed.”

“Aleph, no disrespect but what on God’s green earth are you talking about?”

[loriache]

"I've been waiting for ages for somebody to unmask them."

This moment tends to elicit negative reactions in a first read through, and I've got some opinions about why where Kabru is coming from here actually makes a lot of logical sense. So I thought I'd elaborate on that.

I think people hear this and go, "He thinks they must be hiding something because they gave money to someone? What a cynic." Or "he dislikes them because they did charity?? What's wrong with this guy!". And obviously, a lot, a lot is wrong with him. But I think this makes more sense than it seems at first glance! What people evaluating this judgement miss is why Kabru is paying attention to Laios and co to begin with.

Kabru knows of the Touden siblings because (he's a little bit of a stalker-) he is keeping an eye on all the relevant parties in events developing on the island, in order to be able to guide them to his preferred outcome. This includes adventurers because they are the ones actually exploring the dungeon! He's well aware that something as minor as internal tensions between party members could be key to the historical events that are developing. (He would love the assassination of Archduke Franz Ferdinand.)

His desired outcome is that whatever the rewards are of breaking the dungeon's curse, whether that's kingship or the ancient elven secrets of dungeons, are claimed by:

A) a short lived person

B) Someone who will be a good, effective leader and/or use those secrets and the power they carry wisely, with foresight, and to establish a political bloc for short lived people.

The person he can best trust to do this is, of course, himself. But due to his PTSD regarding dungeons and monsters, he's not able to develop the necessary skills to conquer the dungeon. Once he realises this, he starts looking for someone else who he can support to that end.

But most of the adventurers don't have any intentions of conquering the dungeon, don't have the skills, or are unsuitable in other ways. In fact, it seems like some potentially suitable people are the Toudens. There are a lot of good rumours about them going around - they actually seem to have a very positive reputation! That's what Kabru means when he says "unmask".

So when Kabru is observing something like them giving money to an old comrade from their gold-peeling days, he doesn't consider it a problem because "they're giving money to this person who doesn't actually need it" or because they must have some dark secret if they act superficially nice. I think he actually understands this situation and what it implies about Laios (in particular) perfectly well.

Laios and Falin gave money to an old comrade who got injured and couldn't work. That person then healed up but kept taking their money. Then he used the money to start smuggling illicit goods to the island.

The key is that for Kabru, the problem here is the same as with the corpse retrievers - people using the dungeon's resources to fuel dangerous, selfish, or violent pursuits cause problems for the island, attract more criminals and people with motives other than breaking the curse, and increase the chances of the whole situation ending in tragedy.

Kabru is willing to work with the Shadow Lord of the island if it gets him to his goal - he isn't scrupulous - but the criminal element of the island increasing is something he sees as a major issue.

Also, when you're evaluating someone as a candidate for power, riches, secrets, potentially kingship - then being curious about how the money you give to people is going to be used is kind of a relevant trait!

Interpersonally, Kabru's actually very easygoing - I mean, Mickbell isn't exactly an upstanding guy, is he! But Kabru likes him and they get along well. These traits wouldn't be a problem at all in a friend, or a comrade, or someone Kabru was confident he could use. But he can't get a handle on Laios, and Laios is someone who has the potential to be a major player!

On Laios' end, this is the same as with the marriage seeker who joined their party. She kept asking for things and he gave them to her, because he tries to be nice to others. He even gives her money! It's the exact same thing.

That's fine, but it became a problem because he basically wasn't interested in her motives, didn't notice she was trying to manipulate him, and it also didn't occur to him that the other party members would notice or be affected. We can assume the situation with the gold peeler is the same. When Kabru says that "It's not that they're bad people, they just aren't interested in humans," he isn't wrong.

The extent to which this is true of Laios is linked to his autism imo, (because it isn't just disinterest - he genuinely isn't able to notice nonverbal cues that people are lying to him or have ulterior motives) but to a greater or lesser extent I think it's a very common trait. Most people aren't actually that interested in other people who aren't close to them. Kabru is the weird one here. It isn't an issue except as a leader - which is why we see an immediate comparison to the Island's Lord, because that's how Kabru is evaluating them.

And disinterest in/lack of ability with people to the extent Laios exhibits it, it does, actually, make him a worse leader... it's just that as we see in the story, people can help him out. The rest of the party tell him the marriage seeker is taking advantage of him so he tells her he can't give her special treatment anymore. They're pissed and it's a crisis point - he couldn't have recovered their trust without Marcille and Falin - but that's exactly the point. With Marcille and Falin, he was able to recover their trust.

And he has other good traits that make up for it, such as his intelligence, strategic knowledge, open-mindedness and sense of fairplay.

Kabru doesn't disqualify Laios as a candidate based on what he sees about him from afar, though - he still tries very hard to get close to him, obviously hoping that if he manages he can steer Laios to defeat the dungeon and make up for his lack of people-skills in the aftermath. (Which... he does eventually achieve that goal!) He completely fails until the events of the story, so... definitely I think "They just aren't interested in humans" could also partially be a stung reaction to Laios' complete disinterest in him.

Anyway, that's my read on what exactly Kabru's "issue" with Laios is. Obviously, once he does find out what Laios' true nature is like - about his love for monsters - he develops an entirely new set of fears about Laios' priorities. But since Laios kept that a secret until the start of the story, he has no idea of that yet.

Given all that, I think it's interesting that he says that he doesn't think that the Toudens are suitable to defeat the dungeon, and that he's hoping they'll turn out to be the thieves. As some of his few potential candidates, people who he thinks may play a big role in the island's future, you'd think he'd hope they would be good people!

I suppose it's better, in his eyes, because it means that he's involved in something "interesting". They haven't just had their stuff stolen by regular criminals (boring, puts them further away from his goal) - they've been caught up in the beginning stages of "a historic event". The desperate and dwindling group forgetting morals in their quest to retrieve their lost comrade probably appeals to his sense of melodrama. Because he also just... loves drama.

Despite it being "uglier than anything he was expecting", he still pursues Laios as the person he wants to conquer the dungeon pretty much as soon as it becomes clear that he won't be able to do it himself and they are out of time. That's because... well, to be fair, there aren't any other options. And he fits standard A: he's short-lived!

and Kabru still hopes he can fit standard B, too, and be persuaded to use the power he wins for good. No matter how many nightmares he has about Laios, or whether he thinks about killing him. He doubts him, but ultimately he puts his faith in him and seems happy after the manga's ending that he made the right decision.

[starry-bi-sky]

i need to get this out of my head before i continue clone^2 but danny being the first batkid. Like, standard procedure stuff: his parents and sister die, danny ends up with Vlad Masters. He drags him along to stereotypical galas and stuff; Danny is not having a good time.

He ends up going to one of the Wayne Galas being hosted ever since elusive Bruce Wayne has returned to Gotham. Vlad is crowing about having this opportunity as he's been wanting to sink his claws into the company for a long while now. Danny is too busy grieving to care what he wants.

And like most Galas, once Vlad is done showing him off to the other socialites and the like, he disappears. Off to a dark corner, or to one of the many balconies; doesn't matter. There he runs into said star of the show, Bruce who is still young, has been Batman for at least a year at this point, but still getting used to all these damn people and socializing. He's stepped off to hide for a few minutes before stepping back into the shark tank.

And he runs into a kid with circles under his eyes and a dull gleam in them. Familiar, like looking into a mirror.

Danny tries to excuse himself, he hasn't stopped crying since his parents died and it's been months. He rubs his eyes and stands up, and stumbles over a half-hearted apology to Mister Wayne. Some of Vlad's etiquette lessons kicking in.

Bruce is awkward, but he softens. "That's alright, lad," he says, pulling up some of that Brucie Wayne confidence, "I was just coming out here to get some fresh air."

There's a little pressing; Bruce asks who he's here with, Danny says, voice quiet and grief-stricken, that he's with his godfather Vlad Masters. Bruce asks him if he knows where he is, and Danny tells him he does. Bruce offers to leave, Danny tells him to do whatever he wants.

It ends with Bruce staying, standing off to the side with Danny in silence. Neither of them say a word, and Danny eventually leaves first in that same silence.

Bruce looks into Vlad Masters after everything is over, his interest piqued. He finds news about him taking in Danny Fenton: he looks into Danny Fenton. He finds news articles about his parents' deaths, their occupations, everything he can get his hands on.

At the next gala, he sees Danny again. And he looks the same as ever: quiet like a ghost, just as pale, and full of grief. Bruce sits in silence with him again for nearly ten minutes before he strikes a conversation.

"Do you like to do anything?"

Nothing. Just silence.

Bruce isn't quite sure what to do: comfort is not his forte, and Danny doesn't know him. He's smart enough to know that. So he starts talking about other things; anything he can think of that Brucie Wayne might say, that also wasn't inappropriate for a kid to hear.

Danny says nothing the entire time, and is again the first to leave.

Bruce watches from a distance as he intercts with Vlad Masters; how Vlad Masters interacts with him. He doesn't like what he sees: Vlad Masters keeps a hand on Danny's shoulder like one would hold onto the collar of a dog. He parades him around like a trophy he won.

And there are moments, when someone gets too close or when someone tries to shake Danny's hand, of deep possessiveness that flints over Vlad Masters' eyes. Like a dragon guarding a horde.

He plays the act of doting godfather well: but Bruce knows a liar when he sees one. Like recognizes like.

Danny is dull-eyed and blank faced the entire time; he looks miserable.

So Bruce tries to host more parties; if only so that he can talk to Danny alone. Vlad seems all too happy to attend, toting Danny along like a ribbon, and on the dot every hour, Danny slips away to somewhere to hide. Bruce appears twenty minutes later.

"I was looking into your godfather's company," he says one night, trying to think of more things to say. Some nights all they do is sit in silence. "Some of my shareholders were thinking of partnering up--"

"Don't."

He stops. Danny hardly says a word to him, he doesn't even look at him -- he's sitting on the ground, his head in his knees. Like he's trying to hide from the world. But he's looking, blue eyes piercing up at Bruce.

Bruce tilts his head, practiced puppy-like. "Pardon?"

"Don't." Danny says, strongly. "Don't make any deals with Vlad."

It's the most words Danny's spoken to him, and there's a look in his eyes like a candle finding its spark. Something hard. Bruce presses further, "And why is that?"

The spark flutters, and flushes out. Danny blinks like he's coming out of a trance, and slumps back into himself. "Just don't."

Bruce stares at him, thoughtful, before looking away. "Alright. I won't."

And they fall back into silence.

Danny, when he leaves, turns to look at Bruce, "I mean it." He says; soft like he's telling a secret, "Don't make any deals with him. Don't be alone with him. Don't work with him."

He's scampered away before Bruce can question him further.

(He never planned on working with Vlad Masters and his company; he's done his research. He's seen the misfortune. But nothing ever leads back to him. There's no evidence of anything. But Danny knows something.)

At their next meeting, Danny starts the conversation. It's new, and it's welcomed. He says, cutting through their five minute quiet, that he likes stars. And he doesn't like that he can't see them in Gotham.

Bruce hums in interest, and Danny continues talking. It's as if floodgates had been opened, and as Bruce takes a sip of his wine, it tastes like victory.

("Tucker told me once--") ("Tucker?") ("Oh-- uh, one of my best friends. He's a tech geek. We haven't talked in a while.")

(Danny shut down in his grief -- his friends are worried, but can't reach him. When he goes back to the manor with Vlad, he fishes out his phone and sends them a message.)

(They are ecstatic to hear from him.)

It all culminates until one day, when Danny is leaving to go back inside, that Bruce speaks up. "You know," He says, leaning against the railing. "The manor has many rooms; plenty of space for a guest."

The implication there, hidden between the lines. And Danny is smart, he looks at Bruce with a sharp glean in his eyes, and he nods. "Good to know."

The next time they see each other, Danny has something in his hands. "Can you hold onto something for me?" He asks.

When Bruce agrees, Danny places a pearl into his palm. or, at least, it's something that looks like a pearl. Because it's cold to the touch; sinking into Bruce's white silk gloves with ease and shimmering like an opal. It moves a little as it settles into his hand, and the moves like its full of liquid.

Bruce has never seen anything like it before, but he does know this; it's not human. "What is it?" He asks, and Danny looks uncomfortable.

"I can't tell you that." He says, shifting on his foot like he's scared of someone seeing it. "But please be careful with it. Treat it like it's extremely fragile."

When Bruce gets home, he puts it in an empty ring box and hides the box in the cave. He tries researching into what it is. he can't find anything concrete.

Everything comes to a head one day when Danny appears at the manor's doorstep one evening, soaking wet in the rain, and bleeding from the side.

[57sfinest]

no honestly did jean genuinely not realize that the car in the ocean was a suicide attempt?? did he really think harry was THAT drunk or was he willingly misinterpreting it so he could shift any sympathy away from harry? because i can absolutely see jean seeing it as a suicide attempt but deliberately choosing to frame it as an irresponsible accident resulting from harry's alcoholism, because that way no one will be like "oh shit harry tried to kill himself?" and they'd instead join jean in condemning harry for his addiction

[nevertheless-moving]

thinking about how fucking impossible it would be to pine secretly after someone on roshar. Like even if we assume that passionspren are only summoned by the most intense love and/or horniness - that's almost worse isn't it? Because you wouldn't be able to laugh it off like 'haha just a passing thought. Whoops again? Hahaha oh I suppose I have a little crush'

Anyway Kaladin doing one of his canonical epic hero glowing stunts with his canonical destroyed/soaked clothing (what. the man is constantly avoiding shardblades and arrows by a hairsbreath and flying around In Highstorms. The only reason he would even have pants at the end of WOR after the everstorm/highstorm fight is because we're following comic book rules- there's no way this man isn't going through clothes faster than James T Kirk - even if he's not his uniform shirt is WHITE and -)

ANYWAY kaladin having one of his Protaganist Moments and like. There is less than than zero time between the 'Oh. Oh.' Moment and Eventual Feelings Reveal because blorbo B is very visibly displaying a personified manifestation of intense romantic adoration.

[voerman]

thinking about wyll and his scrying eye. the way that he distances himself from people, from moments of happiness because he knows he's a vessel for a voyeur. that he knows he's corrupting this moment by being in it so he never lets himself be a part of anything...

[six-of-cringe]

So the "Jesper is Wylan's sugar baby" jokes don't bother me TOO badly, but they irk me slightly because they're pretty much based on the fact that no one knows what an allowance is beyond the context of "spending money a parent gives to their child". An allowance in business is an amount of money given to someone for a specific business-related expense, so the "allowance" mentioned at the end of CK is just the amount of money they budgeted to put into the stock market, which Jesper is in charge of. Because you know, he's smart and also Wylan's business partner, not his incompetent pet. Ok maybe the jokes bother me some

[raventreehall]

no one wants to talk about the theon and littlefinger parallels fine I'LL TALK ABOUT THEM. they're both social inferiors in a foster family that they desperately wanted to join but are prevented from doing so which leads to all sorts of complexes!!!

littlefinger didn't really do anything wrong in seeking out catelyn's hand and dueling brandon, he only misread his importance to the tullys and tried to functionally be part of the family that he had been raised in. but that was not allowed to him because of his low birth, just as theon was always relegated to an outsider role within the stark household because he was a hostage. (also note theon's boyhood dream of marrying sansa and ned accepting him as his son; littlefinger's obsession with catelyn seems to actually have catelyn at its core rather than just being a projection of a desire to be accepted within house tully, but who knows, his obsession with cat could actually be the product of an obsession with house tully and his general ambitions to increase his social status). they both had such intense 'i hate you'/'i want to be you' emotions knocking around in their heads as a result of this that they ended up killing—or trying to convince people that they killed—their foster siblings! (i know there's a lot more complexity with the littlefinger and lysa situation, but i think this parallel is really interesting)

littlefinger also had to work for years in gulltown/king's landing to rise through the ranks, to in a way 'regain his standing' to what it was when he was a ward of hoster tully's. throughout his childhood he was constantly around lysa, catelyn, and edmure—all of whom were destined to become lords and ladies of great houses—and was raised like their brother, but after he is banished he struggles to hold even half the status that his foster siblings enjoy naturally. theon goes through a little bit of a similar rude awakening when he arrives back at pyke expecting his father to hail him as his heir returned only to find out balon could not care less about him and likes asha way more, and he takes winterfell to try to prove to balon and the rest of the ironborn that he should be respected. interestingly, we have seen both theon and littlefinger's homecomings on page and they both come across as complete outsiders in the places were they were born, acting above their station because of the circumstances they got used to during their fostering—while this leads to theon trying to reject the starks and gain acceptance from his birth family in acok, in asos when littlefinger goes home to the fingers he wants to get to the eyrie (and to one of the tullys) as quickly as possible

they share some behaviors/character traits, too. littlefinger is noted to dress well, he pays a lot for clothes made of fine fabrics, while we know that theon likes to do the same. littlefinger certainly does this to prove that he is rich and powerful and has made it, showing that he can pay for the same things that any great lord can, which is probably born from more than a little resentment towards hoster for taking him out of the luxury of riverrun and sending him back home to the fingers. similarly, theon dresses elaborately to set himself apart in winterfell, to impress people, and to make himself known, and again this is born from resentment and insecurity (seen best when he goes back to pyke and stresses about what to wear in front of balon). they're also both arrogant and flippant, with a tendency to smile/make jokes too much, perhaps to try to further resist and disparage the social order they feel restricted by

finally there's catelyn: theon looks to her as a quasi-mother figure while he's in winterfell and littlefinger looks to catelyn as a lover, but both of these are impossible and end up being rejected. there's no evidence that catelyn was, like, especially mean to theon, they seem to get on fine in agot, but he was her husband's hostage and we know that she does mistrust him. this attitude is obviously a result of her not trusting the greyjoys because they're reavers/rose against the crown in open rebellion, but it is also no doubt informed by her previous experiences with petyr! it would make sense for her to be wary of a foster son getting close to her children after what happened to her as a kid

[bidokja]

I was joking a while back that the actor they have playing KDJ for the orv movie was too handsome for him and a friend who's read orv was like "KDJ is actually secretly attractive!!" And I just felt my soul leave my body right then

SIGHS...

Okay. Buckle in. I'm gonna finally actually address and explain and theorize about this whole...thing.

I'm not gonna cite any exact chapters cause it's like 11:30 and I've got an 8 hour drive in the morning but I'll at least make an approximate reference to where certain things are mentioned. Also, this post is just my personal interpretation for a good bit of it, but it's an interpretation I feel very solid about, so do with that what you will. Moving on to the meat of things:

There is one (1) instance in the web novel that I know of which describes specific features of Kim Dokja (especially ones other people notice). This takes place when members of KimCom are trying to make Kim Dokja presentable to give his speech at the Industrial Complex (after it's been plopped down on Earth). This is when they start really paying attention and focusing on Kim Dokja's appearance since they're putting makeup on him; I still don't think they can interpret his whole face, but they can accurately pick out and retain more features than usual. If I remember correctly they reference him having long eyelashes, smooth skin, and soft hair. These features can be viewed as (stereotypically) attractive.

Certain parts of the fandom have taken this scene and run with it at a very surface level, without realizing (or without acknowledging at the very least) that this scene is not about how Kim Dokja looks. This is, in part, due to not realizing or acknowledging why Kim Dokja's face is "censored" in the first place, and what that censoring actually means. I think it's also possible that some people are assuming the censorship works like a physical phenomena rather than an altered perception.

I'll address that last point first. The censorship of Kim Dokja's features is not something as simple as a physical phenomena. It's not a bar or scribble or mosaic over his face. If that were true it'd be very obvious to anyone looking at him that his face is hidden. But his face is not hidden to people. They can look at him and see a face. If they concentrate on his eyes, they can see where he's looking. They know when he's frowning or grinning. They see a face loud and clear. But what face are they seeing? Because it's not really his, whatever they're seeing.

No one quite agrees on what he really looks like. And if they try and think about what he looks like, they can't recall. Or if they do, it's vague, or different each time. We notice these little details throughout the series. Basically, Kim Dokja's face is cognitively obscured. Something - likely the Fourth Wall, though I can't recall if this is ever stated outright - is interfering with everyone's ability to perceive him properly. This culminated in him feeling off to others; and since they don't even realize this is happening, they surmise that he is "ugly."

Moving on to the other point about what the censorship means: To be blunt, the censorship of his face is an allegory for his disconnect from the "story" (aka: real life, and the real people at his side). The lifting - however slight - of this censorship represents him becoming more and more a part of the "story" (aka: less disconnected from the life he is living and the people at his side). The censorship's existence and lifting can represent other things - like dissociation or depersonalization or, if you want to get really meta, the fact that he is all of our faces at once - but that's how I'd sum up the main premise of it. (The Fourth Wall is a larger part of the dissociation allegory, but that's for another post).

So you see, them noticing his individual features isn't about the features. It's not about the features! It doesn't matter at all which features got listed. Because they could describe any features whatsoever and it would not change the entire point of the scene. Because the point isn't what he looks like. The point is that they can truly and clearly see these features. For the first time. They are seeing parts of him for the first time. Re-read that sentence multiple times, literally and metaphorically. What does it mean to see someone as they are?

This is an extremely significant turning point dressed up as a dress-up scene.

---

P.S. / Additionally, I'm of the opinion that Kim Dokja is not handsome, and he is not ugly. He is not pretty, and he is not ghastly. Not attractive, nor unattractive. Kim Dokja isn't any of these things. More importantly, Kim Dokja can't be any of these things. The entire point of Kim Dokja is that you cannot pick him out of a crowd; he is the crowd. He's a reader. He's the reader. Why does he need to be handsome? Why must he be pretty? Why is him being attractive necessary or relevant? He doesn't, he doesn't, it's not. He is someone deeply deeply loved and irreplaceable to those around him, and someone who cannot even begin to recognize or accept that unless it's through a love letter masquerading as a story he can read. He is the crowd, a reader, the reader. He's you, he's me. He's every single one of us.

[coconi]

I just finished Tulin's storyline and excuse me while I bawl about this game further cementing the fact that Revali made himself a Champion. He was no descendant of an ancient Sage nor did he have a loving family to train him (that we know of). There was no power destined to be his: he crafted his own version of wind control without any support or spiritual guidance and excelled at it and then he and the other Champions went into battle without the special helms, without a sacred tear/charm to further enhance his abilities, without the certainty of two rulers (and a sage from the future) with god-like powers that could back them up if things went awry. Because of this, the original Sages survived where the Champions did not.

Revali was doomed from the start and if he'd known he would've still honed his craft and piloted Medoh with his beak held high and I am in shambles about it

[moongothic]

So I'm confused about something. There was a cover story about Ms Goldenweek and other Baroque works agents breaking Crocodile out of prison but he just. Told them no? And stayed there with Mr 1 and Mr 2? I don't get why he wanted to go to Impel Down just to break out when he had the chance

I can't tell you 100% why Crocodile chose to stay in prison and go to Impel Down, but my best guess really is that he was just...

Taking the L with grace

More specifically. Crocodile had lost everything. I think deep inside he might've been literally too depressed to want to go free again.

Like he does literally say that. He gave up.

He had been building his reputation as "the Hero of Alabasta" for at least 10 years at this point. He had built not just a criminal organization that he had been running for four years, but also he had been running legal business stuff (like his casino) for probably longer than that. A decade's worth of work and effort to take over a country, and most importantly, get away with it. The reason he had orchestrated that whole rebellion was so that the rebels and the royal family could "take each other out", leaving the country wide open for a World Government Official such as himself to take up. The reason Baroque Works was doing this all in secret was so that the WG never found out, otherwise they wouldn't have let him have Alabasta.

But indeed, his plans were foiled by a kid in flipflops in less than 24 hours, just at the final moment before Crocodile would win. He lost everything. And the World Government found out about what he had been planning.

So even if he escaped from that prison with his former agents, what was he going to do?

He wouldn't be able to take over Alabasta anymore because he did not have manpower (as he had lost all his goons), and having lost his financial empire he wouldn't be able to build a new army any time soon. And even if he did, now that they knew what he had done the people of Alabasta would not accept him as their new king, even if he personally assasinated Cobra and the entire family. Not to mention, the WG finding out about his plans meant that they had every fucking reason to try and stop Crocodile if he did as much as set foot on that island again. By which I mean, they could launch a Buster Call on his ass. Send all the fucking Admirals after him. And so, even if Crocodile still believed Pluton was somewhere in Alabasta and that he just had to comb through the entire desert to find it... Between the Alabastan people and the WG in the way, finding Pluton would not be easy. Especially when Robin wouldn't even be there to just point him directly to it. It could take years, if not decades, while fighting off the WG by himself. And that's while assuming Pluton was somewhere in Alabasta. Like WE the readers now know Pluton is in Wano, but since Robin didn't tell him that. All Robin said was that the Poneglyph "didn't mention the weapon", and Cobra's reaction to the name merely proved the weapon's existence in Crocodile's mind. But surely, because Crocodile is a smart young man, he'd understand there was a risk that Pluton could exist, but just not be in Alabasta, right? Like that would be a possibility too, right?

I think this is why Crocodile has given up on Alabasta. He had one opportunity at seizing the country, and he failed. And without Robin, he could spend the rest of his life combing through a haystack for a needle when there's no needle, and he'd have no idea. I think is why he explicitly says in Impel Down he no longer has "interest in that country". He won't be able to pull off another stunt like this, ever.

And that leads us back to "why not escape earlier and avoid going to Impel Down to begin with". Thanks to his status as a Shichibukai, Crocodile hasn't been on the run from the WG for like two decades. And the past 10 or so years he has seemingly lived a life of luxury in his funny little casino. But now, having lost everything, he'd be back on the run. And because he's a world famous former "hero of the people", there would be nowhere he'd be able to go where people would not recognize him and send the marines after him. So he'd be on the run, for the rest of his life or until he'd get capture again. And mind you, the guy does not trust anyone, so he'd be on the run alone. Without any purpose or goal.

And you might be thinking, "Daz and the rest of BW was still there!", yeah, arguably true. But at this point Crocodile had no reason to trust any of them. Like personally, I think the reason Crocodile ended up taking a liking to Daz was BECAUSE he chose to follow him to Impel Down when he really did not have to. Like Daz showed an unusual level of loyalty to Crocodile, and I think Crocodile recognized that. That's why Daz is still with Croc, post-timeskip. But Miss Goldenweek and co? Crocodile had no reason to believe they wouldn't betray him if given a chance and a reason. And if the WG would come chasing his ass, they'd have plenty of reason to try and betray Croc (handing Crocodile over to spare their own lives). Not to mention, when they come release their former boss from jail, what did Miss Goldenweek say?

"Let's do Baroque Works again"

As I've already explained in detail, I think we might know why Crocodile wasn't interested in being Baroque Works' "boss" again.

So. Yeah. If in Crocodile's mind he'd be on the run from the Government for the first time in two decades all alone, in a situation where rebuilding what he had before would be bloody hard if not downright impossible, and he wouldn't be able to obtain what he had spent the last decade working for regardless...

Taking the L and just going to prison might've been the easier option

[novelconcepts]

I’m sure I’m not the first person to say this, but I am so grateful that the Yellowjackets creative team has proven themselves flexible storytellers—in a lot of ways, but particularly regarding Van. ‘Cuz how many times do we get a lesbian in a show (especially a funny, lovable one) and resign ourselves to having to say goodbye in some catastrophic way? And this is absolutely the kind of show where, until you see the adult counterparts, any one of those kids could bite it. And that Van was SUPPOSED to die—or at least, wasn’t necessarily supposed to live—but Liv Hewson did such a fantastic job and the character became so enriched and so charming that she not only gets to live past season one, but gets to live into adulthood.

And that she gets to be so herself in adulthood; Van feels the least changed, in some ways, of any of the grown versions. She’s, as Ambrose and Hewson point out, dimmed down and calcified, but she’s still dressing the same, she’s still proudly gay, she’s out here acting as a sort of snarky cinema mentor to the kids who come into her shop. No, she isn’t happy, because none of them are, but she is alive, and she’s out and proud, and she’s a fundamental figure in this narrative when she could so easily have been written out in a blaze of fire or a wolf attack. I’m so grateful, because it means no matter where adult Van’s journey takes her, we’re getting to hang on to Hewson for as long as the show runs, as one of the core six members of the ‘96 cast, and that is fucking huge. We’re getting the message that at least two of those six characters are gay and get to grow up, and that gayness has nothing whatsoever to do with their trauma and problems in 2021. Like. Goddamn. That’s enormous.

[isalisewrites]

Btw...

I figured out how to break Voldemort.

[socksoinabox]

Some kirbos!

[sugarcarnation]

bsd characters trying to use chuuya for their own gain thinking he’s an easy target because he’s easily manipulated and only has strength at his disposal vs the fandom’s insistence that he’s simply the brawn and not intelligent enough to fool people like dazai or fyodor. fight

[verycharismaticdragon]

Do you know why everyone and their mother keeps saying that Sheb Qingqiu's secluded cultivation lasts for a year or 3??? Last I checked, wasn't he only in the cave for several months??

...I haven't seen a fic use that timeframe in quite a while - am I the delusional one??

Having intensively cultivated for several months, he could freely control his spiritual energy and had risen one level above his original cultivation base.

... nope, still as I remembered from the official book, page 85 in my copy. Even my old Exiled Rebels translation puts it as, "several months." Last I checked, 12 (or 36) months is far too many to simply be considered "several", so what am I missing? It just- throws off the timeline so badly and greatly increases the amount of time poor Binghe is stuck in the woodshed, for what?

Okay, so the 3 years thing comes from the donghua, no need to look further. It's one of those things that directly go against canon but have stuck in people's minds, similar to 'the washerwoman was the one to pull baby Binghe out of the river' and 'Shen Qingqiu fainted dramatically several times early on in his transmigration'.

Then, I don't believe I have seen 1 year myself, but if I had to guess, it may come from the fact that Binghe is 14yo prior to SQQ entering seclusion and 15 once he leaves. That said, an entire year makes zero sense considering what we know of the timeline.

Which is where I confess that I tore out some hair over the length of SQQ's seclusion when constructing the timeline for Transmigrator Time Traveler, because for me 'several' months means 3 to 5, but given all the facts, SQQ's seclusion had to last somewhere between 6 and 10 instead. (I went with 9 in the end, for the fic, cause I've read that 9 is a significant number for spiritual practices cultivation is based on? the source was a little vague so i don't know how true that is, but I needed a number.)

Nevermind, to the aforementioned facts. MXTX confirmed the date of the first chapter publication - Sept.21 - to be the date of SQQ's transmigration. (Small note: I'll be using modern months, even though SV's world uses lunar calendar, because it's easier to gauge weather and stuff. For characters in the novel, they might see those as different months/seasons, but that doesn't really affect our purpose here.) Luo Binghe’s 15th birthday - which Shen Qingqiu missed in seclusion - is in winter ('coldest day' which I after some research came to hc as jan6, though that's not particularly relevant, because...) Demon invasion happened on a 'hot day' (SQQ mentions it in relation to how SHL is dressed) - which puts it in May at the earliest, August at the latest. So these are the 'borders' we are working with.

Now, to my actual calculations. We know SQQ spent some time on the Peak after transmigration, before the Skinner mission that led to him going to seclusion. So I'm gonna say that happened in October at the earliest, December if you stretch it (though I feel like his tatas would freeze off if the Skinner left him half-undressed in December...) - but definitely not later, cause Binghe’s birthday has to happen off-screen. So if we take the longest possible time frame, October to August, we get 10 months. The slimmest possible window - December to May - gives us 5 months, but between the aforementioned boob hypothermia issue and the fact that May is a bit of a stretch for the 'hot day', I think that 6 months is the shortest you can go.

Which, again, doesn't align with my understanding of what should be described as 'several' months, but what can you do... tbh, im not sure MXTX thought all that hard about the timeline, which is understandable as a writer - but as a fan, frustrating

So yeah - definitely less than a year (and absolutely not 3, donghua), though the math gets fuzzier after that.