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ohhiimjazzed · 9 months

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NSFW Alphabet LMK Sun Wukong

CW: Explicit sexual content, MINORS DNI

A - Aftercare (what are they like after sex):

at first, he had to be told what made you comfortable, but after that, he's basically a pro. he's actually a very caring person to the people closest to him. that includes you.

B- Body Part (their favorite body part on themselves and his partner's)

On himself: I know it's cliche, but tail. it's something that's unique about him. it's what makes a monkey a monkey. so he takes pride in having a tail. He's the Monkey King after all. He's going to be proud of the Monkey part of him.

On You: your hips. LOVE HANDLES MAN. He will grip onto your hips whenever he possibly can. From the front, from the back, doesn't matter. It also keeps him grounded during sex. he likes to feel that you're there with him and that you're real.

C- Cum (anything to do with cum, basically)

he likes to cum inside if he can. it's either if he has a condom on, or if you are on birth control. (don't be silly, wrap your willie!). but if you're trying for a baby, oh, he is going to indulge in cumming inside you.

if he had to take another option, then he'll cum on your stomach or ass

D- Dirty Secret (pretty self explanatory, a dirty secret of theirs)

he's shapeshifted himself to have female anatomy before. and he's touched himself with those parts. it wasn't really a horny thing really. he was just curious to see how women masturbate

E - Experience (how experienced are they? do they know what they're doing?)

Wukong is kind of a whore. He isn't a virgin by any means. But, this is the first time he's had sex with a human. Humans are a lot more fragile than demons. He's a bit scared he'll break you when you did it for the first time. by the time he learns your limits, he's good and he'll know what he's doing

F - Favorite Position (that goes without saying)

He's got a couple

The Lotus: (one partner is sitting in the other's lap while wrapping their legs around their partner) He's able to grasp your hips easy here, and he can hit it pretty deep

Doggy Style: (one partner is on their hands and knees while the other is behind them) again, he can grab your hips more easily with this position. plus it's a lot more animalistic. it unlocks the demon instincts in him.

G - Goofy (are they more serious in the moment? are they humorous? etc.)

he's called you 'bro' during sex. it was one time and it was spur of the moment. did it ruin the mood? yes. was it hilarious? hell yes. what I'm trying to say, is that he's not afraid to crack a joke during sex

H - Hair (how groomed are they? does the carpet match the drapes? etc.)

the carpet matches the drapes because it's fur. he's a monkey. there's gonna be fur down there. but, when you come along he trims some of it so it doesn't get stuck up a hole or something

I - Intimacy (how are they during the moment? the romantic aspect)

he can get really romantic when he wants to. he's got the duality of calling you 'bro' in bed, to whispering sweet nothings to you. he's a cheesy fuck tho. he'll do the rose petals and the candles

J - Jack Off (masturbation headcanon)

he's rubbed one out before. he'll do it to the thought of you either if you're gone or not in the mood. he won't force you into having sex with him so jacking off is the next best thing (look at him doing the bare minimum)

K - Kink (one or more of their kinks)

Breeding kink: bro will keep it inside you after he finishes if you ask for it. he wants to keep it there in hopes that you'll get pregnant (if you can). he's seen how loving and caring you are towards the baby monkeys. it makes him want to start a family with you.

Praise Kink: it goes both ways for this one. he likes to see how you react to him praising you. praise him too while you're at it. tell him how good it feels. he'll go harder and try to hit deeper. also he just wants to feel loved and make you feel loved.

Degradation: call him a good little whore. he'll love it

L - Location (favorite places to do the do)

he'll do it in the bedroom (obviously) it's the most privacy, but he also doesn't mind doing it in places around FFM. you just gotta make sure the monkeys aren't able to catch you two. some of them are really young and we are not here to traumatize children

M - Motivation (what turns them on/gets them going?)

PET HIS TAIL! Do it! I fucking dare you! He'll pounce on you if he's feeling it that day. His tail is sensitive man. He might even moan outright if you pet it during his rut/heat.

Also generally being in a heat/rut like state will get him going anyways. (this is demon terms not real monkey terms by the way)

N - No (something they're not willing to do, turn-offs)

will not physically hurt you unless he know's it's fine. the most he'll do is biting to mark you. he's still a bit cautious about your human physique. he sometimes forgets about his own strength and will leave bruises on your hips sometimes. he gets really guilty about that

O - Oral (preference in giving, or receiving, their skill, etc.)

he's more of a giver in this regard. he likes seeing you writhe in pleasure while he gives you head. pull his hair while he gives you head, he likes that. if you really wanna give him a blowie though, he'll be driven wild. will whimper

P - Pace (are they fast and rough? slow and sensual? etc.)

more like slow and rough. he likes to tease you a bit by going back and forth from slow to fast. but he'll keep a good pace most of the time. when you're close to cumming, he'll go faster so you can chase your high

Q - Quickie (their opinions on quickies, how often, etc.)

loves a good quickie as much as the next guy. he'll do a quickie if he's really stressed though. it's a good release for you both. it's also a time when you can give him a blowie

R- Risk (are they game to experiment? do they take risks? etc.)

he's down for most of everything. for some things you've gotta talk to him about it and probably explain what it is. but that's only for a few kinks.

S - Stamina (how long can they go for? how long do they last?)

this bitch is immortal. he's got stamina for days. You have to be the one to call things off for the night because it's most likely he can keep going. he can even go all night if you're up for it

T -Toys (do they own toys? do they use them? on a partner or themselves?)

he'll use toys, but you gotta be the one that owns them. he doesn't really have toys because of how isolated he was from humans before Lego Monkie kid began. he'll use the vibrator on you if you ask for it. hell, he'll even let you use a strap and peg him.

U - Unfair (how much do they like to tease?)

the definition of tease. he will edge you when you've been bad my guy. be fucking prepared. you have to like edging if you wanna have sex with him on a regular basis. he's not a monster tho, he'll let you cum, eventually

V - Volume (how loud they are, what sounds they make, etc.)

it depends on if he's on top or bottom. if he's on top, he'll let out some grunts and even a groan or two while he's pounding into you. if you're on top, he will whimper. DO IT. MAKE HIM WHIMPER AND WHINE FOR YOU

W - Wild Card (a random headcanon about the character)

after all that's happened throughout LMK, Wukong wants to repair his relationship with Macaque. He knows that it's going to take a lot of work and patience, and it'll never be like how it was. but, he wants to give it a try. there's a part of him that still cares about Macaque.

X - X -ray (let's see what's going on under those clothes)

he's about average size (4-5 inches) but he's a shapeshifter, so he can change the size to experiment. he tried to make it nine inches and holy jesus you couldn't fit that in you without a bit of prep.

Y - Yearning (how high is their sex drive?)

he'll do it about 4-5 times a week. he won't do it when MK is over to train with him though. it's too much of a risk to have him walk in on you two. he can't risk having his student looking at him with disgust

Z - ZZZ (how quickly do they fall asleep afterwards)

he'll clock out when you're all taken care of for the night. if you're having a bath afterward, he'll probably be out by then. once you get in the bed, he's reaching for you. it's cute

---------

okay, thank you for coming to my ted talk

#lmk smut #lmk x reader #sun wukong #sun wukong x reader #wukong x reader #sun wukong lmk

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spaceyaceface · 11 months

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How do you think Ominis and/or Sebastian would react to the reader being stood up for a date, especially when they absolutely adore us? Would they comfort us by taking us on a date they've ran through their minds a million times so we can forget about being stood up by a loser and finally confess their love for us? Ugh I'm a sucker for fluffy writings like that ❤️‍🩹

This doesn't need to be a full-blown work, I just wanted your thoughts/opinions since you've been dubbed the Patron Saint of Ominis works.

Too bad, you're getting a full blown work with Ominis because I love this. And him. He's all I think about. Thank you for this prompt!!! I love it so much!

Warnings: Feelings of inadequacy, being stood up on a date, making Andrew Larson the bad guy (as always)

Word Count: 1.6k

Ominis laid out on his bed, trying not to let his spiraling thoughts consume him. He should be happy for her. That’s what good friends do, right? Celebrate things with one another, cheer each other on as they try things, grow, find their place in life?

He wanted to do all that. He just couldn’t stop wishing her current place wasn’t with Andrew Larson.

He was fully aware of how idiotic he was being. He had never asked her on any sort of date, never even hinted at his deep feelings toward her in the two years they had known each other. All of this made the fact that he couldn’t help his thoughts from wandering to her every two seconds all the more pathetic.

They were close. He’d dare say that he was even closer to her than Sebastian in some aspects, even though they’d had less time to know each other. But there had always been something about her that drew him in, allowed him to open himself up to her. It had scared him at first—but as he slowly gave in, he found himself wondering how he had ever lived a day without her.

He’d just never expected this level of aching to come with it.

She’d asked Larson out a few days before—it had come as a complete shock to him. Despite their closeness, she had never mentioned any feelings she’d had toward him. When he carefully asked why she’d done it, she just said she’d heard he might be interested in her, and wanted to see where it would go. The days had passed like agony, and finally, the evening of their outing had arrived.

He wondered if she had come back yet. Were her and Larson slowly making their way back to the castle, laughing at newfound jokes? Had he held her hand as they walked, daring to capture her soft skin in his grasp, or—Ominis sucked in a sharp breath—had he kissed her goodnight, with a promise of see you again soon?

It was that thought that finally pulled him out of his bed. He couldn’t stay there, thinking those sorts of things. He’d only drive himself mad. He shouldn’t care. He should just hope she was having fun. That he was treating her well. But he couldn’t help it.

His feet carried him through the halls of the castle. It was past curfew now—surely she was back in her room. Larson wasn’t a rulebreaker, unlike him and Sebastian. He wondered for a brief moment if that's what she liked about him, but shook the thought before it could take any true form. It wasn’t long until he was entering the Undercroft. But then he froze.

Crying. Someone was crying.

He knew that tone of voice. It was hers. Why on earth was she here, when she was supposed to have had a perfect evening out?

He called out her name, walking to her. His wand let him sense her figure, hunched over as she sat atop one of the crates in the room. She responded to his voice, trying to take a deep breath before answering.

“O-ominis,” she said. “I’m sorry, I didn’t think you’d be down here. I was just… I needed someplace to be alone.”

“Alone?” Ominis asked. “I thought… did your date not go well?”

She sniffled. “It didn’t go at all, actually.”

Ominis’s mind raced. What had happened? Why was she here crying instead of up in her dorm room telling her roommates how wonderful her time was? But he reached the most likely conclusion—one that was quick to make his blood boil. “He stood you up?” The anger was barely masked in his voice.

He heard her choke back another sob instead of speaking. That was answer enough for him.

How dare he? Various choice words rushed through his head, and he bit his tongue to stop himself from cursing the git out loud. Did he not realize he’d just lost? Ominis had just spent hours pacing the floor of his room, sick at the thought of her giving Larson any ounce of her love, and he’d went and burned it all. His hand twitched, and he found himself wondering how easy it might be to break into the Ravenclaw common room.

But as he heard her shuddering breaths, he was reminded of why he was so upset in the first place.

There would be time to deal with the prick later. She needed him now.

He rushed to move beside her, sitting next to her and carefully placing an arm around her shoulder. She leaned into the contact as he rubbed his hand up and down her bicep, trying to help her breathe properly. After a few moments, he spoke quietly. “What happened?”

He felt her shrug under his arm. “I told him we’d meet near the north entrance, and he just… didn’t come. I waited until it was dark out and nothing. He didn’t even send me an owl.” She brought her knees up, curling into a ball as if she was ready to disappear. His arm around her tightened as he silently reassured her.

She went on; now that she was talking about it, the words all came spilling out. “I didn’t even want to go out with him. I just asked him because Poppy said I haven’t been out with someone in too long, and I didn’t know who to ask, but she insisted he liked me…” She huffed. “I suppose we can say she was wrong about that.” She buried her face in her knees. “I shouldn’t have asked him. I don’t know why I try anymore. No one’s ever liked me like that, why would that be any different now?”

She was spiraling, pushed off the edge by the events of the evening. Ominis knew this habit of hers, and sadness and anger anew washed over him at the thought that Larson had set it off. He said her name, repeating it until he felt her lift her head, facing him. “Don’t say that. It’s not true.”

She let out a sigh. “It feels true.”

He shifted, finally taking his arm from around her to place his hand firmly on her shoulder, facing her. “You are worth all the love in the world. To assume you aren’t is preposterous. Frankly, it’s a wonder how everyone in the whole of Hogwarts isn’t dueling for the chance to court you. You are brilliant, kind, and know how to make anyone laugh—including me. Sebastian has told me on more than one occasion how beautiful you are.”

His next words made his heart ache—would she hear the longing in his voice? Would he fully reveal himself? “There will be a day when someone deserving of you realizes all of that. They’ll come and sweep you off your feet, and give you all the love and commitment you are due. They’ll love you completely. Even the parts you’re afraid to show them. They’ll love you like…”

The words died in his throat. He couldn’t say it. He couldn’t disrupt their friendship, the careful thing they had built together out of some selfish need of being wanted by her. But… but she was across from him, feeling as if no one would ever care for her. He could prove her wrong. It didn’t matter if she didn’t feel the same—he’d deal with that later. All she needed now was to know. So he took a deep breath.

“They’ll love you like I do.”

The silence was suffocating. He wished he could see her face, read whatever emotion lied there. It was several long seconds later before her faint voice finally uttered something.

“Come again?”

“I…” He hung his head, hand still gripping her shoulder, trying to keep himself grounded. “You said no one has ever like you… like that. You’re wrong. You’ll capture many hearts. I know it, because you’ve already taken mine—even if it’s not one that you want.”

He began to let his hand fall from away from her, but his eyes widened as she gripped onto his wrist. “What if it is the one I want?”

Her words were hardly more than a whisper, and he could have sworn he had imagined it out of pure desperation. “Do you really—”

“Yes,” she said, laughing lightly. “Yes, Ominis. I mean that. Merlin, I’m an idiot. I should have just asked you, I’ve been wanting to for ages, I just never thought—”

He couldn’t stand it a moment longer. His hand reached forward, and before either of them had a moment to think, he was darting forward to kiss her. Even with his hand on her cheek, he missed, lips brushing on the side of her mouth as he let out a small noise of frustration. Any negative emotion washed away when a chuckle escaped her lips, the sound vibrating against his skin just before she pressed her lips to his.

She kept her grip on his wrist as his hand traced its way from her shoulder to her jaw, letting him cup her face with both hands as he pulled her closer. The kiss was everything he expected it to be, and more. For countless nights, he had wondered what her lips might feel like, if they would match the warmth of her voice, if they would give him shelter just as her arms did, if they would make him feel alive just like every touch she gave him.

Her kiss was not just warm—it was fire, flames running through every vein in his body, his heart pounding at the heat of it. It was not just shelter—it was home. The place he was meant to be all along. It was more than living. It was being reborn.

When she pulled away, breathing hard, he knew he’d crave her taste for the rest of his days.

She rested her forehead against his, letting their breath tangle together. “What would you say to coming to Hogsmeade with me?” she said.

He grinned. “I’d say yes, a thousand times over.”

#ominis gaunt x reader #ominis gaunt x mc #ominis gaunt #hogwarts legacy #ominis gaunt headcannon #ominis x reader #ominis x mc #hogwarts legacy ominis

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stillness-in-green · 29 days

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Chapter 423 Thoughts: Further Reading

I'm going to try to clear out some inbox/message/AO3 comment backlog in the next week, but in the meantime, having gotten my own post up on the chapter, I also want to share some posts from others that are in a similar vein as my own thoughts, or that I otherwise find worthwhile.

From @codenamesazanka:

Nal has been doing a lot of post-writing and ask-answering since the leaks first dropped, and it’s all on-point, but there are a few posts I want to specifically link to:

Firstly, this post on how the U.A. kids in general and Deku specifically have, despite fans’ expectations, long been underprepared to truly acknowledge and address the structural problems of the system they’re upholding, as well as how Deku bears that out in the Edgy Deku arc.

Secondly, this post is on how the warning signs for this ending have been there all along offers a good concise rundown of some key places where, if Deku had ever cared about Shigaraki Tomura as a person (rather than just the Crying Child as a metaphorical construct), we should have seen him acting differently than he did.

Thirdly and fourthly, these two posts talk about the Japanese BNHA fandom’s response to the chapter. I think it’s interesting and worthwhile to consider the target audience/native culture’s response to a work when possible—there’s a lot you can learn about a story and its author’s intentions by knowing how the story’s audience is receiving it! It can tell you about the audience the story is written for, what the values infusing the story are understood to be, whether those values align with the values of the audience, whether the author is trying to be populist or challenging, and so forth.

The culture gap between Horikoshi and his Western/U.S.ian audience can result in a lot of crossed wires, and checking how the Japanese BNHA fandom is reacting to the story can clarify some of that confusion. It is, of course, up to the individual to decide how much to mitigate one’s own response to the story in light of that culture gap; I don’t think any creator is owed unquestioning carte blanche just because they’re from a culture with different popular values. I certainly wouldn’t want someone in Japan watching, for example, Top Gun: Maverick and concluding that it’s beyond criticism because the fetishization of military hardware is just American culture! Having at least some grasp on the author’s personal context is thus helpful in balancing open-mindedness and critical thinking when analyzing/critiquing a work.

(So, just to be clear, I understand the cultural context of Deku "saving Shigaraki's heart" being considered a worthwhile victory even in the absence of saving his *checks notes* life. I just disagree in the strongest possible terms.)

For good measure, have another post about the disparity between how destructive Deku’s focus on the Crying Child is to any chance Hero Society has to improve in the future.

From @itsnothingofinterest:

This reblog of an older post discussing the increasing power of quirks over the generations and how that problem would logically intersect with the precedents Deku sets here. Bleak stuff!

From @class1akids:

First, this post runs through some of the fans’ desperate attempts to second-guess Shigaraki dying here but explains the various ways each would be in some fashion unsatisfying, because there’s no solution that doesn’t ruin some key aspect of the story.

Second, this very short post raises a very good point—one I hadn’t considered!—about how Shouto may not have talked as much to Dabi as Ochaco did to Toga, but Shouto’s always valued actions over words, and his actions indicate loud and clear how much he wanted to save Dabi. And in ways that thematically tie into his arc about how he perceives and defines his quirk, no less! It’s not about Chapter 423, as such, but it’s a very instructional contrast between Deku and Shouto, the latter of whom was actually trying to both stop and save the Villain he was fighting, the former of whom…was not.

From @linkspooky:

Spooky’s got a pair of posts contrasting BNHA with Yu-Gi-Oh GX, both of which are very long and very worth reading. I don’t know if they were always intended to be companion posts—the first one was posted last month, and the second less than 48 hours after the leaks landed—but they function well in that capacity now.

The Supreme King Judai vs. Dark Deku: How To Do a Dark Deconstruction of your Shonen Hero! is an arc comparison post between the titular arcs and discusses in detail the way GX’s Judai and BNHA’s Deku are put through the paces of a dark hero arc, and why Judai’s works and Deku’s doesn’t. What it boils down is that GX is willing to let Judai make the bad decisions his prior characterization always foreshadowed that he would make, leading him to fail, horribly, in consequential, lasting ways that paint him as being very much in the wrong. BNHA, conversely, has the characterization foreshadowing but is unwilling to the point of open terror of letting Deku fail or be wrong in ways that will actually do lasting damage to him, his friends, or his relationships. This is the same core problem the overarching series faces, and thus, while not about Chapter 423 itself, this piece is an excellent preface for the next one.

Shigaraki Vs. Yubel: How To Save Your Villain deals with the total collapse of BNHA as a story due to the way it fails to recognize Deku killing Shigaraki as a failure of its main character’s personal arc. In comparison to GX’s resolution of Judai and Yubel’s relationship, It describes the story BNHA seemed to be promising us it would tell in its endgame, then discusses how that story is fundamentally broken by its actual depiction of Deku’s actions wrt Shigaraki and the other Villains Deku faces. I particularly enjoy the breakdown of why the language of “forgiveness” thrown around by Deku and Ochaco is so wrong-headed and off-base.

A handful of pithy witticisms and bleak humor:

At least we’ll always have Spinaraki.

Imagine the story we’d have gotten if Deku had walked out into the hallway and thrown it into the nearest trashcan.

This would have been a lot less work than the concert, admit it.

#bnha #other peoples' meta #bnha 423

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poisonousquinzel · 10 months

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Batman: The Animated Series Harley Quinn being the Blueprint for Modern Harley Quinn

my actual version of this post

Working On The Side Of / With The Batfam

Harlequinade (EP) • "Batman and Robin have no time to spare in stopping the Joker from detonating an atomic bomb, so they enlist the help of Harley Quinn to hunt the Joker down."

Batgirl Adventures • "When Poison Ivy is captured by mobsters, Harley Quinn must act quickly to save her, so she turns to the only hero she can find: Batgirl!"

Batman: Gotham Adventures #43 • "Who's out to get Harley Quinn? Batman has to take her on as a sidekick to find out. The answer awaits deep in Harley's history...that is, if she and the Dark Knight survive the traps set for them all over Gotham!"

Batman: The Adventures Continue Season 1 (2020) #12 | Season 3 #2, #5, #7

Also before anyone comes @ me all "oh but what about her participating in the Death in the Family storyline", I've made a post here talking about the exacts of Harley's involvement in Jason's death.

Trying To Have A Better, Reformed Life / Redemption Arc

Batman: The Animated Series "Harley's Holiday"

Batman: Gotham Adventures #10

Batman: The Adventures Continue Season 3 (2023) #2

Ending Scene In Batman Beyond: Return Of The Joker

Being A Little Goofy Gal

Batman: The Adventures Continue Season 2 (2020) #7

Batman: The Animated Series • "Holiday Knights", "Harlequinade", "The Man Who Killed Batman"

Dressing Revealingly / Being Sexual

Batman: The Animated Series • "Harley & Ivy", "Harley's Holiday", "Holiday Knights", "Beware The Creeper"

The Batman Adventures: Mad Love

Being Bisexual (cry about it♡)

Paul Dini: When Bruce and I did the Harley and Ivy miniseries, it was certainly implied that [Ivy and Harley] had a relationship with each other—they shared hugs and kisses. I didn’t want that to overpower what the story was, but the relationship between them is so natural.

Paul Dini: The more I worked with [Harley Quinn and Poison Ivy], the more I could see [a romantic relationship] happening. Unfortunately, at the time, in an animated kids cartoon, you really couldn’t get into the complexity of that or honor what a relationship like that could really be. We just showed them together as friends and on fairly intimate terms when they were out of the costume, but nothing was implicit because if we couldn’t do that relationship properly then we didn’t want to do it at all.

Batman: The Animated Series • "Holiday Knights"

Batgirl Adventures (1997)

Love Is Love (2016)

Batman: The Adventures Continue Season 3 #2-7

Breaking The Fourth Wall

Batman: The Animated Series • "Harley's Holiday"

HQ, turning her head towards the camera: "Talk about grasping at straws. Oh, well, at least I'm going out on a joke."

Being A Domestic Violence Victim (And That Being A Prevalent Aspect Of Her Story)

"Everyone else sees the Joker laugh, only Harley has ever seen him cry. It's the only reason she stays with him.

Harleen, having once been a therapist, has touched onto his vulnerability. She knows who he is underneath. That’s what keeps her there."

- Arleen Sorkin [Batman: Animated | Interview Add-On Comment]

Batman: The Animated Series • "The Laughing Fish", "Harley & Ivy", "Mad Love"

Justice League • "Wild Cards"

The Batman Adventures: Mad Love (comic)

Harley Quinn: Mad Love (Novel)

Batman: The Animated Series | The New Batman Adventures Episodes

Harlequinade Aired: May 23, 1994 Writer: Paul Dini Director: Kevin Altieri

Harley's Holiday Aired: October 15, 1994 Writer: Paul Dini Director: Kevin Altieri

Holiday Knights Aired: September 13, 1997 Writer: Paul Dini Director: Dan Riba

The Man Who Killed Batman Aired: February 1, 1993 Writer: Paul Dini Director: Bruce Timm

Harley & Ivy Aired: January 18, 1993 Writer: Paul Dini Director: Boyd Kirkland

Beware The Creeper Aired: November 7, 1998 Writer: Rich Fogel Story by: Steve Gerber Director: Dan Riba

The Laughing Fish Aired: January 10, 1993 Writer: Paul Dini Director: Bruce Timm

Mad Love Aired: January 16, 1999 Writer: Paul Dini Story by: Bruce Timm & Paul Dini Director: Butch Lukic

Justice League Wild Cards Aired: December 6, 2003 Writer: Stan Berkowitz and Dwayne McDuffie Director: Butch Lukic

Ending Scene In Batman Beyond: Return Of The Joker Story: Paul Dini, Glen Murakami, Bruce Timm Screenplay: Paul Dini Director: Curt Geda

The Batman Adventures: Mad Love Writers: Paul Dini, Bruce Timm Pencilers: Bruce Timm Inkers: Bruce Timm Colorists: Bruce Timm, Rick Taylor Letterers: Tim Harkins Editors: Scott Peterson, Darren Vincenzo

Batman: Gotham Adventures #43 Writers: Scott Peterson Pencilers: Tim Levins Inkers: Terry Beatty Colorists: Lee Loughridge Letterers: Albert DeGuzman Editors: Joan Hilty, Harvey Richards

Batman: Gotham Adventures #10 Writers: Ty Templeton Pencilers: Rick Burchett Inkers: Terry Beatty Colorists: Lee Loughridge Letterers: Tim Harkins Editors: Darren Vincenzo

Batman: The Adventures Continue Season 1 #12 Writers: Alan Burnett, Paul Dini Pencilers: Ty Templeton Inkers: Ty Templeton Colorists: Monica Kubina Letterers: Josh Reed Editors: Andrew Marino

Batman: The Adventures Continue Season 2 #7 Writers: Alan Burnett, Paul Dini Pencilers: Rick Burchett Inkers: Rick Burchett Colorists: Monica Kubina Letterers: Josh Reed Editors: Andrew Marino

Batman: The Adventures Continue Season 3 #2 Writers: Alan Burnett, Paul Dini Pencilers: Kevin Altieri Inkers: Kevin Altieri Colorists: Monica Kubina Letterers: Josh Reed Editors: Andrew Marino, Ben Meares, Katie Kubert

Batman: The Adventures Continue Season 3 #5 Writers: Alan Burnett, Paul Dini Pencilers: Ty Templeton Inkers: Ty Templeton Colorists: Monica Kubina Letterers: Josh Reed Editors: Ben Meares, Andrew Marino, Katie Kubert

Batman: The Adventures Continue Season 3 #7 Writers: Alan Burnett, Paul Dini Pencilers: Ty Templeton Inkers: Ty Templeton Colorists: Monica Kubina Letterers: Josh Reed Editors: Ben Meares, Andrew Marino, Katie Kubert

Batgirl Adventures (1997) Writers: Paul Dini Pencilers: Rick Burchett Inkers: Rick Burchett Colourists: Rick Taylor Letterers: Albert DeGuzman Editors: Scott Peterson, Darren Vincenzo

Love is Love (2016) Writer: Paul Dini Illustrator: Bill Morrison Colourist: Robert Stanley Letterer: Sal Cipriano

Harley Quinn: Mad Love (Novel) Written By: Pat Cadigan and Paul Dini

I am aware this last one isn't technically in the BTAS universe, but later on in the novel, it blends into the Mad Love comic/episode and then goes past it. I only used scenes that were originally featured in the comic/episode as they are just those scenes in a purely written form.

Harley Quinn: Mad Love (Novel) Pg. 261 He lowered his head and slumped, the very picture of dejection. Harley couldn’t stand to see him that way. She cuddled up next to him and took him in her arms. “I know how to make some smiles, puddin’,” she said in a playful, sultry voice. His whole body stiffened under her touch. “Puddin’?” But she knew it was hopeless; she’d done the wrong thing again. A moment later, he was leading her down the stairs by her nose, pinching it so hard between his thumb and forefinger that she cried out on every step. “Ow-ow-ow-ow-ow! That hurts! It really, really hurts! Please, puddin’—” He pinched even harder as he led her to the door, opened it, then turned her around. “How many times do I have to tell you?” he roared, applying his foot to her backside. “Don’t call me puddin’!” Harley scrambled to her feet just as he slammed the door in her face. She started to beg him to let her in but suddenly all the fight went out of her and she sank down to sit cross-legged in front of the door. Thrown out again; how many times was this? She’d lost count. No, she hadn’t. This was the twenty-fifth time. That averaged out at roughly three times a week for the past two months. - Harley Quinn: Mad Love (Novel) Pg. 255 “Hey, that’s a real gasser, ain’t it, Mistah J?” she said between giggles. In the next moment, Gordon thought the nitrous was making him hallucinate as events took a sharp turn into the surreal. The Joker grabbed the floppy points on Harley’s hat, pulling her to him so they were nose to nose. “I deliver the punchlines around here!” he bellowed into her face. “Got that?” “Yessir,” Harley Quinn said, her voice tiny and fearful. The Joker shoved her aside and the jolly Clown Prince of Crime persona was back.

#extra info under the read more #batman the animated series #btas #dcau #arleen sorkin #tw abuse #tw clown boy #♢ meta & analysis ♢#♡ my gifs ♡#harley quinn #harleen quinzel #dc comics

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givepie · 28 days

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Hm! I feel a rant coming on! Everyone duck!

MY THOUGHTS ON THE HYPERIA STORY AND ITS THEMING. ALSO A GENERAL RANT ON COASTER THEMING.

Let start with a general question: what counts as theming?

To me, theming is the set pieces, pre-show, and anything laid out in a rides area to help develop a story. Most of the time this helps world-building more than anything. To me, even music can be a piece of theming because it helps to set a tone. For example, when riding Smiler, the laughter sounds almost manic and it makes you realise straight away that something is off, before you even step foot into X-sector.

Anything that DOESN'T fall into this classification such as website and app pages, falls into "storytelling". In a theme park, it is almost impossible to tell the entire story from one repeated instance inside of said story. To tell a complicated story like that of the Smiler, it would take so much exposition, which is very much not the point and would take away from the experience as a whole.

So storytelling isn't a bad thing, it's how they handle it.

To me, there are three behemoths of theme park theming and storytelling worldwide. That I know of.

Baron 1898, X-Sector post-Smiler, And Forbidden Valley post-Reborn.

Baron 1898 is pretty easy to grasp while you're there, even as a non-speaker of the language. You're going on a mine tour and 3 ghost ladies are PISSED that you're going down there. The actual theming is downright impressive ans I would love to see it in real life. You can then look up the story to find out who the ghosts are, who the Baron is, and how the mine came to be. Really good treat for people who decide to look.

Forbidden Valley has a story that has remained relatively consistent throughout the years. It has wondering actors that establish the world in a realistic yet entertaining way rather quickly. There are an official operation; there are people opposing the operation so there is something sneaky going on; there is a tour group taking advantage of the centrepiece so the Alien is a tourist attraction in this universe, too. Just little things that help put together a bigger picture.

Of course this starts coming apart a little bit when the audio starts explicitly telling you what is happening, but it still holds. You see someone's office, a crashed helicopter, weapons for warding off the alien. All things to help build up this universe you are now ankle-deep in. And then there's the 3 pages on the Internet that break down the story for you, which can also be seen in the shop.

Finally, of course, there's X-sector. It doesn't usually have roaming actors, and the theme suits better that way. Without the roaming actors, you see that the Ministry are secretive. Trying to stay out of the limelight, except for the skeleton crew they send out to keep the coaster safe and operational. It shows a tone.

However, people casually wondering what this is about can never get an easy answer. Cause the answer is spread out across what remains of a decade-old marketing campaign. Fun for people who want a deep dive, not so fun for people who are just lightly curious. The website barely tells you anything either.

But, on a positive light, the story is so complex it keeps a fandom. Not many coasters have that. It's an insane accomplishment.

And I have a theory as to why. Now, stay with me here I think I'm about to upset some people:

It has aspects of social and political commentary. "Not everything is political" ALL GOOD ART IS A COMMENTARY ON THE TIMES AND CIRCUMSTANCES YOU WERE RAISED IN SIT YOUR ARSE BACK DOWN.

RIGHT, so, Smiler is a story about the government dedicating an organisation to keeping people artificially content to keep people compliant. What are Brits notorious for doing, in comparison to the French?

Doing fuck all. This wasn't always the case. We would riot, we would strike. Now we strike but while the other half of the country complains and just tells the strikers to sit back down and take the mistreatment. We are miserable, we complain, and we go about our day. And that's the joke. Its funny. So why bother changing it?

And if we can't be bothered changing something cause it's funny, what happens if they make everything purposefully funny? They'd never have to deal with the strikes in the first place.

The government functions off of our social compliance, which can come from making jokes at our own expense. We even see it now with our drowned-rat-faced PM as he continues to make a fool out of himself so he's funny. If he's funny, we want to see him more. That's a valid strategy nowadays.

Smiler. Is about how Keep Calm And Carry On is a stand against progress.

Smiler. Is a political and social commentary on the people of Britain. You're welcome.

Anyway!

HOW DOES THIS RELATE TO THE NEW WORLD-STAGE COASTER IN STAINES?

The problem is: it doesn't. Instead of taking inspiration from its sister park, Alton, Thorpe decided to take inspiration from Icon and its shoebox station.

Where is Fearless Valley taking place? When is Fearless Valley taking place? What point in the story are we looking at here? The issue [only issue, really] with Hyperia, is it entirely relies on storytelling and a few bits and bobs in the queue.

Remember the shortcoming in Nemesis? Where you can get a good grasp of the story without it being blasted in your ear? Yeah here they straight up tell you the story, too. The theming has BECOME the storytelling.

Next question: what is Hyperia, the coaster, supposed to be? Yes, we know the story is that a goddess called hyperia overcame her fear of the sea by building wings and escaping the island she was trapped on [for some unspecified reason. Is hyperia evil?], but what IS the coaster supposed to be?

Smiler is the Marmaliser, the machine that transforms you into a smiling advocate. Nemesis is the tentacles of the monster overtaking the metal that pins it down. Baron is the track the drill takes to get into the mine.

What is Hyperia? Are we following Her as she soars, were we stuck with Her; the Icarus to her Daedalus? Are we following in her footsteps as part of a ceremony Her followers reenact for her blessing? Are we supposed to be Her? It's never really specified.

The station is chocked full of a last-ditch attempt of theming, which in comparison with the whole lotta nothing you get from the queueline? It feels cramped. It feels cheap. It barely feels like it belongs on a stage alongside Taron, Velocicoaster and Voltron Nevera. If they didn't have the budget to do the storytelling and the theme, they should've gone for theme.

Any story with no theme feels cheap and artificial. Any theme with no story still stands out and has breathtaking scenes. If they focused more on the white-gold colour palate and maybe had a few statues around and about they could pass it as some sort of pantheon, like climbing Olympus.

I'm not gonna lie, I'm disappointed in all aspects of the Hyperia theming. It feels lazy, tacky and underwhelming when you consider Swarm is a 5 minute walk away. I'm hoping it improves at some point.

I geniunely think the stone head of Collosus is much better than anything in Fearless Valley and its inconsistencies. The Black and gold buildings feel very sleek and out of place for a story ultimately about a goddess who forged. She forged her own wings. She forged her own bravery. Shouldnt the building look a little home made? Where are the bolts? The soldering? I want to see her anvil and hammer pride-of-place, not shoved in the corner of the station.

Cmon thorpe. Get your arse in gear.

#im getting glitches on one of the paragraphs here. im done with trying to fix it #Thorpe park #hyperia #i am now going to dedicate my next week to learning blender n shit so i can recreate Fearless Valley with the idea in my head.#im totally normal about all this #anyway the ride itself looks like Something Truly Special #let it be known i am not hating on tbe layout i think it geniunely must be best in the UK.#smiler #the smiler #ministry of joy #x-sector #smiler as commentary on the compliance of the British Public #which technically makes smiler an artwork #no?

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oklotea · 8 months

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Tintin Character Requests! Pt. 1

The series where I draw Tintin characters in funky little outfits cuz they truly are funky little characters

In the first picture, we've got toxic yaoi, well, no, the first request was these two on their own but because I love them so much and their interactions in the 2011 movie I drew them together, and wow I am actually quite proud of how it ended up looking like!!!!! (Probably one of my favorite out of this batch of sketches)

Ty @mis3rabl3m3lody and @libraryidealist for the request!!!

Aaand behind curtain number 2, we've got certified best boy, Chang!!!! Where is he running off to? Idk. I would be embarrassed to admit how much time I spent figuring out how running looks like cuz I just suddenly forgot wtf running looks like

Ty @myfunnyvalentine !!! For the request!! You seemed quite enthusiastic

Next up, we've got AHHHHH MY SILLY MY GOOFY MY FAVORITE MANIC PIXIE DREAM GIRL!!!! PROFESSOR CALCULUS!!!! I drew him in polite little vest and turtleneck combo and some patterned pants, politely waving at you! I was watching a few episodes recently and AGEHHDHDHH I FORGOT JUST HOW ENTERTAINING AND AMAZING AND ICONIC THIS MAN IS he's so silly he's a genius he has no idea what's going on most of the time <3333 we need him in the hypothetical 2011 sequel (it's coming guys trust me)

Ty @unlikelyintelligent and @akasanata for the request!!

TADAAA!!!! IT'S GENERAL ALCAZAR!!! ok. As you know I've only recently started coming back to Tintin, and I'm ngl I forgot who general alcazar was. Then I watched Tintin and the picaros and pretty quickly I remembered. THIS GUY WAS SO COOL. my dumb kid brain didn't entirely grasp what was going on in that episode, BUT NOW I DO KNOW. AND WOW THIS EPISODE WAS WILD. every Tintin episode is on a spectrum of insane but this one tips closer to the more unhinged end. GENERAL ALCAZAR IS SO BADASS, HES LEADING A REVOLUTION, HE'S A MALE WIFE, HE IS A PRESIDENT NOW??? I miss the guy. ALSO I LOVE HIS DESIGN.

(Also if your wondering if every Tintin post I make I'll include a tangent of just gushing about how much I love some aspect of Tintin you better get used to it cuz I love rambling about how much I love Tintin)

Ty @tintinology for the request!!! AARRRGHRHRHHH GENERAL ALCAZAR!!!!!!

here's a couple characters ik little about, ik they were the original antagonists of the secret of the unicorn but that's about it! It's the bird brothers!!!! They're in some fancy suits, judging everyone they pass, their probably grumbling about something. From their appearance they look like their never happy sjhfjdjf

Ty @jimmyandthegiraffes for the request! :D

And last but definitely not least, IT'S JOLYON WAGG!!!!! if only the editing was better so you could bask in his graceful and obnoxious glory. I really like his voice! I really like his wardrobe! And he is some sort of anomaly to me, hes just popping up in the most random times, and most of the time it's to be an annoying little bitch (endearing), he has a medal of honor btw! If I ever met him, I would at first be very charmed, but then realize this is an entirely one sided conversation that'll go on for hours and hours that I won't be leaving anytime soon, and when I eventually get home I'll be completely exhausted by how much social energy I was using up just trying to keep up and look like I was really really invested in whatever this man was rambling about

But anyway he's silly and whimsical so I still really like him

Aaannnddd that's it folks! I'll eventually work on the other requests I have!!!! Have a good evening!!!!!

#the adventures of tintin #adventures of tintin #allan thompson #tom #chang #chang chong chen #tchang tchong tchen #professor calculus #general alcazar #the bird brothers #jolyonn wagg #tea art 🎨#WOOOOHIOOOOOO LETSS GOOOOO IM REALLY REALLY PROUD OF THIS SHIT #i really hope im able to draw more characters with silly dynamics those are really fun to draw for me #requests are still very very open! it makes me happy drawing tintin cuz i really like that show/comic book series #also its good drawing practice for me #take care everyone #oklo makes a post

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ahgasegotarmy116 · 8 months

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Semantic Error | A Jeon Jungkook Series | Chapter 2

Based off of Semantic Error (bl) by J Soori Summary: While y/n starts to discuss her vision for the game she finds out that JK was someone she had hoped she would never have to deal with again. Giving up on her game for now she focuses on work and school but Jungkook has other plans for her this semester. Pairing: Techie inexperienced fem!reader x Artist fuck boy Jungkook Word count: 2.4k~ Warnings: Explicit language (a little bit). Idk that's pretty much it for this chapter. A/N: This is heavily based off of the original bl (boy love) and it covers chapters (episodes) 2-12. I've switched around the timeline and got rid of a few scenes here and there so they're not exactly alike but I would like to stick close to the original story so let me know what you think! P.s. If you don't mind spoilers I would highly suggest reading the original story. I read it on the app Manta with the english adaptation being done by Angy and you can also find the Kdrama on Viki :) Read from the beginning

Sitting down with JK and explaining my vision for the project is becoming increasingly annoying, he picks out the flaws in the designs that Hana drew up as well as called my whole concept boring, basically making me want to just start ground ground zero at this point. "Are you sure you'll be able to actually be able to create what I want? In terms of functionality and the coding behind it all on your own?" he asks questioning my abilities. "If you give me a chance I'm sure I'll be able to create a fully functioning 2D application" I say simply, knowing what I'm capable of.

"You know there are other aspects that you have to think about besides the design factor of it all. Have you figured out how you're going to go about that or would you be needing my help as well?" he asks getting cocky, trying to belittle me. "I am aware and it's your choice what you plan to help with. I just need a character and gaming environment design from you. I'm able to handle the rest if need be" I say plainly stating my intentions. "Well if you want me then I'll work on it with you". We work out the a rough layout of how this will all go and when I feel it''s time to end the meeting I hand him my phone and ask him to put his number in so I will have a ways to contact him to set up future meetings.

"Looks like you already have my number" he says and I tilt my head curiously, not sure how I would've found myself in a situation where I would need his number. "He calls himself from my phone so he has my contact as well and I see the name Motherfucker pop up on his screen. "Wait you're a girl?" he says clearly as confused as I am. JK = Jungkook, how did I not put that together?!??!?! I snatch my phone out of his grasp and see the contact name I've assigned to his number and my heart drops seeing the name Freeloader 3 on the screen. Grabbing my bag I run out of that study room and don't stop until I've made it home.

Closing the door behind me I pray I've somehow lost him and that he didn't chase after me to see which way I took to go home. I'm a girl so there's no way that he could cause physical harm to me. Right? He seemed somewhat of an intimidating guy so I guess he could go either way. Guys like him seem like they could get away with murder if they wanted to. I shiver as I feel all of my hairs standing on end praying that that somehow won't be my fate.

That was a shit way to start off my summer but I hopefully won't have to bump into him ever again since I won't really have any reason to go to campus these days. I'll just focus on working at the PC cafe and save up so I won't have to worry about working when classes are back in session.

My summer is uneventful just as I had hoped for and just when I thought that I had forgotten that disaster none other than Jungkook walks into the the cafe. I keep my head down hoping he won't see me but as soon as I hear a lull in the conversation he was in I knew I was screwed. I look up at him and see that he's clearly staring me down and as soon as he confirms it's me he rolls his eyes and scoffs before he makes his way over to one of the open PCs. Why couldn't he have just turned around and gone somewhere else? There's another perfectly good cafe on the other side of town so why did he have to pick this one?

Who am I kidding why would he go out of his way to go across town when all we had was a little argument and he's mad at me because he thinks I'm to blame for keeping him from graduating. As soon as I finish restocking the snack bar I get a notification of a customer placing an order and I check the notification and see that low and behold it's from Jungkook.

After retrieving his food from the cook I make my way over to him and place his items down in front of him. He looks me up and down before opening his mouth to say something which I could only assume is utterly irrelevant to me. "Hey we seem to have gotten off on the wrong foot, do you think there's a chance that we could just start over? I could even introduce myself since I never really got a chance to do it in the first place. Hello my name is Jeon Jungkook and I'm a visual arts major" he says while holding out his hand as a peace offering.

"And that matters to me why? I don't think we have any reason why we should be interacting anymore since I don't want to work on the game with you anymore. It's best if we just forget it and remain as strangers" I say turning to go so I can get back to work. He follows me over to the front desk where I unfortunately am forced to stay so I'm stuck having to listen to him until he goes away. "I'm not looking for a fight I promise I just want to start over. You seem like a pretty nice girl and I would love to get to know you better" he says flashing me a smile that I'm sure many girls have fallen for before but I don't find it the slightest bit charming.

"Sounds like you should try to get a bit more creative with your pickup lines, I'm not interested" I say and look through the system begging for someone to give me something to do. "I promise I just want to get to know you, no ulterior motive on my part, but if you wanted to go about things that way then I can't lie that I find you extremely attractive a-"

"I suggest you go back to your seat unless you would like me to call management to get you permanently banned and file a restraining order for sexual harassment" I say taking care of some emails from out vendors for the next weeks shipment, finally having found something productive to do. "Okay I get it I'll back off, I didn't mean to offend you like that. For what it's worth, I really did want to be your friend" he says and goes back to his seat, finally providing me some peace and quiet.

The first day back at school I fall back into my usual routine. I always get up at a certain time so I have time to exercise and take a shower before class, I get my bike downstairs at 9:16 on the dot and I have my whole route calculated down to the second. I make sure to get to class half an hour early everyday so I don't have to worry about rushing and I have time to mentally prepare myself for the rest of the day. Walking into the lecture hall for my Chinese class I find myself buffering at the sight of a bag on top of the usual seat I sit in. It's the perfect seat that provides me with the best view of the board and allows for next to no distractions. It's kept at a comfortable temperature and it gives me the best route out of the classroom when the lecture is over.

Glaring down at the bag I'm temped to just move it but decide that I'll just wait until the owner comes back and ask them to switch seats. I'm surprised out of all the seats in this big lecture hall the they picked my exact seat. I brush it off and go through the material we are going to cover today until I'm greeted with the mysterious owner of the bag that has caused me so much turmoil this morning and looking up to make eye contact with them I'm left with the sight of a smug looking smile from the bane of my existence, Jungkook.

"What are you doing here?" I whisper since more students have started to make their way in. "I'm recruiting for my pyramid scheme. What does it look like I'm doing?" he says while taking a seat. "Switch seats with me" I say standing up expecting him to do as I say. "No this is my seat" he says and starts to get out his class materials. "Just switch me seats" I demand starting to lose my temper. Before he's even able to mumble a response our professor comes in and asks us all to sit down, prohibiting me from trying to get him to give me my seat back.

"Oh Mr. Jeon what a pleasant surprise, I thought I saw that you signed up to be my TA this semester. Class this is Jungkook, he lived in Beijing for a year so feel free to ask him a lot of questions. You'll also be turning in all of your assignments to him so if you have any questions please feel free to reach out to either of us. Right Mr. Jeon?" she confirms. "Yes I'm here to help" he announces to the class. "And I'll be right there to hold your hand the entire time y/n" he says using my name to address me for the first time. It some how sends a shiver through my spine and I can see from out of the corner of my eye that he's pleased with my response. Why can't my body just cooperate with me just once? He's just a mildly attractive guy that's it, don't let his antics distract you.

After this class I rushed over to my next class I am greeted with yet another bag on my favorite seat, he couldn't have gotten to this one before me as well right? Is he some kind of super villain that is hell bent on making my life miserable? Maybe it belongs to someone else and I'll actually be able to reason with them this time. As I sit waiting for class to start I see a flash of red show up in my peripheral vision "Oh are you in this class too?" I hear him buzz right in my ear as he sits down next to me yet again. "Jungkook what are you doing here? This class isn't even close to what your major is. It's also one of the more advanced classes so I know that you're here just to annoy me" I say while taking my textbook out.

"And how do you even know my class schedule?" I ask and widen my eyes as the sight of the notebook I thought I lost a few months ago. "How did you get that" I say reaching for it, which he childishly moves out of my reach. "You left it at the library that one day that you ran away from me. I was going to try to stop you to tell you but by the time I stepped outside the door you were already gone. Was I really that scary?" he says mockingly. "No, you were just unpredictable to me so I didn't feel comfortable being in a closed off room with you, that's all. Now give me my book back!" I demand, trying to reach for it again and as soon as I think I've got a chance at reaching it I hear the professor walk in.

"Mr. Jeon is it?" he says unamused at the sight he's presented with. "Yes sir" he says while both of us quickly take our seats. "If you plan on taking this class just for the purpose of flirting then I suggest you drop it, especially since it looks like this isn't required for your major" he says clearly already annoyed with the both of us already. Thanks a lot for getting me on his bad side already Jungkook. I think to myself and try my best to control the blush that wants to grow from the embarrassment he has just caused me. "I'm sorry professor it won't happen again" Jungkook says apologizing for both of our behavior. "See that it doesn't" he scolds and starts the lecture.

He finally gives me my book back and doesn't speak to me again, but he sure as hell still makes his presence know with all the fidgeting he's been doing. As the minutes tick by I feel myself losing more and more of my concentration and as soon as the lecture ends I'm up and out of my seat and head out of the building as fast as I can. I can sense that someone is following me though so I decide to stop and then feel someone bump into me.

"Hey you could've knocked us over!" he says acting like it's my fault. "Well if you hadn't been following me then we wouldn't have had this problem now would we?" I finish crossing my arms. "What is it that you want from me? Or are you just trying to make my life miserable because you failed that class and you feel like it's my fault?" I say genuinely curious as to why he's acting like this.

"Well I mean I'm willing to put the class thing behind if you just start being nice to me. I'm actually a really nice guy to be around and I really meant it when I said I wanted to be friends. Plus you've got me interested in that game of yours so I was wondering if you would take me back?" he finishes really making an effort to start over just like he said before. "So your way of trying to make amends is by annoying the crap out of me? You're a lot dumber than I thought you were" I say walking away and much to my distaste he ends up following me.

"Come on just think about it, I saw the way your eyes lit up when you saw my portfolio, admit it you need me" he says regaining that cocky attitude. "I don't need anyone, and I especially don't need you. There are plenty of designers out there, you're replaceable" I say and storm off hoping my honest feelings stopped him from wanting to talk to me for the rest of the day.

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blueskittlesart · 1 year

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hi! im really curious about your thoughts on oot, i'm trying really hard to like it and i wanna see what you enjoy about it

Hi!!! I'm going to do my best to explain exactly why I like oot but there is a TON of ground to cover. i have already written a bit about the story and my thoughts on it in this document, but this is a much more in-depth analysis of the symbolism and implied narrative which i think may be more helpful to you if you're struggling to get into the story and gameplay!

oot is my favorite zelda game of all time and was what made me fall in love with the series, but I will concede that it shows its age, especially with the insane advancements that video games have made over the past 2 decades or so since its release. Try to remember when playing it that it came out in 1998, when a game with any sort of 3d graphics at all was still new and exciting. some of its gameplay is going to be a bit dated, unfortunately, and it's totally reasonable to dislike that aspect of it i think! If you really find yourself struggling with gameplay, i recommend zeldadungeon.net for dungeon walkthroughs. they have very concise and easy-to-follow walkthroughs for the entire game which make the gameplay MUCH smoother for first-time players! there's no shame in needing walkthrough help in these dungeons, ESPECIALLY some of the later ones which get notoriously convoluted and difficult. that being said, even if you use walkthroughs, I'd encourage you to still pay attention to the dungeon's designs and details as a lot of thought was put into these designs and I think they're still some of the strongest in the series! gameplay-wise I'd also say that there are a lot of little collectibles that will seem like they're way more important than they are to new players. you don't need the skulltulas (they get you a bigger wallet), you don't need to complete any trading sequences, you don't even REALLY need to go out of your way to collect any of the extra heart pieces, the game is perfectly beatable with just the hearts you'll get from dungeons. Knowing all these things going in will really streamline your gaming experience and make things easier for you if you're getting put off by the 90s-style game design.

As for what i really love about the series, it's the story. And i understand that if you're not someone who makes a habit of analyzing media to an obsessive degree, at first glance oot doesn't seem to have a lot of story. A simple fact of old game design is that more dialog and cutscenes meant more storage space was needed, and the biggest constraint in game design at the time was the limited amount of storage a disc or cartridge could hold. What this means is that storytelling in older games like oot takes a very different form than the cutscene and dialog-heavy storytelling that games tend to use nowadays. the storage restrictions on the game meant that a lot of oot's story had to be told implicitly, via details and worldbuilding and actions carried out by the player. I know this can make it difficult to grasp at first glance! that's why i love to analyze it and talk about it, because I want people to understand how rich and well-told oot's narrative actually is and i know that most people aren't as willing to put in the work as i am, lol. with that being said, this is where the spoilers are gonna start! i'm gonna recap and analyze most of oot's story here, so if you're not looking for spoilers scroll away now and experience the game for yourself!!

oot is at its roots a story about adults failing children. i will elaborate on this point a bit more later, but for now let's look at our opening segment. We are introduced to our link, the youngest link in the franchise, at nine years old. From the get-go, we as the player are told that link's hylian parents died in a conflict very shortly after he was born, leaving him in kokiri forest to be raised by the deku tree, among the kokiri.

The kokiri are a race of eternal children. what this means, essentially, is that we begin the story with a link wearing rose-tinted glasses. the kokiri live forever without aging or dying, and they never leave the forest. Link has grown up isolated and without any concept of aging or death. he has been told by the deku tree, his father-figure, that he IS a kokiri and therefore will never age or die. Despite this, link does have a crucial difference from the rest of the kokiri that even he is aware of--he has no fairy. If you talk to the kokiri in the initial kokiri forest segment of the game, many of them will talk down to you or make remarks about you finally getting a fairy, reminding the player that link knows SOMETHING is wrong with him, that he's different from the other kids somehow, but he's not yet been able to pinpoint what.

we come to our first dungeon segment, where the deku tree summons link and tells him that he's dying and that link must defeat a monster to save him. when the player completes this objective, the deku tree dies anyway, revealing that he knew all along he couldn't be saved and lied to link about it in order to get him to do the dungeon. with his dying breath, he tells link to leave the forest and find princess zelda. (worth noting that up until this point, link has been told that leaving the forest will KILL HIM.) this is the first major failure of an adult we see, and as the inciting incident of the game it sets the tone very nicely for the rest of the shitshow. The deku tree lies to link his entire life about who he is, and then spends his dying moments lying to link AGAIN, specifically in service of a greater plan to turn link into the savior of hyrule by sending him to help princess zelda. this point is crucial--the deku tree has clear-cut, understandable reasons behind acting the way he does. It would have been much easier on link to allow him to grow up isolated among the kokiri, and it removes a lot of the potential danger he would have faced as an orphan in hyrule in the aftermath of the war which killed his parents. (we will later see that hyrule is in no way a safe place for a child on their own.) Explaining all the magical-destiny lore to a nine year old had the potential to scare him away from the task ahead, as did admitting to him that there was no way to save the deku tree. But lying to him about it all still ultimately deeply hurt him. this is the stage upon which the rest of the game will build.

Link, freshly traumatized by the death of his tree dad, leaves kokiri forest. he goes to castle town and meets princess zelda, a girl no older than him. Princess zelda tells him that she fears for the safety of her kingdom, but that no one will listen to her when she tries to warn them of the danger. this is our second adult failing--the entire conflict around which this game centers could have been prevented if only any adult was willing to listen to zelda's concerns about ganondorf. But because she is a child she is dismissed over and over again until she finally turns to ANOTHER child for help. her plan for link involves him retrieving objects needed to open the gateway to the sacred realm within the temple of time, which i know sounds like a bunch of confusing lore shit but all you really need to understand is that there's a gateway to what is essentially godlike power inside this temple, and zelda wants link to open the gateway and claim the power before ganondorf can. link already has one of the 3 keys he needs--it was the reward for killing the deku tree beating the first dungeon in kokiri forest, and zelda takes this as proof enough that he will be able to find the other two.

in these first three dungeon segments, link is confined to his nine-year-old form. His sword is wooden and deals considerably less damage than it will later in the game, and in each of the dungeon segments there are reminders of the way being a child affects his autonomy in hyrule--the guard at the gates of death mountain won't let him pass, the zora princess berates him for not being enough of a man, several collectibles are clearly visible but impossible to reach with his current size & ability, etc etc. this section of the game is deliberately juxtaposed against the initial segment in kokiri forest, in which everything was built for someone of link's size and strength and no part of the map was unexplorable or all that challenging. What you're supposed to realize here is that being a kid in hyrule is HARD. you have very little autonomy and are constantly condescended to. One of the few hylian npcs your age, Malon, is a good example of this--in her mini-quest she vents to link about how her father can't see that his stablehand resents him and she's constantly having to look after him without being listened to. She is being given adult responsibilities (looking after her father & the animals on their farm) without adult social status. Her situation is a deliberate parallel to both link and zelda's, though during this 3-dungeon segment of the game it's not immediately clear yet just how much adult responsibility link is actually shouldering. in any case, this is our third example of adults failing children, and the theme begins to be echoed in the worldbuilding of hyrule during this stage as well.

now we come to the initial confrontation, the scene which alters the trajectory of the game and divides what i consider the first and second halves of the gameplay (although the second half is probably much longer lol). Link, having found all 3 keys to the sacred realm, returns to hyrule castle, only to find that ganondorf has attacked, forcing princess zelda to flee with her attendant. He catches one final glimpse of her where she throws him the final key needed to unlock the temple of time: the ocarina. although no words are exchanged between them, it's clear that she's asking link to carry out the rest of her plan on his own and claim the power sealed in the temple before ganondorf can. and so link goes to the temple of time and opens the gateway, but link is nine years old and so link doesn't notice that ganondorf, a trained thief, is following him. When he opens the temple, ganon siezes the power zelda was trying so hard to keep him from finding.

we then pan down to link again, but different. he's changed, he's older. notably, he isn't an adult. he is sixteen years old, physically, but mentally, for both link and the player, no time has passed at all. this is important to keep in mind for the rest of the game--no matter how link may look, he is mentally still nine years old. he wakes up to essentially a lecture from the world's biggest dickhead, the sage rauru. Rauru places the blame for ganondorf's rise to power squarely on link and zelda's shoulders, noting that if link hadn't opened the temple of time in the first place, ganondorf would have never been able to sieze power. he tells link that he placed him into a deep sleep for the past seven years because, at nine years old, he wasn't strong enough physically to take on ganondorf and win. But now, he says, link is old enough to be a real asset. it's time for link to defeat ganondorf.

Once again, we have a clear-cut case of adults failing children. Link and zelda took matters into their own hands BECAUSE of the adults in their lives. for link, it was the deku tree (HIS FATHER)'s dying wish that he help zelda. for zelda, her plan was a last resort after begging every adult in her life to see what was coming and being constantly ignored. now that what she predicted has come to pass, she and link take all the blame for it, for being kids in a difficult position doing the best they could with NO ADULT HELP WHATSOEVER. you can't place the fate of an entire kingdom on the shoulders of two nine year olds and expect it not to fall. but that's what hyrule's adult leaders did, and when the kingdom fell they let the nine-year olds take the blame for it. zelda hasn't been seen for years. she's either dead or in hiding out of shame for her mistake. meanwhile, Link has once again become a pawn in someone else's game. The sage rauru decides for him, without ever consulting him, that he can't be trusted to remain conscious for the seven years between gameplay segments. that he will be safer and happier to remain asleep. anyone who stops for a moment to consider what this might do to link's mental state would have not done this, but rauru sees link as a child, which in hyrule is synonymous with an object to be controlled, with no feelings of his own. he needs to be protected and hidden, regardless of what effect it has on him when he wakes up. nothing else matters as long as he can be kept alive and unharmed. this is a deliberate parallel to the way the deku tree treated link while under his care in kokiri forest--he doesn't need to know the truth, because it's easier and more convenient for everyone else if he doesn't. its effect on his mental state doesn't matter. what matters is that he is kept in a position which is convenient for the adults in his life. this is another reminder of the way in which being so young hurts link, and if I can diverge into real-world relevance for a second, it's an obvious metaphor for the way trauma steals one's childhood. Link was never allowed to grow up normally. he went from being a kid one day to an adult the next, with no time in between to figure anything out. his childhood, his coming-of-age, was stolen from him by greedy adults who needed him to be a pawn in their war.

the dungeons in the adult segment of the game can technically be completed in multiple different orders, but the usual order (and what i think is probably the way the narrative is intended to progress) is to get to the forest temple first, which requires you to reenter kokiri forest, all grown up. it's important to note that up until this point in your gameplay, link still has plausible deniability about his race. sure, he didn't die when he left the forest, but maybe that was a lie told to ALL kokiri. maybe he's still a kokiri and he won't grow up. but now he's got solid proof that he was lied to, and that the safe, beautiful sanctuary he's spent the majority of his life in was never actually meant to be his home. When you return to kokiri forest as an adult, you find that it's nothing like the safe-haven you remember. it's been overrun with monsters that are taller than you now, as an adult. This is a metaphor, obviously, for returning to someplace changed. link goes back to his home and it doesn't feel like his home anymore with all that he knows now. And if the monsters weren't enough, if link talks to the kokiri, cowering in their little kid-sized houses, not a single one of them recognizes him. they address him as an adult they've never met before. to them, it's been seven years, and they've never known a kid to grow into an adult before. but to link, it's been a few days at most, and inside he's still the little boy they knew.

the dungeons in this segment of the game are mostly straightforward training exercises to give link the necessary skills and assets he needs to fight ganondorf. I'll skip over most of them, but there are three things i DO want to highlight about this section of the game: malon, sheik, and the water temple.

Malon is introduced in the first half of the game as an example of another child with very little agency and power. Seven years later, if link visits her again, he will find the ranch in an even worse state, with the stablehand having taken over and kicked out malon's father. Malon stays purely out of fear of what will happen to her horses if she leaves them in his hands. She is an adult now, as you are, and yet she has even less power than before. So much of the first half of oot is framed in such a way that the player wishes link was older. It wants you to think, wouldn't this whole thing be easier if I was an adult? Wouldn't I have more power, more agency? but now that you ARE an adult, you're confronted with the fact that nothing has changed. you are still a pawn in a war against ganondorf. Malon is still trapped at the ranch, forced to endure daily abuse or leave her animal friends to die. however, this segment is also the first time you as the player are given the option to fight back. If you, as a child, have taken the necessary steps to befriend malon and epona, one of her horses, you are able to use the bonds you forged in childhood to run the stablehand off the ranch and return power to malon. this mini-arc with malon is a teaser for the overarching arc of the game--having no power in childhood, believing that adulthood will be your savior, but finding the same powerlessness in adulthood, and ultimately returning to pieces of your childhood in order to finally reclaim your power.

next up is sheik, who is deliberately a mystery for the majority of this segment, but. well. we all know he's zelda, so i'm not going to beat around the bush. Sheik is what has become of zelda in the years since ganondorf took power--where zelda was once strong-willed and refused to stand down in the face of danger, sheik now moves among the shadows, darting in to offer link a bit of help or advice but never getting too close. My reading of this is that zelda, after growing up in the aftermath of her failed plan, was afraid of what she'd done to link. She saw her influence as the thing that brought hyrule to ruin--after all, link never would have opened the door in the temple of time if not for her. The way she sees it, her choice to use him back when they were nine destroyed his life and her kingdom. This is why she's largely absent in this segment of the game, only stepping in for brief moments and disappearing the second link tries to reach out for her. Her character at this point is essentially representative of self-isolation as a coping mechanism.

finally the water temple, which I promise i didn't single out just because it sucks, but i will warn any potential players that it sucks. it's the most convoluted ass design in the world and even with a walkthrough it gets confusing and hard to navigate at times. this is not the point of this paragraph, though. the point of this paragraph is that there is a miniboss in this dungeon that is INCREDIBLY important to link's character and to this day is one of the most well-done and impactful battles i've ever had the pleasure of playing. (side note, why the hell did the himekawa manga make this battle happen at the bottom of the fucking well?? ive believed for years that he was a shadow temple boss because of that. whatever. anyways)

about halfway through this dungeon, you come upon a room that looks like an endless sea of water, with bits of ruins and a single rotting tree in the middle. when you walk into the room, you'll be attacked by a mini-boss that takes the form of link's reflection, black and translucent with glowing red eyes. the miniboss dark link will mimic your attacks and block when you swing, requiring players to be crafty and strategic in order to beat him instead of just swinging with the right weapon at the right time. from a purely gameplay-based standpoint, this fight is sick as hell. it rewards you for thinking on your feet and forces you to come up with real time strategy to beat a foe who genuinely seems to think the same way you do, which is REALLY cool, especially for a game released in nineteen fucking ninety eight. narratively, though, there are symbols upon symbols upon symbols to be picked apart in this fight alone. there's the obvious metaphor of fighting onesself--representative of an internal struggle of some kind. pair that with the set dressing for this arena and the information we already know about link, and things start to fall into place. Link was raised in a lush forest, surrounded on all sides by walls of trees that kept him safe and isolated from the world at large. the minute he left that forest, bits and pieces of his worldview started to fall apart--he learned his identity as a kokiri was a lie, experienced the hardships of being a child in hyrule, and now he's grown up and become a pawn in the fight against ganondorf, losing what little agency he had along with the ability to return to his home in kokiri forest. He finds himself in this illusion room, with a shadow version of himself waiting to attack him, clearly indicating that this room is representative of his state of mind. an endless, desolate landscape stretching out into infinity. no walls to keep him safe, no cover at all save for that one single, ROTTING TREE in the middle. This tree is a symbol of link's mental state. (my evidence for this one spans across a couple games but just trust me when i say this interpretation is grounded in reality it would just take too long to explain) and the tree is not looking good. it is dying. and from this dying tree springs a reflection of himself that link must fight to progress. I think there's an obvious message that's being conveyed here: link regrets leaving kokiri forest. he regrets the way he's been used, the hard truths he has had to learn about the world since he left. He is still mentally nine years old, and as a child he still yearns to return to that safety he was promised in kokiri forest despite knowing that it's no longer there for him to return to. Dark link is representative of all link's fear and regret and turmoil surrounding his destiny and what has been done to him over the last seven years. Because this is a video game, he is able to physically fight those feelings, to defeat the reflection of himself that torments him and walk out of that room at peace, having faced his fears and confronted his true feelings. Narratively, this battle is representative of the ongoing internal struggle link is grappling with over the course of this segment of gameplay, and shows the player how link must overcome those feelings of fear and inadequacy in order to gain the power to defeat ganon.

now we finally come to the ending segment of the game. this is where the lore gets a little bit convoluted and trips some people up. if you're not a lore slave you can basically ignore the triforce thing. the only affect it has on the narrative is that it gives ganondorf a reason to need both link and zelda, since they have the other two pieces of the powerful relic he's after. this is why he kidnaps zelda and taunts link to come rescue her instead of just like. hunting them both for sport in the wilds of hyrule.

the final battle with ganon is the culmination of all your efforts throughout the game. in the leadup to it, the final dungeon reminds you of this by having each of its rooms be a mini-version of one of the previous six temples you completed in the second half of the game. once you finish this final dungeon, you're able to get into the castle. I have to mention one of my favorite design choices in this whole game here, which is the fact that the background music in the castle gets louder the closer you get to the final room, and when you finally get there it's revealed that ganondorf was playing it the whole time. the details in this game make me crazy they're all so well-done. anyways. to discuss this battle we first need to discuss a crucial character who i realize i've forgotten to mention this ENTIRE time somehow: navi.

I love navi. i hate the way she became a joke among fans. this is not the point of this post. the point is that narratively, navi is one of the only GOOD adult figures we see in the entire game. (one could argue that she isn't an adult, but she takes on a guiding and mentor-like role for link so i consider her one despite some of her more childish mannerisms.) Navi is the one character who has been at link's side since the very beginning, the only consistent good influence on his life. the only adult mentor who hasn't somehow tried to fuck him over or manipulate him somehow. She is INTEGRAL to his survival through all the crazy bullshit he gets caught up in. the game makes her importance clear to the player in two ways: the first, obviously, is that she's the tutorial character--she tells you where to go, what to do, explains mechanics and puzzles, etc. The second, and the detail that's gonna be super important in our discussion of the final battle, is that she's tied to the game's targeting mechanic. It's subtle enough that I actually didn't notice it my first time around UNTIL this final battle, but every time you target an enemy to attack them (which with the way the camera movement is designed in this game is basically a required element of combat) navi flies to their weak spot and hovers there, which is the in-game explanation for what targeting is--navi is showing link the monsters' weak spots. in the first phase of the final battle with ganondorf, he erects a forcefield which prevents navi from entering the battlefield, removing the player's ability to target completely.

i absolutely LOVE this battle in terms of both gameplay and narrative. removing the targeting mechanic is a genuine handicap that makes the battle genuinely difficult for the player, and narratively it serves to remind you of the importance of navi, a positive adult influence, in link's life. without her, dealing damage is so much more difficult, but as soon as you have her back the battle becomes super intuitive and you're able to strategize much more effectively. Eventually, you deal enough damage to get navi back and flee the castle with the princess, before making one final stand against Ganon, a mutated beast-form of ganondorf. with navi by your side, his massive weakness becomes easily targetable, and you're able to defeat and seal him for good.

the end-credits scene of the game shows link time-traveling back to his nine-year-old self, before any of the events of the game have come to pass, and re-entering hyrule castle to warn nine-year-old zelda about what is to come. this is a time paradox, i know, but i LOVE this ending thematically. As I mentioned extensively earlier, link and zelda's stories are both representative of the way trauma robs you of childhood. they were both stripped of their chance to be children and grow up and come of age due to what happened with ganondorf. Allowing link to go back and prevent those events from ever occurring is a promise of healing. it's a promise that he and zelda will be able to reclaim the childhoods that were stolen from them by war and by adults who wanted to use them as pawns in it. it's a reclamation of the agency that these characters have been consistently denied throughout their stories. it's. a good ending. it's a really good ending. I like it a lot.

So uhhh wow that was a lot! what it comes down to is that i think oot is a story a ton of people can relate to. being a kid with responsibility but no agency and longing to be an adult, but then growing up and wanting nothing more than to return to the childhood you lost... that's something that really resonates with me, at least. and yeah oot has a lot of quirks and convoluted story and stuff but at its core it's a really beautiful coming-of-age that deals REALLY well with trauma and childhood and growing up!! tldr it's just. a genuinely incredible story and it means a LOT to me lol

#THIS IS SO LONG IM SO SORRY IM CRAZY LMAOOOO #zelda analysis #everyone please play ocarina of time. im going insane here

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finnitesimal · 5 months

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going crazy about enderking missa they're literally so different?? I'm so curious how that connection even happened one is actually sunshine incarnate and the other is phil's immortal trauma

I don't know man I've been grabbing at scraps of antagonist qmissa all the way back to the 'six days left' and missaconfonia I've been trying and now ender is here and I'm. well okay. I can work with that

I think it's cause. the canon instances of Ender reaching out have been notably interpolated with Missa's presence. The first altar leaving Phil disoriented and terrified until not a couple hundred blocks away he's stumbling across a sign of Missa, hiding out in an aquarium pen and the atmosphere dissipates significantly. The book appearing just as Missa falls asleep in the place they're meant to be kept safe, solidifying his need to protect his family.

The fact that they're hold just massively contrasting values just adds to the idea I think. Missa who loves community and his friends and family and remains loyal despite their disagreements, doesn't think he deserves the things he's given and actively puts himself in living conditions he thinks will keep him out of the way, and Ender fully Taking Whole Chunks from other territories to collect, leaving the space broken and empty, isolating himself from his peers due to his greed.

and yet. They hold some very interesting similarities, their desire to be acknowledged their perfectionism their greed and I think it's sort of fascinating that it's these aspects of him that Missa tends to keep locked away

and then there's Phil's reactions to these feelings. With Ender he's terrified, he's repulsed he's thinking about being put into a cage and and being torn from his family and losing grasp on what's real or not but when faced with the Idea of Missa's jealousy, of Missa potentially feeling something about him being pursued he's putting the most Blatant 'Taken' sign on the thing that keeps him walking. It's wanting Missa to ask more from him and wanting ender to crawl back into the decrepit hole he came from

like if this was any other medium other than unscripted minecraft roleplay I would be looking at the narrative like

yeahhh I get it. The themes the foreshadowing yes of course I understand <- devious

#you could even fit ccmissa's penchant for collecting wacky shit in here maybe #augustanswers #enderking missa #all imsaying is. itd go Kinda Crazy

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raayllum · 1 month

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hi. i always see your analysis and theories in my dash and they're always so well thought and interesting and conecting a lot of things i personally would never think to conect but actually make so much sense when put like that

so hm, not to be weird online, but how does one learn to like interpret and understand what's going on on a piece of midia, yk, cause only consuming doesn't do it? Anyway

your edits are really nice

FIRST OFF this is soo nice omg thank you <333 also never worry about being weird online i'm always more unhinged, this is an unhinged space

which ironically is kind of the best way to get good at literary analysis tbh! I wrote a post about it here but that was more on how to organize thoughts / write meta > finding the things to write meta about (aka the "this feels gratuitous" draft is still in my drafts as we speak — might be time to clean it and some others up and post it).

In a lot of ways there tends to be like.... two main avenues for analysis? Which is an oversimplification but is making sense to me in the moment, and I'd specify the divide is

Treating characters like people (characterization, relationships) vs treating characters like tools (motifs, symbols, plot structure, dynamics).

Ideally, a narrative merges these two things so completely it's hard to separate, and I think TDP does an extaordinarily good job at it. I'll call this marriage Theme since its the main idea(s) of the Story/Narrative and everything should at its best be working together in service of the Theme if you want something cohesive.

I'll use Callum and Rayla as an example just cause I think they exemplify a Lot of how/why this all works and works as well as it does.

If I want to write about Callum and Rayla's internal psyches, i.e. where does Callum's temper or Rayla's gruffness come from? I'm going to look at them as people. They're going to have consistent triggers, responses, contradictory emotions or emotional reactions, etc. This is like the how you wrap a present, the colour and feel of the paper. Any character in a story can technically have any kind of personality, i.e. an assassin can be sweet and snarky (like Rayla) or stoic and rigid (Runaan). That's not all they are, of course, but the characters' personalities often times affect how and why we ship what we do, or have certain favourites, etc.

For example, Callum's primary Narrative Purpose is to be a human mage. He's there to explore the range of possibilities a human who wants/chases magic in the story can have, and we pretty closely follow his magical journey of feeling powerless, struggling and achieving primal magic, and guilt and desperation that drives him to dark magic. But absolutely none of this means that Callum needed to have a temper.

To see the way a character trait can be married to a motif (repeating symbol) let's look at Rayla. Rayla can be secretive — not telling people everything and being closed off about her emotions — and often leaves to try do things on her own, occasionally flat out disappearing. These are her personality traits (characterization), most of these psychological aspects come back to not feeling like she deserves help or not wanting to hurt people, thereby hurting her relationships. She's a person.

At the same time, these traits help us as the audience understand and grasp how the series treats the Moon and its arcanum. The Moon is a symbol, and it's all about changing faces, secrets, and illusions. We don't know whether the ideas for the Moon arcanum (which seem to be loosely taken from Tarot) or Rayla's personality came first, but it's clear that at some point they merged to reflect each other.

If I want to talk about Rayla as a person, I'll talk about how her personality/choices affect her relationships. If I want to talk about how she reflects her primal or how she choices affect the plot, I'll be talking more about structure. If I want to talk about how both of those things say, in a speculative meta about Callum connecting to the Moon arcanum as he understands Rayla (and himself) better, then I'd be talking about both simultaneously (theme).

But those are all like, examples of how you can break stuff down that you see. How do you go looking for stuff / know what to break down?

1) Pick a piece of media, ideally one you already feel very comfortable and familiar with. Book, show, whatever. This familiarity means you can focus less on the processing the plot and more about other elements of the story. Then watch or read the thing but try to pay attention to like, a few pre-chosen ideas or themes. It could be the theme of power, or — I'm thinking for something like ATLA - how the characters reflect their elements (Aang is evasive and avoidant, and air is light and breezy, etc).

For a TV show in particular, it can mean breaking things down scene by scene in an episode to see what the anchoring idea of it, i.e. 1x06 in TDP is all about Soren, Claudia, and Rayla keeping secrets. Soren and Claudia keep their secrets and isolate themselves, because isolationism in the series is usually Bad; Rayla shares her secret, because working through problems and letting people help you (being collaborative) is Good, etc. These messages are pretty consistent throughout the rest of the show as well.

If applicable, I'd recommend starting out with stories where you already know the ending and/or even better, the story itself is aware you know the ending from the beginning (i.e. in Titanic, you always know the ship is going to sink). This can help you pick up on dramatic irony (everyone emphasizing the ship won't sink) as well as setup (the movie making sure we know there's not enough boats, people making the boat go faster, the moment the ship hits the iceberg literally separating Jack and Rose from each other to set up what happens later, etc).

2) If you wanna learn how to analyze, to a certain degree you have to learn to shut down your feelings and biases. This doesn't mean that feelings can't affect how you analyze, or dictate what you want to analyze (I feel very positively towards TDP and therefore I want to deeply analyze it! same with Rayllum) but it does mean leaving "I want this thing so it has to happen" at the door — or vice versa.

The best example I can give is a hypothetical one. For example, it kind of doesn't matter if I — personally — think that Callum and Rayla have known each other that long to know each other well. (I don't, for the record, but bear with me.) In the Text of the Story, they know each other incredibly well, and more to the point, thematically, their senses of self are so incredibly intertwined that them affirming each other's senses of self is like... the only place we could be going. Rayla is "Rayla saves people," so by saving a possessed Callum she's saving herself, and if she goes to kill him, she's likewise metaphorically going to be killing herself (her own sense of identity), etc.

Or for a non-ship example, my real life feelings about monarchy don't matter. I don't like monarchy, I think most western monarchies are crap... and I'd be silly if I brought those feelings into TDP's discussion of monarchy, because they're using monarchy as a vessel to discuss things like power, responsibility, and growing up, particularly for Ezran and Janai (and how often do we see non-white monarchies in media anyway?). And if I want to engage with those themes, then I have to engage with TDP's discussion of monarchy.

It's kind of like how even if something in a story grosses you out or makes you uncomfortable, you have to be really damn sure that wasn't an Intentional writing choice on Purpose or a chance for self reflection before it's launched as a complaint.

Doing this kind of awareness and predictive work also means you'll get better at predicting where stories might be going and leaving ahead of time if something is going off the rails / not going your way (in a bad way).

3) Growing a list of common themes and symbols that stories tend to have. Birds = freedom, chains = entrapment and coercion, grief, identity (particularly in coming-of-age stories), etc. If you have a loose idea of what to look for, that means you can also start to look at the specifics of how stories use these themes/symbols. For example, Midsummer Night's Dream and Romeo and Juliet both feature a theme of love amongst forbidden lovers, but the first is a comedy (love conquers all, even if it makes people foolish) and the second is a tragedy (love is not always enough to conquer hate/violence/our worst impulses).

For example in TDP, although it was in the background in s1-s3, light and darkness has now become a very overt motif (repeated symbol) in both dialogue and imagery. Tracking what those things represent or how the show complicates their meaning (light isn't always good, etc) can help indicate where certain characters or plot beats are going.

This can also mean trying to notice consistent metaphors (i.e. dark magic is often consumed by the caster for spells / referenced with cannibalistic language; dark magic corruption is increasingly seen as spreading sickness/illness) and then being on the lookout for the next time(s) they show up. So much of media literacy / critical thinking is just being able to explain/figure out why you think what you think (with evidence) and it's always a skill that can be nurtured and improved

End of Blabbing

Very long winded but hopefully helpful, and always feel free to ask more questions and/or DM if you'd like! I always love talking about stuff like this and it's such a treat tbh <3

#thanks for asking #anonymous #writing advice #the english major strikes again #long post #analysis series

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spectrum-core · 4 months

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hi if you don’t mind me asking I’d love to hear more about serrated duo parallels?

Alright, just to make sure we are on the same page because I'm not sure if many people know who am I even talking about when I say serrated duo, I mean this pair of goofballs who I love very much.

Fuckass essay about them and how this thing even came to be (which is not what you asked for but it's still important I think) under the cut, as a warning though this is EXTREMELY long, i'm also writing it assuming the readers have played ruina to completion, have at least glanced at the ruina artbook once and are decently familiarized with the pjm universe and its terminology.

"But Spec", you may (and reasonably so) say, "these guys show up in different story tiers, one is a glorified ranged attack tutorial with a minor lore exposition attached to him and the other doesn't even have anything going on due to being a general reception, what the hell".

So let's get into this, more meticulously organized than some essays I've submitted for my uni classes because I care that much about these guys (don't be like me and do your uni projects, please).

Table of contents:

How the fuck did this even come to be 1.1. Me yapping about character dessign

Liwei as a character 2.1. The surface 2.2. Emotional internal nature 2.3. Resentment

Dong Hwan as a character (sorry can't separate him into many categories bc there's NOTHING THERE man i'm absolutely grasping for straws here i KNOW it, but please bear with me)

Summarizing parallels

If you don't feel like sitting through my attempts to contextualize how this ship came to be and me desperately grasping for straws, feel free to skip all the way down to part 4

1.- How the fuck did this even come to be

Honestly the whole thing started as a sleep deprivation shitpost I rolled with because yeah i like these two guys a lot (if you read that one post talking among other things about why I like liwei so much in the first place, the short reply also applies to dong hwan and... Yeag, the only thing that's better than one hot guy is two hot guys and so on).

There was also an interesting aspect about this because maybe it's just me but based of liwei's dialogue lines and keypage text he suggests not trusting, or even liking/admiring/looking up to, high graded fixers (despite feeling that he's supposed to). With an emphasis put into colors because, I mean, he fucking died because he met one at the wrong moment, but I feel it's a general thing he feels for grade 2s and above.

With this in mind, putting him to interact with a grade 1 is... at the very least it has the potential to put them into a funny mutual vitriol kind of dynamic with lw constantly thinking "what's the deal with this guy? does he expect me to praise him just for having a high grade? well, tough luck, i'm no bootlicker" and dh constantly thinking "what's wrong with this man? is he unable to recognize greatness even if it punched him in the face...? should i punch him in the face?", but it becomes far more interesting when you try to imagine (and, with dong hwan being an absolute background character we can only assume things of from extremely vague hints, pretty much all we can do about him is imagining) what made them both special enough for each of them to think "wait, hold on, i actually like this guy" of the other.

After the initial shitpost stage was over, we (the guy who came up with serrated duo while sleep deprived and me) started talking about why we liked both characters and we essentially concluded that, at least dessign wise, they are the same type of guy (ofc I also added a couple of characters I like and who fit the criteria to my post but this post isn't about them).

1.1.- Me yapping about character dessign

On top of that, if you pay attention specifically to liwei and dong hwan in there, you can notice that there's a pretty neat balance of common and contrasting themes in their dessigns, almost in a two sides of the same coin way, so here's a non exhaustive list:

both characters have a primarily monochrome/dark aesthetic going on, with their eyes being the primary colored element that stands out in their dessigns (yeah, you could say that dh has brown hair too but it's a dark shade of brown that doesn't catch the eye nearly as much as the bright-yet-deep shade of red of his eyes)

on top of that, liwei's eyes are blue while dong hwan's are red (i thought they were reddish brown at first but that's just an effect of the transparency, if you separate the sprite in it's different parts, you'll notice his eyes are actually red), which happens to link with a certain trope about two-sides-of-the-same-coin pairs... (will elaborate on this later trust me).

despite the previously mentioned similar monochrome aesthetic, there's a clear contrast between their styles and how they wear their clothes, with liwei having a much more "only informal if it's more practical that way" type of look, with a focus on practicality over trying to stand out too much (for the most part at least, he was dessigned with the idea of a cool guy in mind after all), while dong hwan is essentially wearing a business suit in the most fucked up way possible (really, what the fuck dong hwan), which of course makes his dessign incredibly memorable. To further elaborate on this (and to add details that don't really follow this formal until unpractical/informal AND unpractical pattern): -Liwei's clothes stay in similar shades of grey and black giving him a more uniform look, while dong hwan uses more contrasting shades in his clothing (despite wearing primarily black clothes, that light grey shirt absolutely stands out, and by extension he does) -Liwei wears long boots, while dong hwan wears regular shoes -Liwei wears a long coat, while dong hwan wears a short jacket -Liwei has a fully buttoned dress shirt with a tie, dong hwan wears his shirt unbuttoned, in an universe where clothes are basically like armor this is essentially him saying that he's confident that his opponents won't be able to hit him in the chest, or that even if they did he wouldn't get too hurt from it, and it's a dessign detail that absolutely stands out in an universe where most characters only show skin in their head, neck and hands at most, as we know since its stated in multiple keypages and cutscenes, if a character shows more skin than the absolutely bare minimum, then that means that A. they are inmensely strong, and B. they are even more confident in their capacities, with this being a tactic to intimidate potential enemies for many factions -Liwei wears fingerless gloves while dong hwan wears regular gloves, while at first glance this detail seems to subvert the pattern, let's be real here... have you tried to hold any object and using it properly with gloves? unless you're wearing latex gloves or something made of very thin fabric that shit's absurdly hard, of course i assume there's weird city tech involved in dh's gloves but at least that's my own personal impression of that particular contrast)

and going back to common but not really details: both characters have something noteworthy in their ears (this is most likely just a result of the characters being visible as chibis in game so the best way to give them memorable dessigns is by slapping somewhat unique stuff in their faces and heads BUT IM GRASPING FOR STRAWS HERE OK) with liwei's earpiece (which serves a practical function) and dong hwan's earrings (which look cool as hell, going in line with both characters' general priorities)

similarly, both have something in their opposite eyes, with liwei partially covering his right eye with his hair and dong hwan having the scar going through his left eye.

the right-left motif is actually very relevant in their dessigns. You see, most character sprites in ruina switch the hand in which they're holding their weapons for certain frames (or at least, this is not uncommon to see), either for rule of cool, clearer silhouettes or whatever reasons. However, in every frame in which liwei is visibly holding his knife, he holds it with his left hand (and when he uses his pistol he holds it with both hands), suggesting that he may be left handed. On the other hand (see what I did there?), dong hwan consistently holds his knife with his right hand, in every. single. frame. of his sprite, suggesting that he's right handed instead.

And of course, both of them have elements in their opposite legs too, with liwei having these two stupid fucking belts (affectionate) in his right leg while dong hwan has... whatever the fuck that thing is, in his left leg.

Of course I'm not here saying that they were given contrasting dessigns on purpose, but all these details end up making both of them looking really cool when put together, specially with how their dessigns emphatize their personal preferences and priorities, something I will elaborate upon in each character's section later.

2.- Liwei as a character

Liwei is one of my favorite pjm characters as a whole, yes i like him more than ayin, yes i like him more than angela, yes i like him more than carmen, yes i like him more than dante, yes i like him more than your favorite sephirah/patron librarian/sinner, no im not saying i think any of these characters is bad or poorly written and in fact i think pjm has made an amazing job with protagonists so far catching my interest even with characters i thought i wouldn't vibe with at all, but i have a thing for unremarkable background guys.

As you may have guessed, this means that i have a lot, and i mean A LOT to say about him.

This also means that I have a very specific interpretation of him, this interpretation, while clearly taking bases from what we can see of him in game, is entirely fanmade and i'm not trying to claim this is what anyone intended to convey with him, but it's what makes sense for me.

This interpretation also strays away from some other fan characterizations I've seen of him. So if you think he's actually, at his core, a serious, formal, emotionally detached and unbearably professional, even outside work hours, guy who's deeply dedicated to the honorable task of murder and who is in good terms with the shi association or holds them in high regard? sorry, but for me he's nothing like that.

2.1- The surface

"But Spec", you may say again, "he does act emotionally detached during his cutscene, he even says that people die all the time! are you sure you are actually reading this character right?"

Of course I'm not, I'm just saying that I'm reading him in a way that makes enough sense to me, but I do have reasons to believe that the serious and emotionally detached attitude is an akward mixture of a facade he puts up to be taken seriously by others and an incredibly unhealthy coping mechanism, so let's start by analyzing his artbook profile...

Wait a minute, is that..?

Ok, I'll see myself out and continue writing the actual character analysis this is what people are here for.

Anyway, going back to the character profile, you may be inclined to see it and assume "well, that actually just proves that he's a serious and formal dude" at first, until you realize that artbook profiles, due to their in-universe explaination being that they were compilled by roland and angela from the information they could take out of the guests' books, are most likely to be about what the guests perceive themselves as/would say to describe themselves rather than what they actually are when looked at from an outsider's perspective. Further proof of the artbook profiles being subjective comes from how the profiles change almost erratically for distortions and ego users, with people in the middle of both states simply not knowing how to describe themselves, the fact that we lack any information about the agents of the head as they were never booked, or how characters such as tomerry have...

This, which I mean, it's very clear that's just tomerry talking about themselves.

Now, liwei's personality traits, or at least what he'd use to describe himself, are "Meticulous, Efficient, and Sharp". We know that he has to be efficient at the very least, considering the nature of his job and guns in universe, the same thing goes for meticulous, we can assume he wants to do things the right away so that he gets paid, sharp as a personality descriptor can take multiple meanings and frankly i don't know which was the original korean word used to describe him so i can't tell which is the right one but most of them seem pretty accurate, at least when looking at him from a surface perspective.

To be honest, I don't think any of the traits mentioned there is precisely wrong, I simply don't think that they are the main or core ones, but they are the traits liwei tries to show, at least.

Another interesting detail is that all full stop fixer artbook profiles have food related items for the likes and and dislikes sections, except for stephan disliking dangerous jobs.

Not particularly noteworthy for this category in particular but still tangentially linked to a point that I believe is also a core characteristic of all three full stop fixers and that is key to understand all three of them, their dynamics and the choices they make during their reception: they are Poor As Shit, because guns and bullets are expensive of course, we also get to see this in stephan's obssesive fixation in money (come on nobody actually checks their bank account as a hobby... right, guys?), and of course this ties in with wanting to be seen as someone serious and professional people will trust with their money AND with the idea of them having the need to maximize efficiency to... well... you... you know... not end up even worse than they actually are.

2.2- Emotional internal nature

Alright, and here we dwell into the actually spicy part of the essay, at least for liwei's character: the moments in which the mask of a professional and emotionally detached guy cracks and he shows his more emotional, and mostly caring, side. This is focused in the way in which he treats stephan and tamaki (compared with how several other faction leaders treat their underlings).

While I should probably need to read all the dialogue in the game to make sure this is a particularly notorious detail, something that inmediately caught my attention is... the fact that liwei never uses a single honorific when refering to other people, neither he's bothered by stephan's more informal speech and the fact that he doesn't refer to him by any honorific or title either (sure, you could say this is because they were in a life or death situation but also y'know, it says something about you that the people below you don't feel the need to use formalities when talking to you), the only person he calls by title instead of first name is... well, the blue reverb, whose real name we can assume he didn't know, with also him being someone perfectly capable of killing not only him but the guys standing beside him as well, you'd want to be as respectful as possible when talking to a guy like that and trying to negotiate.

(even then he doesnt use any sort of honorific towards him, at least in the english translation of the text, he simply refers to him by title)

He neither uses any title or honorific when talking to angela, despite keeping a formal/respectful attitude, i honestly believe that he is genuinely formal and respectful but... you know, that's not the beginning and end of who he is.

Of course, this isn't a major point, but I think it's worth mentioning considering how important honorifics can be to establish the speaker's relationship with the people a message is directed to, they can be used to distance oneself from others. So in a way it could be seen as him putting himself at an "equal" position relative to stephan and tamaki, as opposed to trying to assert that he's their superior (at least in the context of the mission they were working in, since his title is merely fixer, not operator, president, director or anything implying some form of leadership on his end).

Another extremely important detail is his inmediate first reaction once argalia shows up and ruins their plan is... not coming up with a plan b, not trying to fight him in any way, not doing anything about trying to save what little money they can, he quite literally tells stephan "forget about money, we need to survive now".

His initial reaction is directly just yelling at his team to run away, and this stays consistent once he:

Notices that stephan and tamaki are beginning to argue over the future of their mission and how much money they lost.

Realizes that they can't outrun argalia as long as they're wielding their heavy (and again, extremely expensive) equipment. This says a lot as it shows that he cares enough for the people under his care to let the office go bankrupt if it means they can live.

Needless to say, stephan and tamaki refuse to do so and while he clearly isn't precisely happy about the inevitable confrontation with argalia, he doesn't argue about this, he does understand their concern about money, he's not like the other authority figures who will ignore their underlings' concerns at best and ditch them once they outlive their usefulness at worst (at least, that's what i imagine he thinks as he makes these choices).

Not to mention, once they are in a, if only slightly, safer situation in the library, his inmediate response is trying to comfort stephan and tamaki, things dont look good but theyre at least alive, for now.

And there's this line which... doesn't seem to fit at first glance with the idea of him wanting his office to survive at all costs... right?

That is until you realize that he says that line during yet another argument between stephan and tamaki, as an attempt to get them both to calm down, this could also fit in with him trying to keep or restore the cynical, stoic and serious act, but then again we get to see his more emotional and sincere side once he:

Gets killed, quite literally saying that he didn't want to die yet, at least to me this line alone is enough to pretty much confirm that he didn't really mean it when saying that trying to delay their deaths was pointless, but if you need more, he also acts against that same line when he...

Sees his allies die, and inmediately starts freaking out.

Wins the reception, in which case his inmediate first concern is, again, not money, lost ammunition or anything, but rather if stephan and tamaki are okay and if they will be safe once they return.

I don't think that line was him fully lying though, it does say something about him that makes enough sense to me and fits with the rest of the characterization: that his cynism runs much, much deeper than stephan's.

Tl;dr he is extremely caring and emotional deep inside, and even though he tries to suppress that side of himself it always finds a way to show itself, I feel like in other contexts this makes him prone to emotional outbursts and generally make him an unpleasant person to be around... save for people who are already familiar with his personality quirks and the fact that he is Like That.

2.3- Resentment

Of course, this dissonance between the person he tries to pretend to be to fit in/keep his job and the person he actually is made him grow a pretty strong disliking of... well, everything he considers related to the fact that he has to act like that to get enough money to feed the people in his office.

I also feel like he feels genuine guilt over the fact that his job is essentially just glorified murder, I have no base for this other than the more detached way in which he refers to the church of gears, it almost feels like hes forcing himself to not care because its them or him and his office, and that he has genuine self-hating tendencies because of it (which he also uses his stoic act to hide, he doesn't want to worry his office and become a burden to them, after all), in a way he may be trying to overcompensate by being nice to his office to feel like there's people he can help/protect.

But this hatred towards himself also manifests in the form of hatred towards anything he can blame over him being the way he is and working the job he has.

As I said before, I don't think liwei likes colors, or most high grade fixers for that matter, you may also extend this to figures of authority, influential organizations or even the city's society as a whole (and honestly? i do personally, i don't think he's actually capable of forming any particularly healthy bond with people outside his office because of this, and even then saying that the relationships he has with his office are healthy is... generous to put it softly, this is not to say that he secretly hates the other people in the office, but rather that he fears that they may secretly hate him, because he's the highest graded member of the office, he hates people sitting above him so it only makes sense that people below him hate him for being above them, right?), and of course I'm not saying this because I'm projecting or because I think it's cool and edgy and sad but I actually have bases for this from what I can see in the game.

The first example of him not trusting high grade fixers AND influential organizations being one of the very first things he says when being introduced: that having an important person, from an important organization, belonging to an important section of said organization, approach him and give him a request was shady as fuck.

And he turned out to be right, as Yujin was planning for him and his office to get sent to the library and die there so she could read their books and find some passage saying shit like "well we were found by the blue fucking reverb and our only choice was to come here and die even though we were royally fucked either way life sucks see you all in hell my final message 🖕🖕🖕🖕🖕" so she could use that on her favor.

In this topic too, I'm personally firmly opposed to the idea of full-stop office being affiliated to the shi association and this is the hill i'm willing to die on, but I digress.

We see this same resentment on an even deeper level in his keypage where he talks about colors (and we can assume this view extends to other high graded fixers, and to a lesser extent to the hana association), he doesn't sound like he wants to become a color, he doesn't sound like he even likes the concept of colors being a thing that exists in the first place.

The most important lines from these fragments to me being the following:

"A color is the dream [...] of all fixers who wish for freedom.", freedom is a VERY relevant concept in project moon and ruina makes a very clear point about how nobody is free in the city, roland says it, most plot relevant guests say it, some patron librarians say it too... a huge part of the story is how angela comes to terms to the fact that turning human wont grant her freedom and how she ultimately becomes free by embracing her nature as a machine (so free indeed that the head decides to kick her and the entire library out of the city, not only shes a machine that acts like a human, which is already a major city wide taboo, she made a choice that no human in the city should ever make). Essentially, liwei seems to see colors (and im assuming that by extension high graded fixers) as the ultimate example of an impossible aspirational class (think of these "self made" enterpreurs who received extremely generous financial support from their rich parents to start massive companies as the closest irl equivalent, except that obviously not the same, i will elaborate more on this later).

"They put forward the colors as great and successful people that other fixers will look up to. They dream of earning wealth and fame, and to be free like them one day." Why would he be talking in third person here if he too admired colors, or wanted to be like them, or thought that were free in any way? Also that separation between money and fame (something that colors objectively do have since they can afford exclusive high tech weapons and armor) with freedom (something that is debatable, but liwei seems to assume colors don't have) feels too much like a deliberate choice to further push towards that point of him seeing colors as not only an impossible goal to achieve for the average fixer but also that the ideal of a color as someone who is free is something impossible to achieve even if one were to become a color.

"Colors are assigned by the 'Hana Association'. [...] The title of a color is forcibly given to fixers who qualify essentially. Can a fixer be truly happy with freedom that was forcefully handed to them?" This particular fragment, specially the last sentence, is absolutely key for Liwei's characterization, and the final and most important part of him saying "wait, no, colors aren't free, because nobody is" to me. It is also worth noting that this fragment can be read in multiple ways, all of them are important and accurate for his characterization.

He thinks that the responsability and risks that come with being handed the title of a color are far greater than the prestige that comes with the title, can you really say that someone who cant afford to decline requests due to being contacted by the most important organizations in the city, whose closest friends or family WILL be regularly targetted by rivals either to extort them for money or just try to attack them to the point in which most high graded fixers abandon any personal attachment to others, who will have to see the horrible things that happen in the city in an almost day-to-day basis and will likely have to do even worse things in the name of corporate interests is free? Can you really call it freedom if you can't refuse it? Essentially he is saying "actually every single aspect of being a color is terrible and to make matters worse that life is forced on them after they go through extreme miseries in the hopes for a better life but all they get is more of the same if not even worse, they aren't free and shouldn't be refered to as such."

He thinks that in order to become a color (or any highly graded fixer, really), you must essentially lose yourself, which is to say abandoning all friendships or familiar bonds, only keeping shallow interactions with people, desensitizing themselves to whatever horrifying shit they may have to see, abandon all sense of morality as they never know what their next request will be and "im sorry but i dont do xyz, it does against my personal morals" isnt an argument that will work in a place like the city, this also fits into the whole "actually having a much more chaotic emotional side he's trying his absolute hardest to supress but failing" theme mentioned in point 2.2., someone who is so deeply emotional and whose actions are ultimately defined by what is the most likely to keep the people around him alive is obviously not going to like the idea of keeping his distance to them, or to dispose of people with lower grades than him because they were supposed to be expendables anyway.

I don't remember the exact quote and i dont feel like looking for it but in one of gebura's cutscene she claims that all power in the city only serves to strike those below but never up. You have to climb to get stronger and then you'll only be able to assert dominance (through violence) over people weaker than you are, and she grew to dislike this, as she wanted to protect others but was never able to do so because of how the city was dessigned.

Of course, liwei reached the same conclusion but he took the much simpler but much more unhealthy approach of assuming "well, if things are like that, then that must mean that everyone in a position of power (over me) must be responsible for this".

Of course this also comes with the side effect of him being as caring for the rest of the office as he can because he doesn't want to be like other figures of authority as i mentioned in point 2.2, but thats not to mean that things are all fine in the office, i feel like there are several moments in which he internally curses his position of authority but not quite (bc i don't think he's actually The Big Guy In Charge of the office, really), most obviously the aforementioned moment in which he yells at tamaki and stephan to drop their guns so they can run away and live when they clearly dont want to, i feel like at moments like that he feels like they only do things because he tells them to and they "can't argue" (except that they do, fortunately for him the enviroment in the office is healthy enough for the rest of full stops to not abuse this fact, but the "what if"s are absolutely eating him from the inside). As ironic as it sounds his earnest desire to not be Like The Others is the same thing stopping him from being the perfect and efficient leader he wishes to be, and he probably isn't sure of which thing he values more than the other (it's staying true to his own morals and keeping the people under him safe).

However, there's a key detail here that's worth noting: liwei has a tendency to treat everyone else as equals, sure he is formal and respectful when doing so (pressumably even when talking to people he'd rather never interact with if we assume his conversation with argalia was actually how he is and not him just walking on eggshells to not get killed) but he doesn't bother trying to make a clear distinction of who is above and below him, no matter what their title and rank may be, and for people who are used to being looked up to by everyone else this will be seen this as him insulting them in some way, it may come from a sincere desire of him to come off as insulting while not breaking any (major) social convention in an act of malicious compliance or just the type of person he is, that's up to you to determine.

"But how the hell does any of this relate to dong hwan?" we'll get there right now.

3.- Dong Hwan as a character

This is kinda... the hardest point to talk about, because sure I can yap all I want about him but... it's hard to without going "Source: I made it up" too much.

So, looking at his combat sprites you may notice one thing: he is unbelievably hot for real what the hell he has an incredibly smug aura, most people who care about him to some extent i've seen tend to depict him as a very prideful person, and honestly i dont think differently either.

HOWEVER, i feel like despite this he's still a levelheaded guy who can aknowledge his own flaws. On top of that, i think he's a pretty charismatic guy and he's capable of noticing other people's strenghts, and he'll let people know about their own strenghts too.

Also, to contrast with his smug and cheerful exterior, his combat lines depict him as someone very serious when at work, he doesn't even react emotionally to getting killed.

His first "on kill" line is also particularly interesting, as it shows that he prefers to work on his own (unlike everyone's favorite monochrome moody boy), which makes sense considering that he comes alone to the library when you fight him, he may belong to a one-man office (which is the closest a fixer can do to be fully independent, as far as we are aware).

His keypage story also fits this more serious and analytical personality but not much of it is particularly noteworthy from a character analysis perspective, it doesn't say much that you couldn't notice from his combat lines anyway.

Another important factor to me and to contrast him to liwei is... okay, this may be the fact that he's a solo fight and he is, pressumably, an independent fixer, so he's not titled as a member of a particular organization, instead his title (for him, his reception, his keypage and his book) is "dong hwan, the grade 1 fixer", which i mean, again, is most likely just so we dont fight this guy with zero context on who he is and what hes even doing in the library in his own is he stupid? but i like to imagine that the in universe explaination is that he has tied his perception of himself and his own self worth to his grade, to the point in which using both his name and grade is what comes naturally to him when introducing himself, since books are essentially physical manifestations of the soul, then it just makes sense then that his book will give both his name and grade the same importance. This may come from a need to compensate for something else and i actually like to imagine that's the case because it adds yet another layer of parallels with liwei (source: trust me).

Another point is... remember that I mentioned how food was a very consistent thing in the full stops' likes and dislikes sections in the artbook? this point is also not relevant but dong hwan is frequently assumed to be the owner of that pub that shows up at that short side story about roland and angelica which i never watched because i Literally Can Not Care about angelica sorry, but, hey, it's a cute detail, i think he should cook for the full stops.

I feel like there's something to be said about dh's red eyes because in pjm when a character has red eyes you know that means one thing: they will be a big deal, but dong hwan, other than looking incredibly fucking cool and carrying me through the snow queen suppression (FUCK THE SNOW QUEEN ALL MY HOMIES HATE SNOW QUEEN) and star of the city tier 1 (thank you dong hwan i love you dong hwan)… he is rather unremarkable on the grand scheme of things, he's a general reception so you don't even need to defeat him to beat the game, and he only serves to give us some insight on who the fuck was the vermillion cross, and even then he does a terrible job at explaining who he was other than "well, he was a guy i guess" and honestly, the relevance of both liwei and dong hwan is ALSO an important factor in these parallels, as with one being the guy who introduces the concept of colors and the other being the guy who introduces one particular color fixer by casually mentioning being friends with him, both feel like characters who would be much more narratively important in any other story, but here they... aren't.

4.- Summarizing Parallels

Aka the part you may want to skip to if you don't care about me analyzing characters with little background info about them.

So, basically a list of personality (and background, i guess) traits they have in common and how they're different:

Both characters are putting some sort of facade, with liwei trying to act serious and stoic so he's taken seriously while dong hwan... i dont think he even knows what the facade he's putting even is, he's been putting an act for so long that his mask became his true self

In both characters' cases, the first impression they give isn't really the kind of person they truly are (in lw's case this is a deliberate choice and in dh's case i assume that's just the type of person he is), HOWEVER, while liwei acts serious and analytical (and to some extent he is), his true self is far more emotional and prone to form deep bonds with people, while dong hwan has a more passionate, smug and cheerful external attitude but he's much more serious and levelheaded deep down

Both characters have different, conflicting views about their grades, however these differences ultimately lead to both of them being able to treat each other as equals, or as close to that as possible in the city, i feel like liwei can see dong hwan as someone of worth so to speak for reasons unrelated to his grade, while dong hwan does see liwei as a good person (well, good is a subjective term specially in a place like the city) and far better at teamwork than most people in the city, in a way both value something in the other that the other never stopped to consider "hey this is actually a good thing i have"

Both characters are (pressumably?) trying to compensate over something, with liwei putting his professional and formal act to compensate for his sentimental self while dong hwan puts a strong emphasis on his high grade for... who knows, really, i just like this parallel being there because i think it adds a lot

Both have problems forming relationships, with liwei being a generally unpleasant person but being capable of forming deep, meaningful relationships with the people capable of seeing through it, while dong hwan is a charismatic guy liked by almost everyone he's met, but whose relationships tend to be shallow

Not really a personality thing but both characters have a thing for being remarkably unremarkable guys, dong hwan is obviously forgotten by most ruina playes because he's a general reception and the biggest impression liwei leaves in most players is "OH SHIT HE HAS A GUN", even though both are pretty intentionally dessigned with the intention of making them look cool however ive very rarely come across full stop or liwei fans (by which i mean people who like them particularly instead of "actually the entire pjm cast is cool and that includes them) and dong hwan fans are.... yeah, i think ive met like, 4 of them at most (thanks guys i owe you my life)

Something about their combat styles including their passives, liwei's only visible passive is called Concentration and gives him extra strenght for the first turn of a fight, after which he relies in the fact that his attacks weaken the enemy, so he comes off as the sort of guy who prefers to keep his distance and figure out the opponent's weak spot(s) (something he canonically is good at doing) to keep an upper hand at combat, however despite this he's still lacking in both strenght and technique, being only a grade 4 (which i mean let's be real the grades go from 9 to 1 and i feel like a majority of fixers are in the lower grades so he's still pretty much above average but he isnt doing all the cool shit you see the stronger characters do, because that's not the kind of character he is). On the other hand dong hwan's passives have much more cooler sounding names (Fervor, Carver of Scars, Toughness...), all of them focused on either inflicting bleed (status ailment that gradually makes the opponent lose hp)/buffing him against enemies with bleed or buffing him as he gains emotion levels, and his focus is just inflicting bleed like crazy, as well as delivering harder blows against people with bleed, prioritizing raw damage over strategy (but likely being able to figure out an opponent's weaknesses as well, brute strenght alone are most likely not enough to get you far in a world where the powerful people are INSANELY strong bc physical enhancements are commonplace)

I feel like in a way both admire each other, liwei admires dong hwan's capacity to keep a cool head at all times when at work and not letting his feelings have too much weight over his desicions, but dong hwan admires how honest liwei is about himself as well as his capacity to work in a team taking in consideration what will be best for the team as a whole even if it's perjudicial for him in particular.

In Conclusion

Your honor, two of them

#library of ruina #anon #spec-reply #this isnt probably very coherent #and probably not very exhaustive either #but i started writing this 10 hours ago and ive only stopped to eat and i barely proofread this anyway here you go anon #.🔫

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