#but i have a hard time with that sort of analysis and don't even do it for the men i like

[irislunace]

Siciria Analyzes The Most Complex Stick Figures Known To Man (part 1)

SPOILERS FOR AVA / AVM / INFLUENCER ARC SERIES

READ AT UR OWN RISK

Also here's part 2

I was rewatching Influencer Arc Ep 1 because the music slays, and the fight choreography is just awesome.

*cut to Siciria chilling*

But then I noticed this;

So, to those of you that don't know what I'm talking about, I noticed that Blue just kind of waits there for a moment before going in to help Red. I wondered why, because throughout the series, these stick figures are shown to have really quick reaction times in these kinds of moments.

But then it hit me; it's about personality.

So then I decided to do a deep analysis of Blue's character, which is probably going to be the first of five parts (maybe even more) where I deep dive into everyone's traits and flaws and whatnot.

-

Here goes...

So, we've seen Blue as more of the pacifist assistant. He likes plants, netherwart, potions, and cooking. You don't really see him being the first to instigate something, or the star of a fight. Heck, even in the Raid episode, it's more focused on Yellow and the command block staff than him.

But we do see more of an aggressive trait as well, in that sometimes, he acts without thinking.

LIKE THE LAVA. HE DIDN'T EVEN THINK ABOUT IT AND JUMPED INTO STICKING LAVA. WOW. WOWOWOW. WOWOWOW.

But, what startles me, is that even though he'll self-sacrificially jump to save someone, and follow someone without thinking, and needs someone to ground him (usually Yellow), there are also times where he just freezes. Like in the Influencer Arc. He freezes when Red is getting beat up by the clones, before shooting at them. His brain takes a second (hehe) to catch up.

And here, too. Yellow is making a plan, where Blue's emotions are overriding any sort of thought.

...BUT AT THE SAME TIME, we also see those two things coalesce together for the better. We see him take action instead of freezing, and actually think about what he's doing as well. And this moment in the battle against the King goes kind of unnoticed, in my opinion, since there were so many hard fighting sequences and emotional stakes.

LIKE WHAT THE STICK. HE LED AN ENTIRE VILLAGE INTO WAR, AND THEY WERE ACTUALLY ABLE TO HOLD THEIR OWN AND CAUSE THE PILLAGERS TO RUN AWAY WITH ABSOLUTELY NO CONTEXT OR PRIOR TRAINING (albeit before they came back with the evoker and illusioner)

But we also don't talk about how much he assists everyone else. Like here. Green would have gone flying twice if Blue didn't have the presence of mind to brace him.

I saw a comment under the video calling Blue the MVP of the fight against Greenscreen. And while I do harbor the opinion that everyone contributed a lot to the win (and don't really agree with the comment, as Green, Yellow, Red, and Second contributed so much too), you can't deny that he assisted everyone frequently during the fight, and was a key part of success.

Blue's character arc is something we don't really talk about much as a fandom, but there are truly some moments which are, like, really cool.

And the most important one of all, of course.

Bluecifer "Elsa" Blonde. (my fanmade name, tell me if u like it!)

#slayqueen

EDIT AS OF 9/24/24:

There's also something else I noticed. Blue is shown to be able to keep track of a lot of things at the same time as well, like the positioning of his friends in a battle, and enhance them properly. He knows exactly what they need and can deliver it to them.

In the Witch, when he arms himself with potions and starts fighting, he has the presence of mind to turn his friends into animals that can stop the witch. For example, when Red is about to strike, he turns him into a golem for it to pack more punch. It's truly amazing, because he was able to pinpoint that that was about to happen before it did.

And even with himself, when the witch started shapeshifting, he did too. He knew exactly which mob would combat which, and he might have won if he hadn't run out.

[girlscience]

i love nico robin, but she is not discussed. i see millions of posts analyzing the boys and only ever see pictures of her looking beautiful. the boys get to be powerful and she gets to be pretty. (same with nami but she also gets to be bitchy).

lotr has amazing women..... none of whom are dwarves so i find i care about them significantly less (sadly) and all of whom are side characters which means, as far as i can tell, they are not as important to the fandom as the main characters (which makes sense). the hobbit has tauriel........ who well. outside of her being in love with kili she is pointless.

hannibal has some pretty great women who are all there only to act as fodder for will and hannibal's character arcs and emotional development (and half of them die, or there's uhhh reba? who's there for francis's development). and even though the fandom loves abigail there's only so much you can do with a character who spends most of the show "dead" or dead.

stargate sg1 has sam and she's amazing and wonderful and i love everything about her.... but i am not captured by sg1 the way i am atlantis. and atlantis well. the wraith are imo the most important part and the queen's are developed not even a tiny bit. and according to the sga fandom i'm pretty sure the whole show is actually just about john and rodney being in love. and i personally am slowly growing to actually hate the ship for its ubiquitousness.

dragon age has great women that largely no one cares about because why would they when cullen and solas and zevran and the other cullen and so on exist. solas is the only inquistion romance that actually matters, sera is written terribly, cassandra can only romance men, and josie feels like an afterthought (scout harding is wonderful but is barely a character at all).

the witcher worldbuilding states women cannot be witchers and i literally couldn't give less of a shit about anything in the witcher outside of the witchers themselves.

transformers has women but i never got deep enough into the lore to learn much about them and outside of optimus and megatron's relationship (because angst and politics) and starscream (because he's hilarious) i never cared much about the story.

star wars i care more about the worldbuilding and the aliens than anything else. there are women and they are pretty good and i think a reasonable chunk of the fandom likes them, but i don't super care about the actual story of star wars so... i think i miss a lot of that.

i liked warrior nun, but i can be honest, it was not a masterpiece of a show. it does not have an enormous fandom and it got canceled and it did not capture my mind the way some other stories have.

all the fantasy/medieval anachronism stuff i can find is pretty much all men. except for some women who talk about sewing and fashion.... where are the women who are testing out different fire starters to figure out which will work best for an adventurer? where are the women making stew in the woods and talking about it on youtube? where are the women discussing the best sword to use as an adventurer? they have to exist!!!! but i cannot find them and it makes me horribly sad.

i could keep going on and on but i think my point is made. i am just incredibly frustrated. and i try to read books about women and i love a lot of them but none of them get fandoms and i get tired of loving something alone with no one to talk to about it. but i also enjoy watching shows and movies and there are far fewer of them that focus on women and even fewer i actually care about even when they do have fandoms. i just.... i feel like i having been waiting and waiting my whole life for that perfect story about women adventurers and i'm starting to wondering if it will ever exist.

[asidian]

I've seen a lot of really excellent analysis on Charles' reaction to Edwin's confession, but there's a huge aspect that I haven't seen talked about at all yet. And that is, namely:

Charles Rowland is a people-pleaser.

Doesn't seem like there's a connection there, does it? Have a seat, my friends. Let me break this down.

The show lays the groundwork for this aspect of Charles' personality early. It's one of the very first things we learn about him, in fact. He's kind and agreeable and helpful, and he's always, always smiling. When Crystal insults him, he laughs it off. When Crystal and Edwin fight, he scrambles to diffuse the situation. He calls himself "a good sort of a chap," and it's important to him that he is.

In episode 3, we find out why. At home, love was always conditional for him. He spent his entire life trying to please his father, and he confesses to Crystal that no matter how nice he was, or how good at sports, it was never enough. That's how Charles sees the world. If he can make people happy, he might actually be good enough for them to love him.

Not only didn't he earn his father's affection, he didn't even manage, in his own eyes, to clear the low bar of being good enough to earn the privilege of not being hurt. And his mother, he says, was "quiet." From the flashback we see, she never stepped in for him or defended him. However hard he was trying, it wasn't enough to get her to intervene on his behalf.

So who else does he have? His "friends"? The ones who literally murder him when he steps in to stop them from doing a terrible thing? The act he put on wasn't enough to win them over in the end, either. However friendly he was, however personable, they turned on him and left him for dead.

Then he meets Edwin.

And when he meets Edwin, he's at his absolute lowest. He's not smiling and putting on a show, for once. He's in a corner of an attic cowering while he slowly freezes to death. But here comes Edwin, offering him kindness, and company, and comfort.

All these things that Charles has spent his whole life chasing, trying to be good enough to earn? Edwin just gives them to him.

Of course he stays with this boy. Edwin is there when he's lost in the dark, shining a light to guide the way. Edwin has seen him unsmiling and afraid, not a shred of his usual act in place, and Edwin has offered him kindness anyway.

So they begin their time together. And what are the things Charles will pick up on almost immediately?

Edwin says right away that he's spent ages in hell. He's plainly had an awful time. He doesn't know how to handle people anymore, but Charles, he knows how to be amiable, how to smile, how to offer levity when things get grim.

So he does. He falls back into what he thinks Edwin needs, the way he always tried to be what his father wanted to see. In the very first episode, he tells Crystal, "I try to be extra happy for all of us, don't I? And I do a pretty good job."

He doesn't ever discuss his own trauma because these boys are terrible at communication, but more than that. He doesn't ever bring it up because he's busy being the support he thinks Edwin needs.

And importantly, Charles doesn't have the self-reflection skills to realize that's what he's doing. Crystal clocks him with shocking accuracy, three episodes in. "He's been hiding it from you," she tells Edwin. "Probably been hiding it from himself." She's spot-on here: when Charles doesn't want to examine his own emotions, or can't face them, he shoves them down under a smile and he carries on pretending.

But that's not the only thing Charles will have picked up on from Edwin.

It's blindingly obvious that Edwin is bad at people. He's terribly repressed. He's from a culture in which emotional honesty and physical affection were not valued or encouraged. But more than any of that, Edwin has his sexual awakening during the events of the show. Before then, he is absolutely clueless about his own wants.

So we have a situation where a consummate people-pleaser who has spent his entire life learning that he has to earn affection finds his way into a friendship with the first person who ever saw him with his mask down and gave him kindness anyway.

Of course he stays with this boy. Of course he wants to keep this.

And what's the best way Charles knows to win someone over? Well, by being what he thinks they want.

So, out come the smiles, for Edwin's sake as much as his own. But more importantly, out comes whatever Charles thinks he needs to perform, in order to keep what is the single most important relationship in his entire life and afterlife.

At this point, Edwin has shown zero romantic or sexual interest, not just in Charles, but in anyone at all. He doesn't especially seem inclined to dating, or to romance, or even to physical affection.

So Charles takes his cues from Edwin, and the cues are very firmly, for thirty years: this boy doesn't have a glimmer of interest in him, not that way.

Fast-forward to the events of the show. Fast-forward to a staircase in hell, where they are being chased by a literal demon. Suddenly his best mate, who he has spent thirty years with, who is his most important person in the world, is saying that he's in love with him.

Of course he needs a minute. Of course he has to sort that through. Any feelings he has for Edwin are things that he has spent literal decades firmly ignoring in the scramble to try and earn affection by being what he thinks Edwin needs him to be.

Because Charles is a people-pleaser at heart. And he may be dreadful at self-reflection, but he is aces at hiding things from himself.

[skyefeys]

A Comprehensive Guide to Writing Gina Dialogue!!!

Do YOU like writing tgaa fics, but find yourself struggling to understand the speech habits of Gina Lestrade? Well, fortunately for you, I love linguistics and accents almost as much as I love Gina - so I've compiled a breakdown of every quirk in her speech!

(Full analysis under the break!)

Most of Gina's speech patterns can be broken down by three fundamental facts:

She speaks with a thick Cockney accent

She's uneducated, which leads to various grammar troubles

She uses a lot of informal cockney terms/slang

Let's get into it section-by-section!

(Note: Formatting looks a lot better on mobile!)

Section 1: Cockney Accent

So I’m an theater kid, and I've done dialect training for Cockney accents before - it's one of my best ones imo - so that certainly helped me write this section! Even without that, though, it's pretty easy to identify how her accent appears in her speech. Let's break it down!

Drop h's

Example: Here becomes 'ere

Drop g’s at the end of words

Example: Going becomes goin'

A few other word ends that get dropped:

Of becomes o'

And becomes an'

Th changes depending on the word - Thank you to annoyingloudmicrowavecultist for properly explaining how this works in the tags!

Voiced th becomes v

Example: With becomes wiv

Unvoiced th becomes f

Example: Nothing becomes nuffin'

For writing purposes, if a word would become unrecognizable with this change, it's left the same (but in actual speech, it would be pronounced differently)

Example: Father remains as father (but would be pronounced like fovva)

Th always remains intact at the start of words

Example: Thing remains as thing (but would be pronounced like fing)

Miscellaneous word changes

Something becomes summat (but other times is just somefin' - she's not consistent with either)

What becomes wot, whatever becomes wotever

Tomorrow becomes tomorra

Because is often shortened to 'cause, which becomes cos

Isn't almost always becomes ain't

Thank you / no thank you becomes ta / no ta

Some words spill together or are slurred

With that becomes wivvat, with it becomes wivvit (This one isn't actually used in-game, so you don't have to use it either, but it reflects how she'd actually be pronouncing it)

Isn't it becomes innit

Doesn't it becomes dunnit

Suppose becomes s'pose

Don't know becomes dunno

Probably becomes prob'ly

You might change - Another loose/inconsistent rule. Can depend on how the sentence would be pronounced out loud, but mostly is just a vibe

You becomes ya

Your/you're becomes yer

Yourself becomes yerself

Section 2: Grammatical Errors

Gina is an uneducated East End orphan, so it should come as no surprise that she makes mistakes here and there. Here are her consistent ones! Some of these are confusing/hard to explain, so I included specific examples.

Will say me instead of my, and meself instead of myself

Example: "I dunno much about guns meself."

Incorrect tense usage of was/were in negatives - Instead of I/it wasn’t, she’ll say I/it weren’t

Example: "I was up in a balloon, weren't I?"

Incorrect tense usage of does/do in negatives - Instead of he doesn’t, she’ll say he don’t

Example: "Somefin' wot 'e don't want people readin'."

Double negatives

Ever becomes never in negative statements

Example: "I swear on my life, I ain't never laid eyes on that dandy before."

Never + anything becomes never + nothing

Example: "I never done nuffin' o' the sort!"

Never + anyone becomes never + no one

Example: "All me life, growin' up in the slums, I've never trusted no one."

Haven't you ever becomes ain't you never

Example: "Ain't you lot never gone over an 'ouse lookin' for dough when the owners are out o' town?"

The word that or who in the context of ascribing a feature to a subject is replaced by the word what

Example: "She's always goin' on about all them cases wot Sholmes is lookin' into."

Other example: "I think I wouldn't fancy me chances wiv a lawyer wot lives in a place like this."

Will say them instead of those

"All them skylights open, dead easy."

Will say no more instead of anymore

"Ya dropped it, so it ain't yours no more."

She’ll sometimes mess up bigger, unfamiliar words. This one's entirely in your discretion what words she might mess up. Some canon examples:

“Supperment” instead of supplement

“Mantlescript” instead of manuscript

On a similar note, she'll sometimes confidently get sayings wrong and think she sounds smart

“Toby's...'ow did they put it...? ...Oh, yeah! A 'bone-fide' detective!”

Section 3: Cockney Terms/Slang

In addition to her thick dialect, growing up in the East End means Gina has also adopted a plethora of unique words and phrases. This'll be more like a vocab section!

Cockney rhyming slang - Some words are replaced with phrases that rhyme with them. She uses a few in canon:

Instead of believe, she’ll say Adam an’ Eve

“Would you Adam an' Eve it, eh?! Wot a mug!”

Instead of face, she’ll say chevy chase

“Yeah, I can see it written all over yer chevy chase!”

Interjections/Exclamations

Blimey - Express surprise or shock

"Blimey, yer right! That streak o' light in the photo looks just like an arrow, dunnit?"

Cor - A general interjection, kind of a euphemism for god

"Cor, listen to you! Ya stumble across a bit o' balloon an' suddenly yer the best investigator in the world!"

Oi - I doubt I need to define this one, but it's basically the equivalent of "hey"

"Oi! That's off limits up there!"

Words for people

Cove, bloke - A boy or man. Gina tends to use cove more often than bloke.

"That's where the cove ended up after 'is 'instant kinesis' or wotever they call it."

"When I lifted the last bloke's purse, 'e got wise to me."

Dandy - A conceited, fashionable upperclass man. Can be used as a noun or adjective.

In reference to Ashley Graydon: "I swear on my life, I ain't never laid eyes on that dandy before."

Dee - Thank you to uzukirie for figuring this out in the replies of this post - dee is short for detective!

To Sholmes: "I don't need no 'elp from some stuck-up dee!"

About Gregson: "Yeah, the dee let me keep it. After I looked daggers at 'im for long enough."

Swell - A wealthy or elegant person. In canon, Gina uses this exclusively in reference to McGilded.

"It's because o' that, this swell found me. …'E did 'elp me get away, mind."

Miscellaneous vocab

Dodgy - Suspicious

"It was amazin' when you showed that dodgy professor's dodgy experiment was a total fix!"

Rum - Odd or strange

"I mean, wot's the point of spendin' a joey to make a few bob, eh? That's a rum idea, innit?"

Coppers - Cops

"If you do wot the grown-ups tell ya, it'll get yer mates dragged off by the coppers. Or worse."

Scarper - Flee/run away/leave in a hurry. Also comes from rhyming slang - Scarper = Scapa Flow = Go

"If I did that, 'e said 'e'd let me scarper before the coppers showed up."

Have a butcher's - Take a look. Also comes from rhyming slang - "butcher's hook" = look

"Most days I push the cushion up wiv me 'ead an' look out the crack. Then I can 'ave a butcher's at who I'm gonna fiddle."

Rude words/phrases :)

Gordon Bennett - Expresses surprise or contempt - kind of a euphemism for goddammit.

"Gordon Bennett! You lot!"

Flamin', bleedin', - General emphasis. Pretty much just gentler ways of saying fucking.

Note!! You might be tempted to make Gina say "bloody", since that's well-known British slang, but she never says that. She says bleedin' in its place.

"Don't be so flamin' rude, 'Oddo!"

"It's lies every bleedin' place ya look in this world, innit?"

Bleedin’ Nora - A variation of "Bloody Norah", a surprised/irritated interjection.

"Wot the bleedin' Nora, 'Oddo?! Wot 'ave you gone an' done?!"

Bogtrotter - A derogatory term for an Irish person. She uses this to refer to McGilded.

"Look at the mess it's got you into, believin' in that bogtrotter!"

Mug - An idiot.

"You can't do it from inside, you mug."

Blue blazes - An alliterative exaggeration of "blazes". A euphemism for hell.

"Where the blue blazes 'ave you been, eh?"

Cobblers - Rubbish/nonsense. Literally, it means testicles - derived from Cockney rhyming slang, where "cobbler's awls" = balls.

"All this nonsense about the boss plannin' to kill people… It's cobblers!"

And 1.2k words later, that's pretty much it! Now you can write Gina dialogue spot on <3

Feel free to suggest anything I'm missing/got wrong - I come back and edit this for accuracy's sake every time I notice something I left out, or when people in the replies/tags point things out!

[itsclydebitches]

Zevlor: An Angsty Character Analysis

Hey, Zevlor simps. Can I interest anyone in 4,000 words about our favorite disaster tiefling? 💀

“We can’t stay, but we’ll be slaughtered if we leave—we’re no fighters.”

Back during my first play-through this is the line that turned Zevlor from another dime-a-dozen, exposition spouting NPC to a character I was legitimately interested in. “We’re no fighters.” My DnD ignorance abounds, but even I could see that wasn’t an accurate statement. Here’s a mountain of a man sporting fancier armor than my level 2 Tav knows exists yet, having wrecked half the goblin hoard with his crossbow and, if you let him, he'll happily turn to punching as a solution to verbal disagreements. Plus, he’s clearly the one giving the orders, so what do you mean you’re not a fighter?

Having explored the Grove a bit I chalked it up to a generalized assessment of the refugees as a whole. They’re mostly kids, civilians, and would-be protectors who only look the part of fighters in cobbled-together armor. One woman is grappling with the guilt of killing someone for the first time, even an enemy. Lakrissa is sure they’re all going to get slaughtered and is willing to put money on that fact. Meanwhile, the couple you meet are more concerned with what pet they’ll get when they somehow, someway, make it to the city. Don't worry about how that'll happen. You learn later that even those like Ronan are small potatoes compared to most of the baddies you’ll face. On paper he looks and sounds like the real deal—dressed in robes, talking up an apprenticeship with the famous Lorroakan—but scenes like the celebration light show and his own fury at needing to be saved, again, highlight how far he still has to go. The point is that Zevlor is right: these aren’t fighters and he at 18 strength, paladin, former commander, is definitely the exception.

However, BG3 is the sort of detail-heavy game where I’d expect them to include that exception in the dialogue. “We can’t stay, but we’ll be slaughtered if we leave—these people aren’t fighters.” Zevlor’s inclusion of himself in this assessment continued to nag at me and it didn’t start to make sense until I delved into his tag here on tumblr, with more patient players than myself posting everything there is to know about the tiefling. (Thanks, all.) Zevlor is fascinating to me in part because he has this contradictory nature, one example of which is that he’s a very talented fighter who desperately doesn’t want to be a fighter anymore.

…but also he totally does.

We overhear in his dialogue to Tilses that Zevlor is adamant about shedding the titles he’s earned through combat: Hellrider, Commander, Sir. He insists that they’re just civilians now and it’s not like he’s being disingenuous here—note that he introduces himself as just “Zevlor” to Tav. Zevlor means what he says to Tilses and we can see that he’s trying to both reinforce his point and lesson the blow by referring to her as “Tilly.” The nickname is a sweet one, hinting at their close bond in just a single word, reminding her that he’s not saying this to hurt her, he cares for her… but the nickname is simultaneously something he never would have used as her commander. The intimacy meant to comfort is also a hard blow to weather. They're now people who use nicknames inappropriate for the hierarchy of battle.

So Zevlor means what he says here, means it enough that Tilses is convinced and drops her use of “Commander,” but there’s definitely a hint of bitterness in his voice. At least, I’ve always heard it. Zevlor is steadfast in his conviction here, even going so far as to say, “I’m done soldiering, Tilly” when discussing what will come next at Baldur’s Gate. Yet for all of that his tone conveys (understandable) anger and disappointment that it’s come to this. Zevlor doesn’t act like someone who truly wants this change, but rather someone who’s been forced to accept it.

Is it outside forces unwillingly influencing him then? Did Avernus truly change things irrevocably? No, not really. At least, not in the way Zevlor likes to claim. Tilses herself states that being a Hellrider is for life; nothing can take away that title. You lost your post? Your whole city? Most of the people under your protection? Doesn’t matter! You’re a Hellrider forever, no matter the circumstances. I can easily picture a time in Zevlor's life where he would have agreed with Tilses wholeheartedly. They are Hellriders, dammit, and so long as there’s one person looking for their help they will wield that title alongside their blades. And right now, Zevlor has a lot more than just one person in need of his assistance.

So it’s not that Avernus truly stripped them of that identity. Nothing can do that. Zevlor is not rejecting titles and planning retirement because the mechanisms of fate are forcing him to.

He’s doing all that because he’s lost confidence in himself.

Even as someone with a shaky understanding of DnD classes, I love the parallel between a broken oath and the rejection of a lifelong title. If Zevlor can fail in his oath—or in his faith entirely, according to the memories stemming from his pod—why-ever would he think that any other ‘permanent’ part of his identity was worth fighting for? If you can loose the very thing you’ve built your entire life around, every important aspect of yourself, tied to your very soul… what’s a bestowed title compared to that? Zevlor doesn’t believe himself worthy of being a Hellrider anymore, but I think that goes deeper than a string of horrific circumstances making him feel incompetent. As an Oathbreaker, Zevlor likely believes that if he couldn’t uphold that, he can’t uphold anything. Calling himself a Hellrider would be a lie. A fiction. A pathetic, dangerous, insulting fiction at that. It’s like calling yourself the “Hero” while continually failing those around you. Sure, others might insist it’s a title you’ve earned, one you will always carry with you, but you don’t believe them anymore and at a certain point calling yourself that feels worse than embracing the title of “Villain." You don’t want to be the villain… but you want to pretend you’re the hero even less. Pretending is exhausting.

We see this struggle in the many ways that Zevlor fails, or almost fails, to uphold the ideals that originally guided him. I use the term “villain” above deliberately because Zevlor is not merely a former hero-type who’s self confidence has been shattered, or who has been reduced to a civilian, or who thinks themselves useless; he’s actively fighting against temptations that, under less stressful situations, he’d never even consider. I don’t think he is a villain, I think he’s a flawed, struggling victim who sees his own, inevitable mistakes as villainous—and the longer that warped perspective continues the easier it is to fall into bad behaviors. This cycle is perfectly summarized in the autobiography Zevlor keeps by his bed:

“When every passer-by thinks you a thief and a heretic, it is deeply tempting to become one.”

We don’t know if this is Zevlor’s autobiography (as far as I’m aware, anyway) but even if it’s not the words have clearly resonated enough for him to keep them nearby. This particular line paints a pretty clear picture of Zevlor’s struggle. If everyone you meet says you’re devil-kin, vermin, or would-be criminal, isn’t it easier to just give them what they want? If you can’t persuade them otherwise, why put in the effort of trying? If he can’t be Faithful to his God, why have faith in anything at all? If he can’t save these people—setback after setback, mistake after mistake—why is he even making the effort?

Zevlor obviously is trying, very, very hard, which is why such thoughts are merely temptations rather than actual, questionable actions. Still, the Grove gives us numerous examples of the precipice he’s balanced on—and the ways Tav can tip him in one direction or another. You can talk Zevlor down from his anger and get him to acknowledge his disgust in nearly sinking to Aradin’s level. You can also let him boil over and punch the human at a time when the last thing anyone needs is more violence. You can convince Zevlor that there are peaceful ways of stopping Kagha's ritual, or you can help him in pursuing the darker temptation to kill her. It’s a “low” thought, but at his own admission he hasn’t been above entertaining it. Zevlor’s requests for help, though always polite and humble, carry a spark of manipulation in them too. He’s not above leveraging your previously selfless good deed to his advantage—"She owes you for saving this grove"—and if you approach him before speaking with Kagha he’ll claim that the ritual will “be trouble—for all of us.” Except, no? Not really? Tav can make it clear that they’re just here for a healer, they’re only passing through, and as a fighter they are not beholden to the Grove’s sanctuary as the teiflings are. It’s not trouble for everyone involved, yet Zevlor frames it as such in the hopes that (unnecessary) self-interest may motivate you if selflessness fails. Finally, if Zevlor dies in your play-through and you use Speak the Dead on him, he will admit to having “plenty” of secrets, none of which he’ll share. Admittedly, this may be the result of cut content, specifically a story-line in which Zevlor knowingly betrays the tieflings rather than being tricked by the Absolute. Still, the game as it stands is the story we have and within it we’re given a man who is both fighting against these dark urges (ha) and has a past riddled with secrets. If Zevlor is anything, it’s blunt when it comes to his own failings, accurate and otherwise. So how terrible must these secrets be that he outright refuses to divulge them when, generally speaking, most corpses speak freely in death?

However, out of all of this the struggle I’m most intrigued by is the one surrounding the gate. Zevlor represents the tieflings: persecuted refugees, vulnerable civilians, people seeking to survive through cooperation, specifically by joining a community. Kagha represents the druids (or at least a vocal subset of them in Halsin’s absence): bigoted individuals, powerful fighters, people seeking to survive by giving in to their fears, specifically by keeping themselves isolated. This is the moral dichotomy of the Grove and it is symbolized through the gate. Zevlor wants to open it to everyone whereas Kagha wants to close it, permanently.

So isn’t it odd that Zevlor is the one ordering it shut?

When the scene first starts Kanon shouts down that no, he won’t open the gate. Zevlor said that no one is allowed in. Notably, he’s saying this to Aradin and his crew, people that the Grove is at least passingly familiar with, given that Halsin left with them to search the temple. It’s also notable that Zevlor isn’t expecting goblins to attack the Grove. He’s shocked that this is suddenly a problem, brought about by Aradin’s decision—“You lead them here?”— and the entire point of staying at the Grove is that it’s at least comparatively safe. Yes, there have been more attacks lately, but Zevlor seems to be relying on the Grove’s relatively unknown location, as well as the fact that goblins are normally disorganized. The safety is only compromised because Aradin brought a hunting party back, so Zevlor has no reason to expect any visitors, let alone ones that would be a threat.

More importantly, he should welcome such visitors even if he did expect them. After all, that’s precisely what the tieflings are: strangers with no ulterior motives other than to survive. Broadly speaking it makes perfect sense why he'd shut the gates. Zevlor’s first priority is to his people, so anything that keeps them safe is, theoretically, a good thing. But through the lens of his specific characterization and this specific, moral dilemma, it’s an awfully hypocritical decision. Based on everything we’ve seen, our party would not have been welcomed by Zevlor if we’d arrived without danger on our heels and a rescue to endear him to us. So his people should be welcomed, trusted, kept safe, given the benefit of the doubt… but Zevlor isn’t necessarily willing to extend that same trust to others. At the end of the day, he and Kagha want a version of the same thing: safety for those they deem are worthy of it.

It’s precisely these flaws and temptations that make Zevlor such a great character to me, even before he’s tricked by the Absolute. The fandom has leaned hard into Zevlor’s self-loathing and let me tell you, I love it (kisses, hugs, and cookies for you all), but canonically I think he has more reason to fear himself than we tend to portray in the H/C fics. I’m not saying he’s a bad person. Rather, it’s precisely because Zevlor is such a good person that he has the capacity to fall so far. It’s his all-consuming desire to protect his family that leads Zevlor to do and consider so much that a paladin would normally balk at. Denying others the safety you’ve been granted. Subtly manipulating others to do your dirty work. Considering murder.

Zevlor is someone torn between doing the Right Thing and the thing he believes will help those under his care survive. Importantly, when we first meet him he considers these to be two separate courses of action. So can you imagine what goes through his head when he first sees Tav saving everyone and doing so righteously? I think it’s integral to Zevlor’s characterization that the game all but forces you to play the Good Guy in that initial encounter. A cut scene starts, you’re thrown into combat immediately afterwards, and unless you plan to start attacking the Grove members alongside the goblins (which the mechanics discourage through the coloring that distinguishes enemies from allies) you will always finish this fight as Zevlor’s hero. Sure, you can be an asshole afterwards and demand payment. You could already be plotting your betrayal and the slaughter of all the refugees. But in this moment you are nothing but a miracle made flesh in his eyes. Right from the start Tav is succeeding in all the ways Zevlor feels like he's failed. You're the hero.

More specifically, you’re an Every-Man Hero. We might have epic backstories for our Tavs, but within confines of the game you’re largely a nobody when not playing an Origin character. How powerful must that have been to witness then? A total stranger, someone who has no ties to the tieflings or even, depending on your class, any sworn reason to help others, putting their life on the line to save what is most precious to Zevlor? I think a lot about the fact that he never asks Wyll to step in and try to change Kagha’s mind. She owes him just as much as she does Tav—Wyll is an equal participant in that fight and, if your shoddy play style is anything like mine, he likely did more damage—and Wyll is clearly invested in the tiefling’s survival, training the kids as he is. Now, obviously Zevlor’s reticence is largely a question of assigned roles (we need to be the one engaging with Kagha because we’re the protagonist/player) but, like Zevlor’s choice to include himself in the Not a Fighter group, it would have been all too easy to explain this away within the narrative. One comment about how Wyll already tried and failed, or how Kagha doesn’t trust Warlocks, or hell, maybe you don’t meet Wyll in the Grove at all. It’s an easy thing to accomplish and though this is edging more into the realm of headcanon than anything else, I can’t help but think that Wyll isn’t the kind of person that Zevlor could turn to for help right now. Because he’s a folk hero. The Blade of Frontiers, known far and wide for his impressive, selfless deeds. Zevlor is struggling so hard to keep the tieflings safe, tempted by all the unsavory solutions that might achieve that, drowning in self-hatred as his past and current failings catch up with him, wanting nothing more than to be his peoples’ protector:

“I would be a paladin again—with a god’s purpose, a god’s power. Everything I needed to protect my people. And all the while, the cult tortured them. They fought, and ran, and died around me, while I imagined myself their savior.”

Three of the things Zevlor mutters while trapped in the pod are “Hellrider… for… life…,” “Trust… in me…,” and “Children… look away… look at me…” He wants to be the protector, the one children look to for reassurance, he wants his words to Tilly to be a lie and he wants a way to prove that he is a Hellrider for life… but he’s not. At least, Zevlor doesn’t believe it. He lost his titles while Wyll still proudly bears his. Wyll trains the children to fight while Zevlor can only get swept up in anger at them being threatened. The people trust Wyll, adore him, he’s the hero and Zevlor… is not. Not anymore.

It’s too painful to approach Wyll and admit all that. That would be a hell of a blow to Zevlor's pride. But Tav? A stranger? A nobody? The Every-man who had no reason to help or reputation pressuring them, saving them anyway? That’s inspiring. Someone like Tav could be the answer and even, perhaps, the proof that Zevlor could redeem himself. Neither of them are folk heroes, untouchable in their assumed perfection. Tav is a living, breathing example of how the flawed, everyday adventurer can be everything Zevlor strives for.

No wonder he won’t shut up about them in the Shadowlands.

All of this is why it’s so tragic that Zevlor wasn’t given a redemption arc. Sure, you can recruit him for the final battle against the Netherbrain, but there’s no quest to change the cast’s opinion of him—or change Zevlor’s opinion of himself. All his content at the end of Act 2 and Act 3 reinforces that self-hatred.

Let’s make a list, shall we?

Nearly every line of his reunion with Tav has Zevlor painting himself in the worst light possible, from “a lie kinder than the truth” to his refusal to join you because he believes he’ll stab you in the back. You cannot convince him of the Absolute’s manipulation and there’s no response to his belief that such horrors start within the person like, “Of course it does! Because we’re all flawed and equally capable of good and evil deeds! That potential doesn’t make you irredeemable, Zevlor, it makes you mortal!!”

He’s utterly failed as his peoples’ champion and he’s also deemed “unworthy” of being a True Soul. Obviously not being chosen by the Absolute is a good thing, but for a man drowning in self-loathing that’s one hell of a complicated rejection.

Nearly all the tieflings hate him now, all those people he’s been sacrificing his soul to keep safe. I found it particularly devastating that this is one of the rare occasions where nailing a persuasion check doesn’t change the person’s mind. There’s at least one tiefling at Moonrise (I’m drawing a blank on her name) who will believe you when you explain how the Absolute influenced Zevlor, but that doesn’t lead to forgiveness.

Zevlor is deemed unimportant on a literal, narrative level. He is very easy to miss in the pods (I nearly did on my first play-through) and the game does incredibly little to dissuade you from that mistake. Putting aside for a moment that obviously an Origin companion is more significant than a minor NPC, compare this to Shadowheart screaming from her own pod, the game making it abundantly clear that this is someone in need of help—someone worth rescuing. She’ll even say later that you could have run past, more concerned with your own survival and the big picture heroics to bother with her. How must it feel then, if Zevlor ever learns that Tav was there and never stopped for him?

If you do miss Zevlor… oh boy. We’ve probably all seen at least a recording of Orin’s so-called gift. There are plenty of characters who can meet untimely and devastating ends, but very few go through this level of horror. Zevlor—after being held captive, remember—is tortured by God’s Favorite Torturer. He is stripped of his personhood and reduced to a mere “message,” a “pet.” Zevlor is further humiliated in death by being literally stripped of his armor—not just vulnerable in his nakedness, but denied the last symbol of his faith, his status, his power—and it’s always struck me that this is the closest we see to him 'enjoying' an intimate moment, this parody in Orin’s painting. Zevlor is one of the NPC’s most in need of physical comfort and instead he’s forced into this torturous mockery of a sex scene. It also hits hard that when Tav first spots his body the narration says that Zevlor “might almost be sleeping.” Undoubtedly this is a man who isn’t taking good care of himself. He needs a good night’s rest, yet this horrifying trick is all he gets.

As if all this weren’t enough, most of your companion are VERY critical of Zevlor while commenting on his demise. It’s one thing for the tieflings to believe the worst given their ignorance and the fact that they are the ones who suffered from Zevlor’s failure, but your company understands the Absolute and the ways that she gets her hooks in people. Still, Astarion calls him a “wet rag” even if he did deserve better than this. Shadowheart wouldn’t have wished this on him either, but she can’t help but slip in a “no matter his failings.” Lae’zel, often the most blunt, straight up says that he was “always destined to fail his people—and to fail us.” Wyll shakes his head and intones that “even good intentions can lead us down deadly paths.” Only Gale and Karlach stick to mourning the dead rather than airing his shortcomings.

When I spoke to my allies before the final battle Zevlor didn’t have a cut scene. It became clear to me later that this must have been a bug in my play-through, but at the time it only reinforced my feelings that his story was incomplete. Looking on Youtube I’ve found recordings of him saying that he is a Hellrider once more and he would “die a proud man if [he] were to die this day”… but that rings as terribly hollow given where we left him. Last we were together, Zevlor was saying in no uncertain terms that he could not be trusted, he would fail again, he was unworthy of forgiveness. Where did this change of heart come from? It makes perfect sense that he would help Tav in this moment—he begs to be of some use after getting free—but not that he would present himself with such confidence. Within the story as it’s been told this feels… fake. Like Zevlor is putting on a mask to fit the mood of this lively, optimistic party. Which, in turn, gives the “I would die a proud man” line a terrifying implication to me. Does Zevlor expect to die this day? Does he intend to? What would persuade him not to lay down his life here and now? His mission is complete. The tieflings are safe—though not by his hand. There's no hero's welcome waiting for him after this battle. They hate him. He hates himself, and by his own admission the one thing that could still make him proud would be to die at Tav’s side, trying to do one last bit of good. If someone said that to me after everything Zevlor has been through I would keep them far away from the front lines.

(I did, for the record lol.)

I’m not saying anything new then when I go, “Larian, PLEASE add more to his story.” Give us a Zevlor side-quest to renew his oath. Let us invite him to our camp. Something to link the broken man mid-game and the confident fighter at the end so that the latter doesn’t feel like an alarm bell with two legs and a tail. I mean yeah, I get hooked on minor characters so 75% of this is simply me wanting more content of a fave, but I also I do legitimately believe that BG3’s story would benefit from tying up loose ends like this.

Zevlor is a fantastic character, someone who contains an astounding amount of complexity for so little screen time. You have to follow up on that complexity though. If he’s meant to be a purely tragic figure, okay, fine, that’s the ending you get with Orin. But one where he joins you with a smile and reclaims a title he's previously rejected with such fervor requires more work in the middle; a through-line that explains how someone with so much self-loathing learns to think of himself as the hero again.

Because it does all come down to Zevlor’s perception of himself. He was always a hero, flaws and all. He always was and always will be a Hellrider.

The UI knows what's up :)

[sabo-torao]

Small disclaimer before you head in: this whole post will be referencing the TCB translation. I know VIZ handled the exchange I'm discussing differently, but I couldn't find anyone who talked about the original version and as a result I don't really know who is closer to the original meaning. In any case, the "analysis" should still stand. Whether Dragon was commenting Sabo's firmness or admiring his resolution, Sabo's still putting on a mask, and that's the point I'm trying to break down. Enjoy!

This very specific interaction between Dragon and Sabo in chapter 1083 has always stuck out to me.

"My, you really are unshakeable."

which is an appropriate response to what Sabo said, of course. What kind of sensitive person reacts that way to the death of an innocent, right?

Even so, I can't help but compare the thing Sabo said to his actual, genuine reaction to King Kobra's death.

He's devastated.

Sabo brokenly screams Kobra's name, and his expression is one of full despair; he never thought about killing Kobra, let alone letting him die. On the contrary, he actively tried to save him.

Kobra told him to just let him go, that he was dead weight and he shouldn't be concerned about him, but Sabo straight up refused. In fact, Kobra's actions read way more as a sacrifice than an inevitable death; the king let himself die, knowing that this way Sabo could flee and reach Vivi and Luffy safely.

On the Lulusian ship, we see Sabo think about Kobra's last words to him and actively trying not to cry (and failing).

That's not an unshakable man. He's suffering, he's grieving. He realizes he failed his very own mission of saving the king and lets the meaning behind Kobra's actions and words sink in.

It really puts his former reaction into perspective.

Sabo's firmness, seriousness and coldness in front of Dragon and Ivankov are nothing but a façade. He acknowledges that what he's about to say might come off as harsh, and that, even if he does feel sorry for Kobra, the tragedy doesn't weigh him down thanks to the results it brought, but it all sounds like he's reassuring himself more than actually showing his indifference.

Hell, he even drinks his glass of wine right after having said that "he doesn't really care". How can anyone take his words seriously?

And we've been knowing Sabo is inclined to do this sort of thing since Dressrosa; he acted all cool and composed in front of Luffy but the second Koala called him on the Den Den Mushi he was weeping, having a hard time believing that his little brother didn't punch him or hate him for being alive all along. He even denied he was crying!

All because Sabo hates being seen as vulnerable, especially in front of the people he thinks he has to be strong for (Luffy, Dragon, etc). It's something I think goes back to how his parents treated him, since they scolded him for, y'know, having emotions and being a normal kid in need of love, but i digress.

I once saw someone describing Sabo as a very cold person in comparison to his brothers, even going as far as to say that Sabo doesn't care if people die if it means achieving the Revolutionary Army's goals (using this very interaction as proof), which couldn't be further away from the truth.

Bonney even says outright that it's weird seeing a "radical revolutionary" act so friendly when Sabo helps her out. Why would he do this if all he ever did was for "The Cause"?

Yes, Sabo is ruthless, rude, violent at times, and his friendly demeanor could be seen as a little more volatile than that of his brothers', but he's not heartless. He's not a "meanings to an end" guy, he proves it time and time and time again, and it's disheartening seeing people label him as such.

Sabo is kind. He may not be as warm as Ace and Luffy, but he is fundamentally a good person. A generous, kind, caring, sensitive person.

No matter how hard he tries to hide it.

[ddollfface]

Can I please request a Yandere Hanayama Kaoru head canon?

𝐀 𝐒𝐥𝐞𝐞𝐩𝐥𝐞𝐬𝐬 𝐃𝐫𝐞𝐚𝐦

𝙆𝙖𝙤𝙧𝙪 𝙃𝙖𝙣𝙖𝙮𝙖𝙢𝙖 𝙔𝙖𝙣𝙙𝙚𝙧𝙚 𝙃𝙚𝙖𝙙𝙘𝙖𝙣𝙤𝙣

Warnings; reader is afab/described a girl, yandere behaviors, stalking, I talk a lot, lots of ramblings, probably doesn't make any sense, bad writing, more stalking, Tumblr is trying to silence me, ngl Hanayama is growing on me... If I missed anything, then please let me know ♡ Bro, I'm so sorry that this is super rushed, seeing as I hit the word limit??? I'm super confused because I barely wrote anything, but whatever. A lot of my headcanons are based around @yandere-writer-momo. Also, sorry for being offline for so long lol, kinda forgot I had Tumblr ngl :/

Okay, to start this off, I think that realistically, it'd be very, very, very hard to get Hanayama's attention. He's shown to be stoic and stone-faced, only showing respect and warmth toward specific people (Baki and Shiba included). And I think it's important to mention that the people he does respect is due to their fighting spirit and/or strength, that or they were there during his childhood (like Kizaki and his mama).

And that's just for him to show basic affection toward them, not even accounting for being loving. For you to catch his attention, I think that you'd have to be either a really strong fighter (meaning having impressive skills of some sort) or have a strong will, either one will work. (Though, a lot of the time, both go hand-in-hand).

When I say a strong will, I don't mean you get up after being punched over and over, instead, it can just be standing up for others. Similar to Katsumi, I can see Hanayama being attracted to a person who's selfless, in the sense that they're brave. Someone who's willing to push through their fear and do it, whatever it is. Now, that catches his attention.

There's a never-ending list of cowards who'll run with their tails between their legs at the sight of discomfort, willing to abandon everything just for their own gain, and Hanayama encounters these men all the time. Let's just say that it gets boring, annoying even. So when you see someone who's spitfire, ready to jump into danger for themselves or others. Now, that's impressive.

Whether or not they can actually carry through doesn't matter too much, it's the fact that they got back up, not letting their dignity lay to rest. Personally, I find that Hanayama would be far more interested in someone who's genuinely acting selfless in this way, acting from the heart.

Going more into his childhood, I think this type is rooted in Hanayma's relationship with his mother. Though I haven't read the manga, from the wiki, I've gained that he was close to his mother, loving her very much. We don't know much about her. Hell, we don't even know her name, but we do know that she was kind.

That's the only information we're given, but even from that, I can make an analysis. From this, I know that Hanayama was likely a Mama's boy, though still being trained to be a Yakuta. I don't mean Mama's boy in the traditional sense, I mean it in the way that she was his peace, his way out of the Yukuta world, his destiny. Being raised in a gangster lifestyle isn't easy, nor is it soft, so just imagine the damage that type of environment can put on a child's brain?

Horrible, huh? So I like to think that Hanayama's mama, before she passed, was far softer to him, giving him some sense of security. this is possibly why he felt such sorrow after she passed, discarding the natural pain we feel when our mama dies (seeing as there's a primal connection we have with our mama, but that doesn't matter too much at the moment).

Hanayama is a very monotone kind of guy, who, I imagine, doesn't like people with some type of alternate motive. Like, y'know how politicians or businessmen talk? Like they're hiding something from you? Yeah, Hanayama loathes those kinds of people, especially if they're trying to pursue him. I belive that he wants someone who'll keep his life steady; be his calm, if you will.

He wants someone who will be upfront, express themselves clearly, and won't keep what they're thinking from you. To him, this is a breath of fresh air. Hanayama is constantly surrounded by lackeys trying to kiss up to him, speaking with a hidden motive (which isn't really hidden in retrospect). If they're not trying to appease them, then they're quacking in their boots, ready to piss themselves.

But you're not like that, no, not at all. You're different. Hanayama can tell, you aren't some coward, instead, you're someone to respect. He can imagine you sitting next to him, all pretty as a Yakuza's wife. Yeah, he likes the sound of that. Well, the only problem is that you don't know who he is, not yet at least.

I imagine that you wouldn't know who Hanayama is, at first, seeing as he never spoke to you. He likely witnessed you acting selfless in some type of way, expressing your kindness by helping a grandma get across the street, something like that.

You didn't notice him, but he sure noticed you. At first, it wasn't anything too special. Hanayama just found you interesting, wanting to see what you'd do next, so he had one or two of his men keep a tab on you--nothing serious. It continues like that for quite a while, and Hanayama learns more and more about you. He knows that you like to sing when you cook, tapping your feet to the beat, and swaying side-to-side. It's cute, he thinks. And Hanayama feels closer to you, as if you know each other, like you're friends.

But then one of his men reports that you're not at home, not following your usual schedule. Instead, you were at some dingy cafe, drinking crappy coffee with another man, some slumbag who looked like he hadn't showered in a hot second. For some reason, which Hanayama doesn't know, he gets ticked off.

Someone as sweet, kind, and damn pretty as you shouldn't associate with someone like him, someone so gross.

He doesn't do anything, no, no yet. It'd be too brash, and too stupid. And Hanayama isn't stupid. No, Hanayama can keep himself composed, now knowing that he needs to get your attention. Afterall, he can't have you running around with other men, not when he's right here! Well... you don't know that, yet.

Few weeks pass, and you've completely forgotten the trashy date you had gone on, but Hanayama hasn't. You begin to notice new outfits appearing in your closet, clothing you certainly didn't have previously. They're far too expensive, too revealing for you to own.

You'll be confused, especially when these dresses, heels, and coats are no longer just appearing, but instead, being presented. Now, instead of being hung up or nicely folded in your closet, they're being laid out on your bed, accompanied by a pretty, black leather box with silk insides. A little note is stuck on top of the shimmering dress, causing you to gulp, looking around as a shiver racks through your body.

Who the hell is buying you a dress? (though, it looks far more like lingerie, seeing as you'd never be able to wear it out in public). You don't know, but you can't help but feel the heat rise to your cheeks as you lift the velvet cloth, feeling the lace slip through your fingers. Once you tried it on, listen, you couldn't help but feel curious, you gawked at how it fit you like a glove, hugging your curves, and accentuating your hips and bust.

It's fucking creepy, that's all you can think, but it gets worse, way worse. Throughout the weeks, you notice more and more gifts show up at your doorstep. The dresses get severely revealing, much to your discomfort. So do the notes. They get too detailed and too accurate to your day-to-day. By now, it's clear that you have a stalker, a rich one at that.

I'd have to say that this is the worst part of being with Hanayama: the courting. It's hella weird! You'll never feel alone, always having someone watching you, mostly Hanayama. He doesn't have his lackeys watching you anymore, seeing as he's far too jealous for that. He doesn't want someone as low at them to see you in such an innocent, vulnerable state. No, that's only for him to see.

Don't be surprised when he shows up at your door, your last hookup's head in hand and a bundle of roses in the other. After all, it's time for you to come home, no?

[transmutationisms]

serious question but do you personally believe there is a way to approach psychiatry in a way that uplifts and upholds patient autonomy and wellness or is the entire trade essentially fucked haha. Btw this is an ask coming from a 3rd year med student—with a background of severe mental illness—who is considering a residency in psychiatry after receiving life-saving care in high school pertaining to said conditions. (I have peers who have been involuntarily hospitalized and treated horribly in psych wards, with approaches i patently disagree with, but was lucky not to experience. I don’t like modern american medicine’s approach to mental illness; “throw pills” at it to “make it go away” ie. a problem of overprescribing, inadequate and non-holistic approach to mental health, and i feel a lot of that can be attributed to the capitalistic framework. I also def agree with you that so much of what can be considered normal human responses to traumatic events/normal human suffering can be unnecessarily pathologized—a great example being the whole “chemical imbalances in the brain is the ONLY reason why im like this” argument that ive unfortunately fallen hard for when i was younger and am still currently dismantling within myself…and like dont even get me started on this field’s history of demonizing POC, women, LGBT, etc). Like i deeply love my psych rotations so far, and i utterly feel in my gut that this is the manner in which i would like to help people—a lot of whom are just like me—but im wondering if there is a way to reconcile these aspects in a way that one can feel morally okay participating within such an imperfect system, in ur opinion… ngghhhhhh i just want to be a good doctor to my patients…

(ps i love all ur writing and analysis on succession!! big fan mwah <333)

i don't mean to sound unduly pissy at you, specifically, but i do have to say: every single time i've talked about antipsych or broader criticism of medicine on this website, i immediately get a wave of responses like this, from doctors/nurses/psychs/students of the above, asking me to, like, reassure them that they're not doing something immoral or un-communist or whatever by having or pursuing these jobs. and it's honestly frustrating. why is it that these conversations get re-framed around this particular line of inquiry and medical ego-soothing? why is it that when i say "the medical encounter is not structured to protect patient autonomy or well-being," so many people hear something more along the lines of "doctors are mean and i wish they were nicer"? why is it that it's impossible to discuss the philosophical and structural violence of academic and clinical medicine without it becoming a referendum on the individual morality of doctors?

i'm choosing to read you in good faith because i think it's possible to re-re-frame this line of questioning to demonstrate to you the sorts of critiques and inquiries i find more interesting and more conducive to patient autonomy and liberation. so, let me pick apart a few lines of this ask.

"is the entire trade essentially fucked?"

if you're thinking of trying to 'reform' the project of medical psychology within existing infrastructures and institutions, then yeah, it's fucked. if you're still assuming that affective distress can only be 'treated' within this medical apparatus (despite, again, no psychiatric dx satisfying any pathologist's understanding of a 'disease' ie an aberration from 'normal' physiological functioning) then you're not challenging the things that actually make psychiatry violent. you're simply fantasising about making the violence nicer.

"I don’t like modern american medicine’s approach to mental illness; “throw pills” at it to “make it go away” ie. a problem of overprescribing, inadequate and non-holistic approach to mental health, and i feel a lot of that can be attributed to the capitalistic framework."

i hate when i talk about psychotropic drugs being marketed to patients using lies like the chemical imbalance myth, and then pushed on patients—including through outright force—by psychiatrists, and the discussion gets re-framed as one about 'overprescribing'. my problem is not with people taking drugs. i am, in fact, so pro-drugs that i think even the ones administered in a clinical setting sometimes have value. my issue is with, again, the provision of misleading or outright false information, the use of force and coercion to put patients on such drugs in order to force social conformity and employability, and the general model of medicine and medical psychology that assumes patients ought to be passive recipients of medical enlightenment rather than active participants in their own treatment who are given the agency to decide when and how to engage with any form of curative or meliorative intervention.

'holistic' medicine and psychiatry do not solve this problem! they are not a paradigm shift because they continue to locate expertise and epistemological authority with the credentialed physician, and to position patients as too sick, stupid, or helpless to do anything but receive and comply with the medical interventions. there are certainly psychotropic drugs that are demonstrably more harmful than others (antipsychotics, for example), and some that are demonstrably prescribed to patients who do not benefit from them and are even harmed by them. conversely, there are certainly forms of intervention besides pharmaceuticals that people may find helpful. but my general critique here is aimed less at haggling over specific methods of intervention, and more at the ideological and philosophical tenets of medicine that cause any interventions to be imposed by force or coercion on patients, then framed as being 'for their own good'. were suffering people given the information and autonomy to actually choose whether and how to engage in any kind of intervention, some might still choose drugs! my position here is not one of moralising drugs, but making the act of taking them one that is freely chosen and available as an option without relying on physician determination of a patient's interests over their own assessment of their needs and wants.

"so much of what can be considered normal human responses to traumatic events/normal human suffering can be unnecessarily pathologized"

true, but don't misunderstand me as saying that drugs or any other form of intervention should be forcibly withheld from those who do want them and are made fully aware of what risks and harms seeking them could entail. again, this would still be an authoritarian model; my critique is aimed at increasing patient autonomy, not at creating equally authoritarian and empowered doctors who just have slightly different treatment philosophies.

"dont even get me started on this field’s history of demonizing POC, women, LGBT, etc"

ok, framing this as "demonisation" tells me that you're not understanding that, again, this is a systemic and structural critique. it is certainly true that a great many doctors currently are, and have historically have been, outright racist, trans/misogynist, ableist, and so on. framing this as a problem of a well-intentioned discipline being corrupted by some assholes is getting it backwards. medicine attracts prejudiced people, not to mention strengthens and promotes these prejudices in its entire training and practice infrastructures, because of its underlying philosophical orientation toward enforcing 'normality' as defined by 18th-century statistics and 19th-century human sciences that explicitly place white, cis, able-bodied european men as the normal ideal that everyone else is inferior to or failing to live up to. doctors who really nicely tell you that you're too fat are still using bmi charts that come from the statistical anthropometry of adolphe quételet and the flawed actuarial calculations of metlife insurance. doctors who really nicely deny you access to transition surgery are still operating under a paradigm that gives the practitioner authority over expressions and embodiments of gender. the issue isn't 'demonisation', it's that medicine and psychiatry explicitly attempt to render judgments about who and what is 'normal' and therefore socially 'healthy', and enforce those standards on patients. this is not a promotion of patient well-being, but of social conformity.

"i deeply love my psych rotations so far, and i utterly feel in my gut that this is the manner in which i would like to help people"

let me ask you a few questions. you say that you like your psych rotations... but how do your patients feel about them? is their autonomy protected? are they in treatment by free choice, and free to leave any time they wish? are they treated as human beings with full self-determination? if you witnessed a situation in which a patient was coerced or forced into a certain treatment, or in which you were not sure whether they were consenting with full knowledge or freedom, would you feel empowered to intervene? or would doing so threaten your career by exposing you to anger and retaliation from your higher-ups? what higher-ups will you be exposed to as a resident, and then as a practicing physician? could you practice in a way that committed fully, 100%, to patient autonomy if you were working at someone else's practice, or in a hospital or clinic? could you, according to current medical guidelines, even if you had your own practice?

when you say "this is the manner in which i would like to help people", what do you mean by "this"? can you define your philosophy of treatment, and the relationship and power dynamic you want to have with any future patients? is it one in which you hold authority over them and see yourself as determining what's in their 'best interests', even over their own expressed wishes? have you connected with patient advocates, psych survivors (other than your friends), and radical psychiatrists and anti-psychiatrists who may espouse heterodox treatment philosophies that you could consider? do you think such philosophies are sufficient for protecting patient autonomy and well-being, or are they still models that position the physician's judgment and authority over that of the patient?

"im wondering if there is a way to reconcile these aspects in a way that one can feel morally okay participating within such an imperfect system"

and here is the crux of the problem with this entire ask. you are wondering how to sleep at night, if you are participating in a career you find morally distasteful. where, though, do your patients enter into that equation? do you worry about how they sleep at night, after having interacted with a system of social violence that may very well have traumatised them under the guise of providing help? why does your own guilty conscience worry you more than violations of your patients' bodies, minds, and basic self-determination?

i can't tell you whether your career path is morally acceptable to you. i don't think this type of guilt or self-flagellation is fruitful and i don't think it helps protect patients. i don't, frankly, have a handy roadmap sitting around for creating a new system of medicine and health care that rests on patient autonomy. affective distress is real, and is not something we should have to bear alone or with the risk of having violence inflicted upon us. what you need to ask yourself is: how does the medical model and establishment serve people experiencing such distress? how does it perpetuate violence against them? and how do you see yourself countering, or perpetuating, such violence as someone operating within this discipline? what would it mean to be a 'good' actor within a violent system, if you do indeed believe that such a thing is ontologically possible?

[nofomogirl]

Good Omen's problem with having two canons

They're fundamentally different. That's the problem. That's my point.

For quite a while I focused almost exclusively on the new season of Good Omens, but now I am slowly delving into analysis that takes the entire show into account, and I've encountered a little obstacle. Namely, things from S1 can be really tricky to interpret.

Fair warning: this post is going to zig-zag between various points but I want you to trust me and take this scenic route with me. It will take us somewhere eventually, I promise.

The Arrangement

It's one of the core elements in the Good Omens universe and at the same time a perfect example of the issue I want to discuss. So let's have a closer look together.

In the book, the Arrangement is presented to us in two passages:

the first one, where it is first - very briefly - mentioned:

Aziraphale had tried to explain [free will] to him once. The whole point, he'd said - this was somewhere around 1020, when they'd first reached their little Arrangement - the whole point was that when a human was good or bad it was because they wanted to be.

and the second one, where it is properly introduced and explained:

The Arrangement was very simple, so simple in fact, that it didn't really deserve the capital letter, which it had got for simply being in existence for so long. It was the sort of sensible arrangement that many isolated agents, working in awkward conditions a long way from their superiors, reach with their opposite number when they realize they have more in common with their immediate opponents than their remote allies. It meant a tacit non-interference in certain of each other's activities. It made certain that while neither really won, also neither really lost, and both were able to demonstrate to their masters the great strides they were making against a cunning and well-informed adversary. (...) And then, of course, it had seemed even natural that they should, as it were, hold the fort for one another whenever common sense dictated. Both were of angel stock, after all. If one was going to Hull for a quick temptation, it made sense to nip across the city and carry out a standard brief moment of divine ecstasy. It'd get done anyway, and being sensible about it gave everyone more free time and cut down on expenses.

In the show, the Arrangement is presented to us in two original scenes in the cold opening of S1E3:

(I am quoting most relevant dialogues only)

537 AD, Wessex:

C: So we're both working very hard in damp places and just canceling each other out? A: Well, you could put it like that. It is a bit damp. C: Be easier if we both stayed home. If we just send messages back to our head offices saying we'd done everything they'd asked for, wouldn't it? A: But that would be lying. C: Eh, possibly, but the end result would be the same. Cancel each other out. A: But my dear fellow... well, they'd check. Michael's a bit of a stickler. You don't want to get Gabriel upset with you. C: Oh, our lot have better things to do than verifying compliance reports from Earth. As long as they get paperwork they seem happy enough. As long as you're being seen doing something every now and again. A: No! Absolutely not! I am shocked that you would even imply such a thing. We're not having that conversation, not another word!

1601 AD, The Globe Theatre:

A: I have to be in Edinburgh at the end of the week. A couple of blessings to do. A minor miracle to perform. (...) C: I'm meant to be heading to Edinburgh too this week. Tempting a clan leader to steal some cattle. A: Doesn't sound like hard work. C: That's why I thought we should... Well, bit of a waste of effort, both of us going all the way to Scotland. A: You cannot actually be suggesting what I infer that you are implying. C: Which is? A: That just one of us goes to Edingburgh, does both. The blessing and the tempting. C: We've done it before. Dozens of times now. The Arrangement- A: Don't say that! C: Our respective offices don't actually care how things get done. They just want to know they can cross it off the list.

S2 doesn't actually reference the Arrangement. But it does reuse the dialogue about free will where the 1020 date is dropped. We will get back to it.

The challenge of adapting Good Omens

Good Omens shares a certain characteristic with all of Terry Pratchett's solo books I've read - it couldn't care less about "showing instead of telling". Which I love, just to be clear. A book is a written medium. It's made with words and one of words' major strengths is that you can use them to just tell things point blanc.

Good Omens does it a lot and it's fantastic.

Look at that second passage from the book I quoted earlier.

From just those few sentences we learn a lot about the relationships between:

Heaven and Hell (opponents and competition)

Aziraphale and Crowley (two individuals in the same position and in direct contact with each other)

Aziraphale/Crowley and Heaven/Hell (field agent and a remote HQ that are not in direct contact)

Aziraphale/Crowley and Earth (two individuals and a space they live in)

Heaven/Hell and Earth (a board where the game is played, only winning or losing matters, what actually happens on a board does not)

It's really an extra condensed worldbuilding gem sprinkled with humor, so it's no surprise it's become one of the most iconic passages from the book.

I mean, just browse through some interviews with David and Michael - especially the ones from 2019 - where they explain what Aziraphale and Crowley are about. You'll be hard-pressed to find any where they don't reference that specific paragraph, consciously or otherwise.

But it's only this neat on the pages of the book, where narration like this takes mere seconds to absorb. It's impossible to convey the same information in a visual medium with anywhere near the same efficiency.

The fact that the majority of Good Omens is like this was, in my opinion, a main challenge the adaptation faced. The book is very narration-heavy. It's full of fun facts about characters, side jokes, hilarious comments, etc. Some of that precious material was salvaged by introducing God as a narrator, but there was only so much of it you could squeeze into a TV show. The rest had to either be fit into dialogues or lost in translation from the written medium to the visual one.

Obviously, in the case of the Arrangement, it was the dialogues.

Book canon and show canon

We all know they're not the same. Neil Gaiman also pointed it out several times. But I think our mistake is that we still tend to think about them as complementary.

Look at the Arrangement again. The show canon seems to merely expand on the book canon. Add extra details and fill in the blanks. The Arrangement works the exact same way, except now we also know more about how it started.

If we compile what we know from the book with what we know from the show, we get a more detailed timeline:

Crowley first proposes the Arrangement in 537 (show).

The Arrangement starts in 1020 (book), ie. Aziraphale finally agrees to it (show - deduction); we don't know for sure if it's a "basic version" (not getting in each other's way), or a "full version" (doing each other's jobs) but we can assume it's the former.

In 1601 "full version" of the Arrangement is in place for some time (they've done it dozens of times) but Aziraphale still objects and needs convincing.

But read that description from a book once more.

Does it really fit into the version of events shown in the TV series?

The Arrangement in the book is something that just happened. A natural, and in a way inevitable result of Aziraphale and Crowley's circumstances. We are never told who came up with it first because it doesn't matter. Because it could have been either of them. Because after five millennia on Earth, they were both ready to do it. They were both of the same mind. For all we know it might have been an unspoken agreement all along!

But for the show, the creators had to come up with a good reason for the Arrangement to be discussed out loud. And what could be a more natural situation for someone to describe and explain an idea than trying to sell that idea to someone else?

For that practical reason - among many others, no doubt - the Arrangement is not only explicitly Crowley's idea, but an idea Aziraphale vehemently rejects at first. He needs to be convinced and even when he finally relents he's never entirely comfortable with it. He keeps objecting and it requires Crowley's constant effort for them to keep cooperating in any way.

The fact that Aziraphale is reluctant gives Crowley a perfect reason to keep convincing him ie. talk about the Arrangement. But the fact that he needs to explain and keep convincing Aziraphale means that Aziraphale is no longer a person who understands the same things and feels the same way.

That is a huge change.

Of course, you may say that what I've written about the Arrangement in the book is just my interpretation. It's true that technically there's nothing there that would contradict the events from the show in any way. The thing is, the events in the show aren't very compatible with the overall characterization of the ineffable duo in the book.

Evolution of Aziraphale and Crowley

You might have read that our leading pair was originally conceived as a single character that Neil and Terry eventually decided to split into two separate individuals.

My reaction when I first learned about it was: "Of course they were! That makes so much sense!" Because honestly, as a person who watched the show first and then read the book, I was surprised at how few differences there were between the two in the original text. If you squint your eyes really tight, you can see how book!Aziraphale and book!Crowley are two versions of the same character. They're far more similar than their show versions.

Most importantly, their attitudes toward Heaven and Hell are pretty much identical. Perfectly mirrored in every regard. What Hell is for Crowley, Heaven is for Aziraphale. What Hell is for Aziraphale, Heaven is for Crowley. In. Every. Possible. Way.

Allow me to present some evidence from the book.

Exhibit #1: the end of the scene where Crowley convinces Aziraphale to interfere with Warlock's upbringing

'You're saying the child isn't evil of itself?' he said slowly. 'Potentially evil. Potentially good too, I suppose. Just this huge powerful potentiality, waiting to be shaped,' said Crowley. He shrugged. 'Anyway, why're we talking about this good and evil? They're just names for sides. We know that.' 'I suppose it's got to be worth a try,' said the angel. Crowley nodded encouragingly. 'Agreed?' said the demon, holding out his hand. The angel shook it, cautiously. 'It'll certainly be more interesting than saints,' he said. 'And it'll be for the child's own good, in the long run,' said Crowley. (...)

When Crowley first points out that good and evil are just names for sides, and then insists it's something they both know, Aziraphale doesn't react in any way. That's because these aren't things that book!Aziraphale disagrees with. He does indeed know it and doesn't deny it.

Also, please note just how cynical the angel is here with his comment that influencing the Antichrist would be a more interesting project than influencing saints!

Both would be rather OOC for show!Aziraphale.

Exhibit #2: the scene just after Warlock Dowling's birthday party, when it becomes evident he is not the Antichrist

'You said it was him!' moaned Aziraphale (...) 'It was him,' said Crowley. (...) 'Then someone else must be interfering.' 'There isn't anyone else! There's just us, right? Good and Evil. One side or the other.' He thumped the steering wheel. 'You'll be amazed at the kind of things they can do to you, down there,' he said. 'I imagine they're very similar to the sort of things they can do to you up there,' said Aziraphale. 'Come off it. Your lot get ineffable mercy,' said Crowley sourly. 'Yes? Did you ever visit Gomorrah?' 'Sure' said the demon. 'There was this great little tavern where you could get these terrific fermented date-palm cocktails with nutmeg and crushed lemongrass-' 'I meant afterwards.' 'Oh.'

Can you imagine this kind of exchange in the TV series? Can you imagine show!Aziraphale being this realistic about Heaven, and show!Crowley so naive about it? There's no way.

Show!Aziraphale genuinely believes that Heaven is good at its core.

Book!Aziraphale knows Heaven isn't any different than Hell and would punish him just as ruthlessly and unfairly as Hell would Crowley.

Show!Crowley understands both Heaven and Hell on a very deep level and is highly aware of their true nature.

Book!Crowley buys a piece of celestial propaganda about ineffable mercy and actually expects Heaven to be forgiving.

Let the magnitude of that difference sink.

Exhibit #3: same scene, a bit further

'So all we've got to do is find it,' said Crowley. 'Go through the hospital records.' The Bentley's engine coughed into life and the car leapt forward, forcing Aziraphale back into the seat. 'And then what?' he said. 'And then we find the child.' 'And then what?' The angel shut his eyes as the car crabbed around the corner. 'Don't know.' 'Good grief.' 'I suppose (...) your people wouldn't consider (...) giving me asylum?' 'I was going to ask you the same thing. (...)'

This is just a cherry on top, really.

Yes, in the book, when things go pear-shaped, both Aziraphale and Crowley consider seeking asylum on the opposite side.

Do you need more proof that book canon and show canon really aren't as compatible as they may seem?

Free will

As promised, let's get back to that dialogue because while it may not be obvious at first glance it really illustrates perfectly the problem arising from balancing between two canons.

Here is the full quote from the book:

Aziraphale had tried to explain [free will] to him once. The whole point, he'd said - this was somewhere around 1020, when they'd first reached their little Arrangement - the whole point was that when a human was good or bad it was because they wanted to be. Whereas people like Crowley and, of course, himself, were set in their ways right from the start. People couldn't become truly holy, he said, unless they also had the opportunity to be definitively wicked. Crowley had thought about it for some time and, around about 1023, had said, Hang on, that only works, right, if you start everyone off equal, OK? You can't start someone off in a muddy shack in the middle of a war zone and expect them to do as well as someone born in a castle. Ah, Aziraphale had said, that's the good bit. The lower you start, the more opportunities you have. Crowley had said, That's lunatic. No, said Aziraphale, it's ineffable.

And here, for comparison, is how it was reused in S2E3:

A: There is a stolen body in that barrel! This is wicked! C: Oh, I'm down with wicked! Anyway, is it wicked? She needed the money. A: That is irrelevant. Look, I am good. You, I'm afraid, are evil. But people get a choice. You know, they cannot be truly holy unless they also get the opportunity to be wicked. She is wicked. C: Yeah, that only works if you start everyone off equal. You can't start someone off like that and expect her to do as well as someone born in a castle. A: Ah, but no, no. That's the good bit. The lower you start, the more opportunities you have. So Elspeth here has all the opportunities because she's so poor. C: That's lunacy. A: No, that's ineffable.

I'll be honest with you - I didn't like that scene in the show. It felt jarring and off. Aziraphale was acting like it was his first day on Earth and it was frustrating to watch.

Then, on one of the rewatches, just as I was rolling my eyes at "that's ineffable", a bulb lit in my brain. That line didn't work there because it wasn't created to be there! In the book and in S1 "it's ineffable" was kind of Aziraphale's catchphrase but in S2 it only appears this once. More importantly, in the book and S1, the fact that the angel would say that was all a build-up to the scene when he threw it in Heaven's face at the Tadfield Airbase. Using that word in S2 was like trying to make a running joke that has already reached its destination run again.

And just like that one line the entire dialogue didn't fit because it wasn't meant to be there. It was created for an entirely different context.

What's the difference?

Firstly, book!husbands' conviction was very shallow and it wasn't uncommon for both of them to spout slogans without meaning them. Therefore, book!Aziraphale's words didn't carry that much weight. The very fact that the conversation took place at the same time they formed the Arrangement tells us something about how serious he was. But show!Aziraphale's relationship with his beliefs is different, so when he says things like that it's a much bigger deal.

Secondly, the book explicitly states that Aziraphale and Crowley only developed free will on Earth, due to extended exposure to mankind. The show never really makes a stand on the matter but based on what we've seen so far I think we can safely assume that angels and demons are capable of making their own choices as much as humans do.

In other words, in its original context, the conversation was just Aziraphale talking about a concept he didn't fully grasp, quoting propaganda he didn't fully subscribe to. He was being ignorant and mildly obnoxious in an endearing way.

But using the same dialogue verbatim in the Resurrectionist carried a completely different meaning. Aziraphale who utters it in the show has no reason to be so ignorant about free will. Aziraphale who utters it in the show genuinely tries to defend Heaven. Most importantly, Aziraphale who utters it in the show, doesn't just idly bicker with his friend about general things but is judging an actual human individual that's right in front of them. That, more than anything else, makes it sound heartless and ignorant.

What is the problem with having two canons, exactly?

It's time to wrap things up.

In the opening paragraphs, I've mentioned that I've noticed the issue while interpreting scenes from S1, and yes, that was the case and I do believe that the existence of two canons is especially problematic for S1. That's because pretty much every scene in S1 is potentially like that dialogue about free will in S2, except subtler and harder to spot.

A grand majority of what we see and hear in S1 comes directly from the book. But while words and actions were kept, in some instances things that gave them their original meaning might no longer be valid in the show universe. Sometimes they easily take new meaning, and we don't even notice. But sometimes there's this dissonance that's not as easy to work around.

S1 deviated from the book and created its own canon. But the difference didn't seem to go very deep and it seemed perfectly reasonable to use some trivia from the book to shed some extra light on the content of the show. I used to do it in my head, even though I was aware of the changes that were made.

But S2 expanded the show canon so far beyond what was in the book that I'm really not sure it makes sense to compile them anymore.

There are a lot of things that were only explicitly stated in the book that I keep clinging to. But perhaps it's time to let go...

Thank you for your patience.

I know all of the above isn't exactly a revolutionary discovery, but I needed to get it off my chest before writing anything else.

[rainbowchaox]

Why Pissa Works: Qsmp Analysis Essay

This is more of an analysis of the relationship in general and why it’s so important to understanding both Missa and Phil as characters. And it’s a disgrace if you ignore their relationship as it’s very important to their characters. I already delved into them as characters but I miss them and therefore I want to dissect the dynamic in this essay. And why it works so well. This time I am having some help from friends to give me their thoughts on them as well. As they are as “normal” about them like me.

At the start no one really knew what sort of longing and pining and loyalty that would spawn from what is practically a random lottery. Missa and Phil being together was fate. I think no other pairing would have clicked so well for Missa or Phil. They were sorta destined to be together to be husband’s. But no one could have guessed how important they would be to each other. No one would have guessed how important this random lottery would be.

When they were paired. They immediately clicked. They immediately joked and laughed. They had fun together. And that was the spark for their relationship to blossom from. They were THE couple. Everyone was jealous of them. They were disgustingly happy. And there was always a GREAT something between them from Day 1. There’s reasons why Chayanne and eventually Tallulah are so protective over their marriage. But even then, they were just cute. They didn’t have the extra something that changed us for the better and the worse. What really made Pissa so special. Until……

The four months of utter pain. Of yearning. Of everyone accepting that things might be over before things really could blossom. But it wasn’t the end for someone. It never was the end for Phil. Time is different for someone touched by death. “Phil is patient and doesn’t take breaks between meetings as difficulties. Their relationship will never sour. When Missa is there, he picks up where they left off.” an excerpt from my talks with Ash. And she is completely correct. I have mentioned this plenty of times in my previous essays about their characters. But Phil doesn’t mind he has to wait for Missa. Time passes differently for immortals. But also Missa just being Missa has long acquired his loyalty. Something hard to get but harder to lose.

And it’s because of Phil utter loyalty and willingness to wait that their dynamic really was able to bloom. Missa took his heart. The less Phil can do is wait. Because when Missa does Phil always has so much fun with him. Missa always reminds Phil why he stays loyal to him. Missa is JUST so good. Phil can see that.

Phil always had valid reason to move on from Missa especially during the four months. No one knew he would return. And he almost gave up hope by the end. But throughout the four months he mentioned him, he looked at skulls all sad, and he yearned for him. And when he came back? He was so happy. He never blamed Missa but you can tell he wants to spend time with him more. You can tell he missed him. You can miss someone being gone and not hate him. He just missed his husband.

“Missa also rolls with the punches a lot, when Phil says there's a new kid, Missa takes that and immediately bonds with Tallulah, when something crazy happens, Missa is there to eventually bring a smile to his family faces. They both don't get hung up on the craziness in between.” As quoted directly from my friend Ash. She is right. This right here is what changed the pissa dynamic for the better. Phil notices things and he noticed how kind and wonderful Missa is. Phil remembers others kindness.

Missa is always on his family side. Phil can depend on him always. So of course he is also Tallulah father. Missa was happy to take that responsibility. Missa is there to bring a smile to his family even in the rainiest of days. He is there when they need time to just enjoy living instead of surviving. Which is addicting to a man that only knew how to survive. Theres reasons why Phil fell for Missa.

Phil doesn’t verbalize his emotions. He is always a show not tell type of character. But it’s clear to anyone he adores missa. He stares at skulls missing him. He has his obession with giant Missa. He always has a place for Missa in his home. He collects Missa art like shinnies. He is so darn possessive of him. He loves Missa so much and it’s clear through his actions.

Missa also brings him great comfort in general. Missa is similar to him in the ways that matter but his complete opposite in other ways. Phil is emotionally repressed while Missa emotions bleed out like ink. Phil is skilled in fighting and surviving while Missa is best at music and art. Not skills you really need to survive.

So they always had this sweet dynamic and it grew with patience, with love, and a healthy dose of yearning on both sides. Enjoying each other when they are able. Soaking each other affection and love. But then Purgatory happened.

And they got spilt up. And this caused both to realize they just didn’t love each other. But they needed each other. Flaws and all. And that they definitely couldn’t harm each other. That they always been each other homes. They needed to separate to realize how important the other is. They both had their realizations. And post-purgatory we did see an uptick in very affectionate pissa.

And it was beautiful to see how their relationship has grown. But then Prison happened. And they fully showed everyone how much they care about each other. Phil and the kids just soaking Missa being present. Them being so happy despite in actual prison. Phil being possessive over Missa. Phil and Missa finally kissing (numerous times).

Purgatory may have made them realize they needed each other but prison made them realize they wanted each other. They wanted to be a family. They wanted to be happy. And it made both of them selfish. Which was they always sorta wanted.

They say I love you with every glance. They say I love you with every tired cuddle. They say I love you with every smile. They say I love you when they are watching the kids sleep. They say I love you protecting each other. They say I love you finally letting the others see them vulnerable. They don’t need to use words. They know they love each other. And that’s beautiful. No wonder why we are so “normal” about their sweet relationship.

[astralfuchs]

I hate the Piapro Super Pack

They all sound like NT. In this video by SukoyaCathedral on Twitter comparing Kaito SP with his V3, you can clearly hear how the voice sounds just as nasally as NT and all the transitions sound muffled and choppy. They all sound like they got a bad cold and are trying to sing anyway.

A Spectral Analysis of the Video above shows that "V3 has diagonal formants, that means real samples. SP just jumps from one vowel to another." - @The_Soda_Wave

Especially Luka and Meiko are just Miku NT 2 and 3. They do not retain their Sound at all, sounding just like Miku most of the time, especially in the highs. This makes both of them nothing more than some sort of "Append" for Miku NT/SP. Here is an example of Luka SP by Axxell from the SynthV Unofficial Discord:

Luka V2 -> Luka V4 Hard -> Luka SP

It makes sense that people very quickly made jokes like these:

Images by The_Soda_Wave on Twitter

The worst thing about this situation for me is that this wasn't a rushed product in any way. They had all the time in the world to make it, they could've postponed it before the announcement and after, but based on them having demos ready and everything, it was clearly planned to be released like this. Crypton doesn't usually just rush things out for the sake of it, seeing as there is still only Miku on NT with no release of the other Piaproloids in sight.

This makes it very clear to me that Crypton is happy with this result. They WANT them all to sound like NT, all muffled and choppy. Luka and Meiko sounding just like Miku with parameters changed is DELIBERATE. Which also leads me to suspect this will be how the voices are going to sound moving forward with every new release as well. What this means for Miku V6? We will have to see, but my hopes have already gone down the drain.

No one actually likes the Sound of NT, the only people who actively listen to it are Project Sekai players, and with the art style of the box art and all of them sounding closer to their NT counterparts, I can only assume this Super Pack is actually a Sekai Pack, marketed to that side of the fan base.

In Conclusion:

The Superpack is a budget alternative to the actual VBs with worse quality in all aspects, no English compatibility and the sound of NT (one of the least liked vocal synth programs) hiding beneath it, which also completely destroys the tone of 2/6 characters. Even SynthV Lite voices sound better and those are free.

The only people that would gain anything from this are fans of Miku, Rin, Len and Kaito or beginners that really want VOCALOID instead of the other cheaper available programs, that don't mind that they sound bad and just want a cheaper way to get them, even if that means they are not as good.

This is the sound that Crypton wants for their Vocal Synths moving forward. They want them to sound sick and like they're eating their own words while singing them.

Crypton really hates Luka and Meiko and just wants them to sound like Miku

[miraculousares]

Okay so I have some thoughts about the end of full moon and more specifically on Blitzø's rant at the end. I already posted a little analysis about how he only knows how to communicate through raw emotion, and I think that his venting is such a clear example of that. I feel like this is the most honest Blitzø has been at least in the last 15 years if not ever, and I can't stop thinking about how hard he's trying to talk openly with Stolas. So spoilers for Full Moon obviously.

*deep breath*

"What? Fuck you, Stolas! You spring this feelings bullshit on me, are you fucking kidding?!"

As we well know, Blitzø has never felt worthy of love. He's always blown up every relationship (sorry for the pun) he's ever been in. Be it romantic, platonic, familial, even in the workplace he struggles. So the few occasions when Stolas has thrown out hints that he might love Blitzø for more than the sex, he's never been able to even process it. Stolas has never given him a clear indication that he feels anything more than horny for him and without any warning he's suddenly confessing his love in the middle of what Blitzø thought was just yet another transactional bang sesh.

"Can I get a fucking minute to think?"

Sure, Blitzø got the chance to have a genuine, in the moment conversation with Fizz, but that was nothing compared to this. He'd had 15 years to process his feelings of regret and he was someone he'd been vulnerable with before, albeit a long time ago. Here, trapped in a huge silent room with Stolas and all of his half-processed feelings that are tangled around so many other problems, Blitzø has no tools for this type of situation.

"After everything you put me through you pompous, rich asshole!"

While it hurts to say, Stolas really has put Blitzø through a lot. Aside from everything I'm gonna mention with the next line, he's hurt Blitzø time and time again. Be it covering his face at Ozzie's, humiliating him on stage at the Harvest Moon Festival, constantly degrading him and reminding him of his 'impish' lower status. It's obvious to the viewer that Stolas does care so deeply for Blitzø and that he's trying to change and atone for all of that, to Blitzø all he's done is give him space for a few months and then suddenly confess his feelings out of nowhere.

"Treat me like one of your little butler imps, you can't just dismiss me like that. I mean you royal fucks think you can do this every time. Like you can just play with our feelings because we're smaller and not as important!"

Okay here we go, diving into probably the biggest problem they have to tackle before they can truly accept love from one another: the class difference. Stolas' palace is crawling with imp servants who are treated as objects by the whole family and Blitzø has seen that. And then there's Blitzø, who is being treated with the respect of a living, breathing, independent-thinking demon but that's about it. He still talks down to him and goes so far as calling him his plaything on several occasions. I don't know exactly how the horns work/feel for imps, but I imagine Blitzø having a cigarette put out on his probably felt degrading at best. To Blitzø, he's providing a service for Stolas in exchange for reward, just like the rest of his servants. They both clearly know how wrong that is, but that dynamic needs to be seriously broken down from both ends before anything could possibly work between them. Blitzø is trying to do that with this line, he's trying so hard to tell Stolas how it made him feel because it hurt him but he wants to fix things.

"Well I'm not letting you, bitch! Let's go!"

Fuuuuuuuck this line hit me so hard. This whole time, he's been venting and yelling and in doing that he's sorting through how he feels. He's being confronted with something so far out of his comfort zone but instead of trying to run or hide like he usually would, he's trying to figure things out because no matter how afraid he is he clearly wants to have this conversation. He's trying to open it up to Stolas after airing out everything he was able to sort through, he's telling him that he wants to have this conversation.

"Stolas wait, I'm s-"

God this is so heartbreaking and I know a lot of people are pissed off about how Full Moon ended, I honestly think that this was perfect writing for each of these characters. Stolas has only ever been talked to in fanciful language, subtle comments, and straight abusive yelling, he doesn't know how to hear anything Blitzø is saying and instead only hears his tone and his harsh words. But Blitzø doesn't know how to communicate any other way and gah this argument/confession/breakup was exactly what they needed to push them forward to actually facing the problems between them rather than tiptoing around them

[redshoes-blues]

Emotional Time Travel: How Will Byers Controls Time in the Upside Down

"We are all time travellers, if you think about it."

Buckle up, everybody, this is gonna be a long one! :)

Over a year ago I wrote an analysis on the references to clocks throughout Stranger Things, and looked at how this connects to the show's specific form of time travel. This post is a bit of a redo of that original analysis, but this time I'm focusing on the idea that emotions have the power to alter the movement of time. And not only this, but Will Byers specifically has the power to control time in the Upside Down.

From the clock symbolism throughout the show to the time travel references, it’s clear that S5 is going to delve fully into the way the Upside Down operates; more specifically, I suspect we'll finally get answers to the question raised last season—why is the UD stuck on the day Will vanished?

I have some ideas on how that might work, and it has to do with emotions, which are described in ST as a way to time travel, as El says it best herself in the opening of S4: "We are all time travellers, if you think about it."

[CW: this will delve into the various forms of trauma and abuse faced by Vecna's targets in the show]

The Vanishing of Will Byers: Time Travel and Dimension X

First of all, let's deal with the obvious. The Upside Down, aka Dimension X, is a dimension that is stuck in the past. This is tied directly to Will Byers, given that it exists perpetually as the date he vanished. Therefore, entering the Upside Down is a form of interdimensional time travel.

To me, this could work in one of three ways, although a combination of these factors could also be at play here.

First, the UD could be a fixed point in time. A place where time doesn't work. It acts as a set piece, where characters can move around and exist within, but otherwise, it remains the same. In this case, it is quite literally frozen from the moment Will is taken. However, there are some things in the UD that do change. The weather, for example. Or vines that move and grow. So it's really hard to say how the fixedness would work. Perhaps, if this is the case, time is fixed and frozen, even non-existent, but space isn’t.

Second, is the idea that the Upside Down exists as a time loop. How long the loop would be, we don't know for sure. All we know is that the UD is stuck, somehow, on November 6, 1983. Maybe the loop is a single day long. Maybe it goes on for the entire duration of Will being missing. Either way, the time loop is certainly a plausible theory for how time operates in the UD.

Another important thing to consider is S5's use of A Wrinkle in Time as a source for inspiration, which brings me to the third way that time could operate in the Upside Down. Now, it has been awhile since I read AWIT, but there's an important concept in that novel called a tesseract. This is basically a way of travelling through time and space, to a fourth dimension. Looking at ST, this seems like a likely culprit for what's going on with the UD, which would be a sort of fourth dimension in this case. Vecna as much as says the UD is a fourth dimension himself:

"I became an explorer. An explorer of a realm unspoiled by mankind. I saw so many things, and one day, I found the most extraordinary thing of all."

But Vecna isn’t the only one to explicitly refer to the Upside Down as another dimension/realm. The government call it “Dimension X,” and the Party refer to it as the “Shadow Realm” pretty early on, an analogy to D&D’s location of the same name.

Now, I went googling for a description of the Shadow Realm, and I found this one that is very telling: “The Shadow realm is a realm caught between the realms of the living and the dead, a place where the boundaries of time and reality blur.” [link to article]

Looking at the UD, this absolutely makes sense as the location of choice that the Party (aka, the writers) chose to compare it to. As we’ve discussed, time does blur in the UD, and things don’t always happen as they would in Hawkins (there are strange storms, cosmic horror style monsters, etc.). Perhaps, in this realm, time itself doesn't even exist in a way that makes sense to us.

Now, going back to Vecna, we see that this sort of fourth dimension where time doesn’t exist as it should is exactly what he wishes to achieve.

On his motivations, Henry Creel says this: "Seconds. Minutes. Hours. Days. Weeks. Months. Years. Decades. Each life a faded lesser copy of the one before. Wake up. Eat. Work. Sleep. Reproduce. And die."

Clearly, he feels burdened by the limitations of how time functions in the real-world. This is why, he explains, "I became an explorer."

Now, the Upside Down we see him enter is very different from the one that Will is taken to, and the one we see from S1 onwards. There are two people we know that may be responsible for this change in appearance. Either Vecna shaped the world to his liking, or Will did.

Maybe it's a both/and situation. After all, we know Vecna has powers and has been communicating with the Mind Flayer (who seems to be a sort of eldritch/cosmic god/force of the UD) for years. However, it is Will's vanishing that shapes the "time" of the Upside Down.

Will vanished on November 6, 1983, which is the same day that the UD is stuck on. This means that the Upside Down is inexplicably tied to him. Why it's tied to him is hard to say. He's the first kid Vecna kidnapped, and it is very interesting that he didn't just kill Will like he does his other victims: there's something different about Will.

I'll get into that later, but for now, what does this mean for Hawkins, where the UD is beginning to leak out of the gates?

As I mentioned previously, it's clear that one of Vecna's goals is to create a world that is "unburdened" by time's constraints. As the gates open up, we see a clock turning backwards (see: gif above), which may represent how time is slowing down or ceasing to exist the same way it always has.

If we want to get metaphorical about how time functions in Hawkins vs. the Upside Down and Vecna's mind lair, just look at the first sign of someone's Vecna vision, which is represented by a chime of the Creel house clock. For Vecna's targets, time is literally running out. Not only because they're about to die in Hawkins, but because they're about to enter a dimension where the passage of time does not exist.

"We Are All Time Travellers": Emotions Alter Time

Let's back things up a little bit.

Last spring, I was rewatching S4 to look for any references to time travel (turns out there's a lot of them when you go looking for them). It didn't take long for me to get a reference. In fact, there's one in El's opening monologue, as part of her letter to Mike.

"Dear Mike. Today is day 185. Feels more like ten years. Joyce says time is funny like that. Emotions can make it speed up or slow down. We are all time travellers, if you think about it. For example, this week is going very fast because I am so busy..."

In one sense, El's line here is describing how time can literally feel fast or slow depending on how we feel. For example, if we're busy and happy, time often goes by fast, but it we're upset, time can feel slow. Of course, I believe this line also has a deeper meaning that foreshadows what we later learn about the Upside Down being tied to Will’s vanishing.

It's no coincidence that in the season whose villain is represented by clocks, who is tied to a dimension where time is wonky, and who feels burdened by the existence of time, this opening scene mentions time travel directly. It's also important that El says this line. She's the one who opened the gate in the very first scene of the season, after all. She's also the one who goes through the NINA program, which is essentially sending her back into time (through her memories) to access her powers again. Isn’t it interesting that revisiting her traumatic experiences is what restores her powers?

If we take what El says literally, emotions actually have the power to speed up or slow down time, and not just our perception of it, depending on which emotions are felt. This bit about emotions is vital. As we know, the UD is shaped around Will's vanishing, which is a traumatic experience that he continues to deal with for years after it has occurred.

Now, this begs the question: did time in the UD slow down because Will left an emotional imprint on the landscape via his childhood trauma?

Again, it isn't a coincidence that Will's vanishing is the day that the Upside Down is stuck on. The "demogorgon"—which is pretty obviously going to be revealed to be Vecna—took Will into this fourth dimension, traumatizing him in the process.

All of Vecna's victims in the 80s timeline are also victims of trauma and/or abuse in their childhoods. Chrissy and Patrick have an abusive parent, and Fred has trauma from the car accident. Max has mental health issues and a complicated family life that we see in detail—an abusive brother whose death she blames herself for, suicidal ideation, a dad who isn't in the picture, a mom who becomes an alcoholic, and that's not to mention the inherent traumatizing circumstance of living in poverty. Will is also implied to have been abused by Lonnie, who called him homophobic slurs and turned into an awful deadbeat who doesn’t accept that his son doesn’t follow traditional masculine gender norms; he's also bullied at school for being different.

Each of these victims of abuse and/or trauma are all targets by Vecna. They have that in common. And we know that Vecna is targeting these kids on purpose because we see him sifting through his mind lair to select his next candidate. How does he do this? By looking at these kids' experiences and selecting someone vulnerable.

After Patrick is killed, Lucas and Max say as much when they discuss Vecna's motivations. To them, to be hurt us to be haunted:

Lucas: "It's like everyone Vecna targets has something in their life...something that's—"

Max: "Hurting them. Haunting them."

With this in mind, it begins to look as if Vecna is using the trauma and hurt of these kids because their emotions are strong enough to create gates, and therefore to alter—or even slow down—time.

Interestingly, the psionic powers of the lab kids seem to be impacted by their emotions as well.

Dr. Brenner tells the kids in the NINA memory to not use their emotions, but it’s One’s advice to El—to focus on something that makes her angry and sad—that helps her win the battle against Two. Brenner is so angry at One’s interference here that he tortures him for it. We know that Henry Creel was the original kid with telepathic powers who was experimented on. Somehow, Dr. Brenner learned to develop powers in these other kids, but it’s Henry/One who first received his powers from the Mind Flayer. Even as a kid, he understands that channeling negative feelings makes his powers grow stronger.

Before we look at why I believe Will is the only one truly capable of restoring the Upside Down to the way it was before, aka Dimension X, I want to dive a little bit deeper into Vecna’s targets themselves.

The Trauma of Vecna's Targets

There isn't a single main character in this show who isn't traumatized, hurting, haunted, or a victim of various societal pressures and/or forms of oppression. This isn't an accident. These themes are built into the show on purpose. Sometimes they aren't handled as well as they could or should be, but they're certainly present.

When we look at Vecna's victims, the reason they were his "perfect" targets is because of their vulnerability.

Lucas suspected Patrick was dealing with abuse at home, but Patrick never talked about it with anyone. Same with Fred's guilt about the hit-and-run. He's terrified of the idea that he'll be found out, so he never tells anyone about his visions. In the case of Chrissy, her own boyfriend has no idea about what she's going through, and she turns to drugs for an escape from her pain. If Max hadn't confided in her friends about her visions, equipped with her knowledge of Vecna and the Upside Down, then she would have had the same fate as them.

So, not only are Vecna's victims people who have something in their life that is hurting or haunting them (trauma, abuse, mental health issues, etc.), but they are also actively repressing these emotions. With this, I think the writers are trying to say that opening up about what you're going through with other people who care about you is vital to your survival and well-being.

Healing from trauma requires you to confront the emotions and/or experiences many people would rather suppress. I think El is a good case study for this. She is very clearly a traumatized character who is a victim of child abuse. Much of it is stuff she doesn’t actively remember, because she has repressed it, as we see in the NINA project. But despite her repression, the trauma, those memories, are still with her. She believes she's a monster, and she carries this guilt around with her for years. But El is also very resilient.

In fact, she confronts her trauma head-on in the NINA project. She relives her abusive childhood, the bullying she experienced, and the massacre, and she comes out of it a stronger person—even though she doesn't beat Vecna this time around, because she’ll require the help of someone else who is deeply tied to the UD if she wants to beat him.

Looking back at what Henry Creel knew from a young age, that his pain and experiences could be a source of his power, it becomes clear why he’s killing all of these traumatized kids. He’s doing so to harness the power in those experiences, perhaps because their emotions will affect the UD and cause time to slow down.

However, when El talks about emotions as a way to time travel in the beginning of S4, she isn’t just referring to negative emotions like boredom or sadness, etc. She also refers to positive emotions which make time move faster. If Vecna used his targets’ trauma to slow down time—originating with Will’s arrival in the UD—then maybe it is positive emotions, like love, acceptance, and healing, that will undo the changes Vecna has made in the UD.

Will The Wise: Why Will Byers is the Antidote

Will's connections to the UD are my main reason for believing he is the key to defeating Vecna. It began with Will, and it will end with him, too.

This is also supported in the text.

D&D always forms a direct analogy to the events that happen in any given season of Stranger Things, and it's through the lens of D&D that the Party describe the happenings in the Upside Down. For example, Will rolls a 7 in the first episode of the show, and tells Mike that "it [the demogorgon] got me." Later, the creature we're told is a demogorgon does get Will.

So, that's why the D&D campaign run by Eddie in S4 is very interesting, as it serves as foreshadowing for the rest of the season. An 11 is rolled first. This is a miss. It isn't until Erica—who is an unlikely hero in this campaign—rolls a 20 that Vecna is defeated.

It's crazy foreshadowing that an 11 is rolled, which isn't enough to defeat Vecna, in the season where Eleven is not able to defeat Vecna on her own, despite her powers being stronger than they've ever been. That's because power isn't the only thing at play, here. And we don't know yet who will be the Erica in this story, the underdog who will swoop in and join the fight, being the unlikely hero to defeat Vecna, but I think the missing piece will be Will.

It's like Dustin said in reference to his drawing skills (interesting, because when Will drew to solve the puzzle before, it was directly related to his connection to the Upside Down): "we need Will."

This brings me back to the main point of this analysis. If emotions alter time—with traumatic memories causing time to slow down, and causing Vecna to gain power—and if the Upside Down is shaped around Will's trauma, then confronting Will's trauma is crucial to Vecna's defeat.

Everything goes back to Will. To the moment he entered the UD on November 6, 1983. The very day the Upside Down is frozen on is the same day that Will's trauma began. By experiencing his trauma and imprinting those emotions onto the dimension, did Will quite literally grind time to a halt in the UD?

I certainly think so. And we've already seen a little bit of how positive memories can be used to fight against Vecna. Music is shown to carry positive memories and emotions, almost forming a shield around a person, as was the case for Max and Will, who were able to fight back through the power of music. If we take this a step further, it makes sense that healing from his Upside Down trauma, would work as a sort of antidote to Vecna, who feeds off of people's trauma. He only targets people, haunts them, if they are hurting. Heal the hurt, and he has no use for you any longer.

Functionally, this could work a number of ways. I think it could work by Will re-entering the UD and bringing positive emotions with him. Maybe the UD would reshape itself again, this time in a more positive way, removing the "rot" that has existed there since Will first entered. After all, Dimension X does not appear to be inherently evil like the Upside Down, it’s only when it begins to shape around trauma that it changes and rots.

Some Final Thoughts

If we consider that it was Vecna who took Will, then it’s clear that Vecna's goal isn't to kill Will. In fact, in S2, Dr. Owens asks Will if the evil wants to kill him, to which Will responds that the Mind Flayer wants to kill "everyone else."

Why? Because Will has powers that Vecna wishes to exploit for his plan. Because, by keeping Will and his strong connection to the Upside Down alive, he caused the Mind Flayer to enter Will, giving him the ability to feel what it feels—and later, in S4, to feel what Vecna feels.

My speculation, given all of the similarities between Will and Henry Creel, is that Vecna hopes Will will come to see his view as the correct one. He recognizes that Will is treated differently, that he’s an outsider, and he wants to exploit this to have Will join his side. Like the Emperor to Anakin, and later Luke, Vecna doesn’t actually care about Will: he’s manipulating his emotions to access his power. He didn’t keep him alive out of the goodness of his heart. He kept him alive because he knows that Will’s emotions have the power to alter time in the UD.

Killing Will simply wouldn’t serve his purpose of using his trauma to keep the UD stuck in time, grinding it to a halt.

Because, if Will’s emotions have the power to imprint on the Upside Down to the degree that he shapes the way an entire dimension appears and operates, everything begins to make sense. That’s why Vecna kept him alive: to continue his plan of removing the burden of time from the world. That’s why the UD is shaped around him. And that’s why Eleven could not defeat Vecna on her own.

Will controls time in the Upside Down. He shapes it through his emotions and experiences. His fear and trauma slowed down the movement of time, so, if Vecna is to be defeated, it only seems plausible that healing from his trauma, learning that he is loved and accepted for who he is—that he’s not a mistake—will have the opposite impact. By doing so, time will speed back up in Dimension X, healing it in the process.

In the end, everything began with Will. It was his vanishing that kicked off the story we’ve followed for what’ll be five seasons. And it’ll be him that brings an end to everything, as well.

Author’s Note

Thank you to everyone who stuck around and read this whopper of a theory/analysis! Writing it has been a long (but very fun) process. I started writing this about three weeks ago, as a rewrite of my old clock theory with more of a focus on how I think the UD functions, but then it grew into a beast of its own. I just couldn’t help it! When I get a meta idea about Will in my head, I can’t not write thousands of words about it lmao.

That said, I always love to read other people’s thoughts on these theories—it’s truly the best part of our little community on here. So please, feel free to add onto this if you have any ideas! :)

—Em

[luveline]

a hotch baby blurb along the lines of spontaneous phenomena where she works at the fbi or bau but not as a profiler and is a bit shy and quiet but he always notices her and thanks her for all her hard work ?? maybe he comes back from a case w a black eye or injury and she frets and they kiss ?? i love u mwah

I love you, thank you for your request! fem!reader

When people ask how someone as quiet as you ended up working in the Behavioural Analysis Unit, you love to say, "I just slipped in. They haven't found me yet to fire me." 

For the most part, you aren't lying. You'd worked your way up by accident, and with no intentions on moving any higher you're happy in your cushy little desk job filing paperwork and typing up reports. 

It also gives you a strange sort of happiness to help people out. Not for praise, though praise is nice, but just to see a usually sombre breed of people uplifted. It's why you're in Hotch's office so often. He has an abundance of paperwork. You have time to file it, or if not filing, sorting. If not sorting, tying up loose ends. You figure, why not? 

You wouldn't enter his office if he hadn't given permission. He knows it's you because you always leave the door open, and you know it's him because he sighs tiredly in the doorway. 

"You're here late. Go home." 

"It's only…" You check your watch. "Five twelve."

More tired sighing. You quickly finish up what you'd been doing at the chair in front of his desk (which, a few times, he's told you to sit behind rather than in front, because apparently his chair has better lumbar support) and click a lid back onto your pen. 

"How was– oh no, what happened?" 

Your lilting tone makes him smile. 

"Nothing happened." 

Standing from your seat, you tilt your head to get a better look at him. A shiner stains the skin around his left eye wine dark, and the sclera is bloodshot. It looks painfully sore. 

"Hotch," you say softly. 

"It's alright. I've had worse." 

You know he's had worse. You know he's been stabbed like a pincushion and stitched closed again, know all about his perforated eardrum, his bad shoulder. That doesn't make it any easier to swallow this injury. 

Somebody as kind as he is, how's it fair he hurts this often? 

You move forward in an act of brazen self-indulgence that is completely unlike you and stop just shy of his shoes, looking up into his face. 

He obliges you, looks down. 

You picture the violence without meaning to, the hand that had hit him. 

"Are you alright?" you ask. 

"I'm fine." His brows lower and he winces, but they're lowering in fondness. The corners of his dark eyes crease with it, and his tone is sweet. He sounds younger than he is when he speaks to you like this, and he's been doing it more and more. "You worry more than you need to." 

"I just think that… if somebody hit me like that, I'd be upset, so…" You meet his eyes and feel intimidated, not by him, though he's imposing and tall and handsome in the worst of ways, the way that's making professionalism impossible to maintain, but because you're staring your feelings I'm the face at the same time. You really care about him.

"I like my job," you say, filling a small silence he hadn't bothered to fill, his expression suddenly unreadable, "but sometimes I wish I'd been a profiler." 

"Well, it's never too late." 

"No, it is. And it's not because I want to do what you do, I don't even think I could, but it's–" 

You cut yourself off with a nervous huff of laughter. He takes the smallest step closer, his face dipping down incrementally. "What?" 

"I wish I was so I could be there." 

"Yeah? What would you do?" 

"I'd take care of you," you say honestly. Your face burns with heat, and you realise how corny and out of place you'd sounded instantaneously. You turn your face to the side, grimacing so hard it hurts. "I'd defend you." You attempt to save face. "I mean, I'd try to. I'm not saying the other profilers don't do that." 

"I knew what you meant," he says, and lifts a hand to your cheek. 

You hold your breath as he steers your face to his. 

"You do take care of me," he says. "In your way, honey. You do." His thumb skips over your cheek. He seems, for once, out of order. Unsure. "Could I kiss you?" 

Your fingers find their way to his shoulder. You don't know how to say yes to that, your tongue a leaden weight in your mouth, your brain a useless mess of neurons that refuse to fire. 

You close your eyes and hope he gets the memo. You lift your chin. You stay very still.

Hotch kisses like a gentleman. Chaste, completely, a firm and sweet press of the lips. Then, like he's losing a handle on it, his nose pushes into yours and his lips part just slightly, and you remember to kiss back only a second before he pulls away. 

You raise a hand to his face, a mirror. "You're sure it doesn't hurt?" you murmur. 

"It stings, but," —he closes his eyes again, resting his forehead on yours— "I'll be okay." 

[stanfordsweater]

hello i'm new to the supernatural fandom and you have been in my recommendeds for a while, reasons to ship wincest???

i thought for a long time about how to respond to this so imma link catherine tosenberger's excellent analysis of the first few seasons where "the most resistive aspect of Wincest fan fiction is that it gives the main characters a lasting happiness that the series eternally defers."

to begin with, there are a lot of people who will argue for the toxic codependency and i love them and also love it but the reason i've been here for well over a decade is because of the way that wincest offers you two paths: you can follow the path of those who write endless meta about how one or the other brother is abusive and how toxic it is and eventually brainwash yourself into being unable to ship it, or you can follow the path of love and light and perspective and recognize 1. these are fictional characters and b. there are no two characters in genre tv who are as devoted to each other as sam and dean. there is no plotline that follows through fifteen seasons of being obsessed with each other.

by choosing the incest pill, you grant yourself access to fifteen seasons of generally good tv ABOUT YOUR SHIP EXCLUSIVELY. sam and dean are the main characters and you will always know, opening up an episode, that they will be there, doing their weird-ass jealous obsessiveness, and you will never despair about not having them present, together, even if they're fighting or struggling or depressed. that is a very special thing!

now, beyond that, assuming you've watched the show, there's many reasons to cross the incest line. FIRSTLY, everyone involved was well aware of what they were doing. we have a few choice quotes i've collected below about their relationship that ramps up the intensity:

--

"Ultimately, they are pathologically dishonest with each other because John Winchester was pathologically elusive to them," consulting producer Ben Edlund says. "They learned that the truth is this dangerous thing, and that you shouldn't speak it. He even taught them to keep secrets from each other for strategic purposes." With all of the supernatural, apocalyptic, tragic drama woven into the show, Sam and Dean's relationship is rooted in human emotion. "When you look at the dysfunction that they show to each other, it comes directly from how they were brought up, and that's a kind of dysfunction that people in this world continue to face. 'Why didn't my dad tell me that he loved me yesterday?' We're just people sharing the same kind of thing," Edlund says.

--

"Why do you think Dean has had such a hard time forgiving Cas when he did forgive Sam for a similar betrayal?"

I think the easy answer is blood, I think the easy answer is family, even though if there was a family in this show it would include Bobby, it would include Cas, it would include these-- these-- kind of, broken war-torn heroes we've come to know, and you know, Bobby has that famous line, "family don't end with blood," but it is his brother, at the end of the day, that's the closest he has to a companion, and has had for a companion for many years, so I think with Cas there was always, "he's unnatural, he's an angel," and I think that for Dean, relating to someone like that, it's tricky, relating to monsters, relating to anything supernatural, his brother is flesh and blood, it's tangible, he can touch that.

--

Obviously the relationship between Sam and Dean is central to our show but we’ve been building this rift between Sam and Dean all season, so that led to the idea of having this young male character that sort of idolizes Dean and does all the cool stuff that Sam won’t do, and that’s Dean’s perfect mate.

(the thing sam won't do is literally swapping spit with him. tell me i'm lying)

--

in the hunt, page 37

--

Not all fans are content simply to attend conventions. Some of them want to take a hand in the story, and their fan fiction can explore areas mostly untouched on the show, like the latent homoerotic suggestiveness of the Winchesters’ intense relationship.

-THE NEW YORK TIMES

--

"eyefuck" became a well-known script shorthand because of how intense j2 looked at each other as sam and dean

--

it's a terrible life draft script:

Note B) They are supposed to be together

Note C) each been all alone in separate life finally found kindred spirit

--

in the hunt, page 158

--

i haven't included any eric kripke quotes because he has so much wrong with him that i don't want to enable it. this is a compliment. it is one of the highest i can give.

SO-- what these quotes tell us:

sam and dean are relatable because their relationship is intensely human

sam and dean have shared secrets they cannot voice to one another but that nonetheless make them inseparable

people have been writing motherfucking essays about sam and dean's homoeroticism since the show aired

within the mythology of the show, sam and dean are meant to be together above all other relationships

...oh, you need more? i didn't think i'd get this far. um... okay... look at them???

if you choose to walk this path you will find yourself crying and taking screenshots every time they look at each other or touch each other or hold each other and you will thank the lord in heaven that we were granted this intensely wild and beautiful homoerotic relationship back in 2005 and praise jesus that you can always return to their raw sexual chemistry-- "In fact, much like the early X-Files, the show is fueled past its failings almost entirely by the chemistry between the two principals, the boys who, like Mulder and Scully, generate enough sexual tension to power a small city" as quoted by whitney cox in 2006 in an article that otherwise fails to bring anything to the table, sorry if you love it for your meta but also literally just go read the catherine tosenberger essay

you still need more????? jesus, what have you shipped prior to this? well, go watch the pilot and enjoy the fact that the first scene these two have together they are wrestling on the floor (sexually) and getting all romantically silhouetted against this beautiful lighting

and then go watch a few fanvids like this or this and then watch the pilot and watch this and then read this post about how supernatural happily wields incest as a tool of horror and as comedy and then scroll through my entire family horror show tag to understand more and then watch this immaculate video that deals with the whole thing and think about how all these things were happening in 2005 and remember the fact that sam and dean are the main characters of the universe... and then maybe just watch the show and please do not become an annoying shit poster who just talks about how they hate it🙏

[leftneb]

alr amateur in-depth analysis time bc I don't think I can really come to any sensible conclusion provided the state of the dash rn

I have a much more refined version of this now! partially changed my mind on the interviews bit and went more into details of the collision. I'd recommend reading that one

(be warned this got very out of hand I really did just want to look at the contact but then things happened)

regular racing

2. max moves off the racing like

I'm assuming this is to prevent lando from taking the inside line. makes sense so far

3. lando takes the outside (normal racing line as you can see by the tyre marks)

4. max suddenly veers back onto the racing line

this is likely an attempt in blocking lando from overtaking. but at this point they were side-by-side, which means max is just driving into him

the only place for lando to go at this time is off the track

5. they make contact

IMO this was on max, but it definitely wasn't "on purpose" (max also wouldn't try to initiate contact considering it would ruin his own race)

as far as I know this is fairly characteristic of max, he has a sort of "kill or be killed" attitude on track, which usually translates to "either YOU move or we're BOTH crashing out"

either of them could have moved to avoid collision, but they didn't, because they're racing drivers, obviously they're not going to move and give up a win

max basically drove into lando here, absolutely did NOT leave the space

as for the other overtakes/attempts

max already stated that their mistakes (the slow pitstop + his lockup) cost them a lot, these allowed lando to get in a fighting position in the first place

lando was natually going to try and make the most of that opportunity, though maybe a bit too aggressively at times

lando sets up for the overtake, gets blocked

pretty much standard procedure, nothing to talk about here

2. lando overtakes max but locks up in the process and runs wide

you could definitely argue that this was just a bit too aggressive, or that lando was going in over his head maybe

to me the whole "lando doesn't have experience fighting for a win and he makes mistakes because of it" feels a bit like a cheapskate but there's truth to it

lockups happen, especially under pressure (and even more when he's aware he has to run a perfect race in order to beat max)

Lando then says on his team radio:

"he can't keep moving after I've moved it's just dangerous. we're gonna have a big shunt. he forced me to go wide and lock up"

looking at it from lando's perspective I can see what he means here

lando took the inside line and they were practically wheel-to-wheel by the time max started turning, seeing that max is taking a line that would lead them to a collision he panics and locks up

like just imagine you're lando. you've taken the inside line, there is no space to your left, so you're expecting max to leave you a gap. instead he starts turning in on you. you are going to try preventing contact so you break and swerve, you lock up, the only way forward is off the track

from max's perspective I can only imagine this happening if lando was out of his view. I'll give him the benefit of the doubt here

also I think "he can't keep moving after I move" (and the entire radio message) pretty much foreshadows the contact later on

3. lando takes the inside line, max leaves him space by going off the track

we are going car racing. lando is being aggressive here (though I wouldn't go so far as to call it unreasonable) max doesn't break hard but leaves him the space, the only place he can go is off track

you could definitely phrase this as "lando forced max off track"

but you could also argue that "max broke track limits to maintain his position" he COULD technically have backed off, but again, would have been very uncharacteristic of him

post-race statements

I am biased toward lando (and I really hope that didn't affect my analysis too much) but I do think the whole "apologize or we're not friends anymore" sentiment is a bit. side eye.

as much as max was being aggressive at times, so was lando, they both want to win, obviously they're going to be aggressive

it was a hard race, it was a GOOD race, they both made mistakes but in the end it was max who denied them both the win, which is an unfortunate consequence of, yk, racing

generally I think approaching these things objectively is always the most sensible. however, we have to acklowledge that we're talking about some of the most competitive people this planet. they both immediately went to blame the other, they always do

lando implying that he wants to basically break up with max because of this is insane. but so is max refusing to acknowledge that the collision might possibly have been his fault

as a viewer I want to just sit here. eat my popcorn. and enjoy the race, prefferably WITHOUT the entire community going to war about it without any respect for other people. like I'm not saying there should always be peace and love, there is NEVER going to be a race like this without drama but for the love of god don't ACTUALLY want to kill eachother